Statistics

293,639 members
176,664 posts
  • New
    Charles6174
    Newcomer - Level 1
    2022-03-22

    I have a input for my computer coming into the behringer x32, i only get out put to the main house speekers, how do i get it to go to my stage monitors?

    0 12
    • Charles6174
      Nigel67 Hi Charles6174. Where do you have the input from your computer plugged in to, and which outputs do you have the stage monitors plugged in to? If they are plugged into the Bus Outputs on the rear of the X32, then as default the
      Busses are as default already routed to the XLRs on the rear of the console. In which case, all you need to do is turn up the relevant Bus sends on the input channel that you have the audio going into and raise the relevant Bus fader(s) and you will get output from the XLR(s) on rear of the mixer. Have you checked out any of the online tutorial videos showing how to route signal through an X32.
      • Mar 22
  • New
    forestraven
    Newcomer - Level 1
    2022-07-03

    Hi Everyone

    Love the WING. 

    Ont thing that would make it even better is integrated AFS, eg. as an Standard/Premium FX.

    Not that I don't want to buy an external device for this (FBQ, or from DBX) but having it in the Desk would solve a lot of a/d-d/a delay issues.

    Any toughts on this?

     

    Greets

     

    Raven

    read more...
    0 12
    • forestraven
      KevinMaxwell You asked for thoughts. Here is something I wrote about this a while ago.

      My experience and opinions of feedback destroyers or feedback eliminators. I first have to say that I make my living doing sound and I have been doing this for a long time. These devices are not feedback eliminators, you will still have feedback but the device will hear it and react to it and put a filter in to eliminate that frequency. Depending on how they are set up they can really mess with the sound of a system. Relying on them for system tuning will usually result in a less then optimal sounding system. But if someone doesn’t know how to properly tune a sound system an anti-feedback device might help them.

      I have been able to tune the monitors to the point that you can wave a mic at them and it won’t feedback and the musicians are happy with the sound and the level, unless they are deaf. And some musicians are deaf. Now a lot of monitoring issues is really a musicianship issue on stage, they play too loud and want too many things in their monitors but that is another subject. That comes under stage noise control. I have had hapless singers bend down on stage for some reason or other and stick the mic directly into the monitor. There is no way to tune them so that won’t feedback. This hardly ever happens to me, I think I had it happen only a couple of times over 4 years. And when it did happen I am not sure that an anti-feedback device will kill it faster than the musician realizing their dumb mistake and moving the mic very quickly out of the monitor. But those times I wished I had an anti-feedback device that would clamp it down quickly and then release it after a few seconds. And that is the way you need to set up one of these devices. Only have a few filters set to clamp down under extreme situations and have them then release after a few seconds.

      I have used the anti-feedback part of some DSPs when setting up an unmanned system but there are some tricks to making it work and then only leaving a few filters to hunt for feedback and release relatively quickly.
      • Jul 4
    • forestraven
      Paul_Vannatto I would highly recommend instead of relying on the automatic FBQ to control feedback that you learn to use the built-in PEQ of each channel strip to properly EQ both inputs and outputs. I did that when I switched from my analog gear setup to the X32 (in 2014) and it has made a world of difference in the quality of the resulting sound.
      • Jul 5
    • forestraven
      forestraven

      The WING - to my knowledge - has no EQ with notch filters, which makes it fairly useless when it comes to pulling specific frequencies. Also, I'm trying to avoid using an extra DSP between the desk and the monitor amps for delay reasons.
      Also - of course I can go ahead, look at problematic frequencies on the waterfall and pull those by hand. But I just ain't got time for that in a 30 min changeover.

      • Jul 5
      • Wing Feature Request: AFS / FBQ as virtual effect
        KevinMaxwell The thing that stuck out in your reply was “Also - of course I can go ahead, look at problematic frequencies on the waterfall and pull those by hand. But I just ain't got time for that in a 30 min changeover.”

        Why are you doing any EQ during a change over? I handle all of that before the show ever starts, once the system is set up and turned on I handle system EQ. And with digital systems a lot of that is saved in the equipment from previous show and I just recall it. I explain below why I am not doing anything related to system tuning on the input channels.

        After I edited the information below and wrote most of this I reread your last reply and only then noticed that you mentioned monitor amps which I assume means you are referring to floor wedges. Everything that I wrote below still applies because if you don’t have the system setup and EQed properly first then you will be fighting that when dealing with the monitors. There are 2 ways to EQ them using the WING and those 2 methods can be layered. There is a 6 band parametric EQ on each Mix Bus output that also has Hi and Low shelving filters on it. An inserted Graphic EQ (according to my tests with Smaart adds just .66ms (that is less then 1foot) of delay to the monitors. That isn’t at all noticeable. If you do use the Graphic EQ be sure to try the True Curve setting. The monitors should be EQed before the band shows up and if done properly there should be no need to change that when changing bands. We always supply the Mics so we aren’t dealing with someone bringing a cheap piece of junk that no matter what you do with EQ in the monitors it will still sound and act like a piece of junk. I am also assuming that you are providing the monitors. And I will add here that the better the monitor the less EQ it usually takes to get good gain before feedback and they will sound better.

