Dedicate a spare bus to be for the camera mix (eg bus12 for the sake of this example.) Route channels to it and mix as appropriate. Routing>AuxOut Set whichever aux output connects to the camera as bus12, post fader. The bus12 master fader will control the overall level sent to the camera. Read more

You can also do it if you have a computer on the same network as the X32 running Patrick's X32Commander app. Read more

In terms of why it's head and shoulders above the x32:   More channels, and they're stereo More powerful channel\bus processing; the tools are there to get better sound The buses are *stereo* (16 buses = 16 *stereo* IEMs, not 8.) More mains buses More mtxs (and they're stereo.) More FX engines More powerful fx More routing flexability (no blocks of 8, it's all 1:1 point-to-point) More digital interconnectivity options (extra AES50 socket, multiple (simultaneous) expansion cards, the USB socket is 48x48 instead of 32x32, stageconnect, GPIO etc.) More flexible surface workflow (custom fader layouts, bigger touchscreen which is easier on the eyes, screen tilt for better ergonomics, especially if you're swapping between standing up and sitting down during different parts of the service.) Maintains AES50 connectivity with current X32\stageboxes Paul was written a program to convert X32 scenes to Wing Better DAW integration* (not sure if you'll use it) *not everything is enabled in the current firmware, but it's getting there. Read more

1.) Yes, but I'd strongly consider getting a Wing involved. The issue with doing some monitors (eg IEMs) from one X32 console and other monitors (eg P16s) from another X32 console is keeping the processing (eg eq+dynamics) consistant between the channels feeding the IEM buses and the signals feeding the P16s.) If you get a Wing, you will most likely have enough buses (because its buses are stereo) to run both IEMs and P16s off the one console. Also, with the extra buses available, you could use them for creating IEM mixes that would normally be made using the P16s. Instead of only having access to 16 signals to create the p16 mixes, every signal would be available. The p16s can then be used as headphone amps (or you can sell the P16s and replacing them with P1\P2s and possibly an SD8\hub4 for extra analogue outputs. It really depends how many is in your "bunch" of p16s.   If you do decide to go with 3x X32s, that can work, and we can get P16 signals from the FOH console to the stageboxes' ultranet sockets via the monitor console, you just have to deal with channel processing consistancy between 2 consoles issues.   2.) If you're asking if the X32 can mix (sum) 64 channels at once, the answer is no. If you're asking if can get another 32 signals into the FOH console and use some of them for your current mix (up to a total of 38,) and perhaps route others point-to-point, eg a click track from a locally connected DAW to a drummer's IEM on stage, then the answer is possibly.   3.) Generally no.   4.) Not really. You've probably got most of the way there with your current setup; you already know how to pass signals between consoles over AES50. Read more

@Paul_Vannatto and @GaryHiggins  I believe this is the thread.  It seems that btsipsheim took the Brooklyn II module out of his X-Dante card and installed it internally into the Wing, but was only able to get 32x32. Read more

Pan everything one way, or centre, but you will miss out on half of anything that's fixed stereo and can't be panned, eg the stereo aux in and the stereo FX returns. ---or--- Route everything to a spare mono bus (this will sum stereo sources liek the aux\fx returns so you don't miss out on half of them,) and feed the PA from that bus instead of LR. Read more

The preamps are set (and the recording is done) at generally around -18dBFS, so there's 18db of headroom before clipping to allow for dynamic range and big transients.   The problem is that most playback systems are set up to playback pre-recorded content that has been mastered closer to 0dBFS.   You can either run your recording through a DAW before you upload it and boost the volume closer to 0dBFS, or you can use the trim on the inbuilt recorder to add as much as 24dB of gain to it. Read more