        Below is an edited version cut and paste of something I wrote before to answer the same basic question.

        The technique that I use for EQing a system is – I EQ the system for linearity, in other words what goes in is what comes out. Or as close to that as I can get. I use a software program called SMAART. This can be done by ear also but not as quick and as accurate as when using SMAART. With a program like Smaart there is a learning curve so it isn’t a quick program to learn and it isn’t cheap.

        I can post how I recommend doing that by ear if you would like. DO NOT EQ to pink noise (trying to get it FLAT) with an RTA. Flat is not linear. In my opinion pink noise with an RTA is useless no matter how flat you might think it is. I have looked at many different Pink noise generators and most of them (it not all) are not FLAT. And FLAT is not what I am talking about here. Years ago before Smaart existed I used to use an RTA and I never used pink noise with it. When I had one to use I used it to confirm or tell me what frequency I was hearing by seeing it react on the RTA.

        I then insert an EQ (on the vocal Mix Bus) and EQ that Mix Bus for gain before feedback. I can also post how I recommend doing that by ear if you would like. This is to give your vocal mics the best GBF (Gain Before Feedback) that you can reasonably expect. I find most mic’ed instruments don’t usually have a problem with gain before feedback and playback (CD) and instruments don’t need the additional EQ that the vocals do. If you try to do a best gain before feedback EQ on the whole system you take the life out of playback and a lot of instruments.

        This all saves the input channel EQ for you to use to deal with anything you need to do to make that particular input sound better. And you generally don’t know that until they start singing. It might be that the person singing has a particular sound to their voice that needs a little help one way or the other. You need to get good enough to handle that quickly (without any one realizing it) while you are mixing. They may need a frequency range cut to make their voice more pleasant. I am a big proponent of cutting frequencies to fix things because I feel that boosting can cause more issues then it fixes. At a church recently the pastor who is a musician was concerned about how certain vocal mics were sounding and he had boosted the frequencies that he thought were missing. I showed him that if I cut the offending frequencies the sound cleared right up and the frequencies that he thought were missing were really there just kind of hidden by the offending frequencies. And I did that EQ on a Mix Bus that those mics were put thru.

        This doesn’t even take into consideration on how to EQ the monitors. That will cost extra. Just kidding. If you want me to post how to do that by ear I can do that. I already posted what I think of feedback suppressors.
        • Jul 6
    • forestraven
      Paul_Vannatto The Wing's channel strip PEQ can notch any frequency range. The Q will adjust the width of the range from wide to very narrow. Rarely do I have to use anything more than the channel strip PEQ for feedback control. Granted, there is also the element of proper speaker placement/alignment that will also affect feedback control.
      • Jul 5
  • New
    colin2000
    Newcomer - Level 1
    2022-05-16

    I recorded our weekly service to get a recording of the band.  Although all singers and instruments were audible in FOH during the service, only the channels for the two singers was audible on the recording, and what ever instruments their mics picked up.  When I looked at the meters during the recording I can see right and left.  What do I have to do to get all channels recorded.

    read more...
    0 12
    • colin2000
      Paul_Vannatto If you want recorded whatever is going to FOH, make sure the USB Recorder source is Main L and Main R (for left and right sources).
      • May 16
    • colin2000
      colin2000 The USB is sourced from Main L and Main R.
      • May 16
    • colin2000
      Paul_Vannatto Then you probably are using a matrix (or matrix pair) for outputs to FOH, which includes Main LR as well as other buses. Assign to the USB Recorder whatever is assigned to the FOH outputs and you should be recording what you are hearing.
      • May 16
    • colin2000
      colin2000 Is the routing to Main L and R logical or physical? The person who set up the X32 used monitor L and R to connect to an analog snake which was then connected to the Amp. When I set up the S32 digital stage box I rerouted the output channels to the S32 and moved the connectors to the Amp to S32 channels 15 and 16. When the connection between our X32 to S32 failed, all I did was moved the Amp connection back to the analog snake. I have not reverted any of the output routing, as I was hoping that our S32 problem would be easily resolved. Could this be why the USB recorder is not recording all of the channels?
      • May 16
    • colin2000
      colin2000 If I am interpreting you response correctly, if I change the connection for the USB to Monitor L and R, given my current physical configuration, that should solve the problem. Still I am not quite sure why it recorded only Channels 9 and 16, the channels that the singers are on.
      • May 16
  • grubstreetops
    Newcomer - Level 1
    2021-09-22

    Hello! I submitted a service request over a month ago and shipped my mixer to a service center (as I was told to do.) The last update I got was that the mixer was received on August 16th. I haven't gotten any updates since. I emailed [email protected] several times and submitted a message on the "Contact Us" form but still no response!. Has anyone else had trouble with this? It has been over a month since they received my mixer!!!!!

    read more...
    0 12
    • grubstreetops
      Posi1979 Hello ! It looks like that nobody answer our question ????? I sand it E-mail to but no respond since ????
      • September 22, 2021
  • New
    Ajak
    Newcomer - Level 1
    2021-12-26

    I filled in all the fields but my tech support ticket won't go through.

    0 12
  • New
    RichardLussier
    Contributor - Level 2
    2022-05-19

    A nice feature would be to be able to assing user buttons to select 3 differend sets of speakers ie. A,B,C,  for monitoring, going to seperate sets of outputs to studio speakers. Most have a seperate console for this purpose, which is a lost of usefull space on a studio desk

    Thank you

    read more...
    0 12
    • RichardLussier
      CraigFowler Not sure where Wing firmware is atm, but this was pretty easy to set up on the X32 using the user-assign buttons. You'd just write a couple of snippets to route the solo bus to (and away from) whichever outputs sockets were feeding your speakers, and assign the buttons to recall those snippets.
      Button1 would recall a snippet to assign the solo bus to outputs1+2, and assign no signal to outputs3+4+5+6.
      Button2 would recall a snippet to assign the solo bus to outputs3+4, and assign no signal to outputs1+2+5+6.
      Button3 would recall a snippet to assign the solo bus to outputs5+6, and assign no signal to outputs1+2+3+4.
      Button4 would recall a snippet to assign no signal to outputs 1+2+3+4+5+6, essentially muting all monitors.
      • May 20
      • WING  feature request, selection for speaker A. B, and C in the monitoring .
        PatrickGMaillot Basically as Paul Vannatto suggested: use an external app to create the assignments you'd like to have from the existing buttons; Snipshot toolbox is a great option, Wxfade has that capability too.
        • 1
        • ·
        • May 20
    • RichardLussier
      KevinMaxwell I don’t know how you have your WING configured but have you considered using the Matrix outputs to feed these 3 sets of speakers and just muting and unmuting them as you want to. I don’t have the WING set up at the moment it is still in the case since the last show so I can’t test this. But I think you can assign the matrix mutes to user keys if you wanted to.
      • May 20
    • RichardLussier
      Paul_Vannatto Craig's suggestion is a great idea. Unfortunately they have not officially implemented snippet functionality in the Wing (it is coming... someday). There is a workaround, though. By modifying a snapshot to include only the settings you want changed, it will work as a snippet. This can be accomplished using the Wing Snipshot Toolbox found here:
      https://sourceforge.net/projects/wing-snipshot-toolbox/

      Another option is to use the 4 Main channel strips, one for each of the speaker pairs.
      • May 20
    • RichardLussier
      RichardLussier

      Thank's guys for these nice suggestions. I am waiting for my WING to come, backorder for another month or so, and sold the X32 last week.... Can't wait to jump in the WING train !!! Looks like the mixing console for me ... I will definitle try Patrick's nice pieces of software right away... I'm kind of a "techy" guy too ...

      • May 22
  • New
    Mike7300
    Newcomer - Level 1
    2021-11-05

    How do I update the assigned name and color of a channel using mixing station with X air?Seems like this should be obvious but I can't figure it out. Once I click into a channel I don't see where the option is to change this.

    0 12
  • New
    psavolai
    Newcomer - Level 1
    2022-05-21

    Hi ,

    Using X32 Producerin home studio settting.
    Mixing tracks coming from daw and bussing them and sending busses back to Daw for recording.

    All Good, except that I can't seem to find a way to map the returns of the internal effects (4-8) to daw.
    I've tried sending the Busses 13-16 to Matrix and then sending that matrix to User and that to Card ... and millions of variatations on that theme but none seem to work ...

    Is there a known way to use effects as part of my mix and have them sent as a one combined bus to daw over card ?

    cheers.

     

     
    read more...
    0 12
    • psavolai
      Paul_Vannatto Sending buses 13-16 is sending the dry signals (signals going to the first 4 FX slots). To get the wet signals, you need to send the FX Returns signals (located on the Aux/FX channel layer) - eg. FX1 L, FX1 R, etc. This will send the wet signals of the first 4 FX slots to the DAW. The last 4 FX slots are insert type FX and are not route-able to the DAW.
      • May 21
  • New
    Derbae
    Newcomer - Level 1
    2022-06-15

    My mixer is jumping tracks, the screen is not movable. And the calibration of the screen is off. Needs to be fixed. Thanks 

    0 12
    • Derbae
      KyleJohnson Hello, Kyle here with Music Tribe. To submit a service request please click on Support and then Care/Service and submit your information.
      • Jun 15
  • New
    Johnny2lips
    Newcomer - Level 1
    2022-05-05

    Is it OK, technically, to have two laptops connected to the "main mixing" software for the XR18?

    We would like to have one laptop controlling the main mix, while the other one is simply switching to different snapshots in between songs.

     

    read more...
    0 11
    • Johnny2lips
      Paul_Vannatto Yes you most certainly can have more than one laptop/tablet/etc. connected to the XR18 via ethernet/wifi. I do it all the time.
      • May 5
Go to page