About DannyKurywchak

DannyKurywchak · ‎2019-08-07

"Please understand that the actual physical preamps are integrated with the XLR jacks of the console and stageboxes." I did not know that and it now makes perfect sense why to two consoles can't control the one digital stagebox, thanks for this clarification. "But if a proper sound check is done where the "real gain" is determined (not "check 1, 2" and expect it to be right when the vocal is screaming into the mic during the show), then there should be no need for gain (or phantom) re-adjustment." Amen! We always get to the gig early enough for a full soundcheck and 98% of our shows we are the only band for the evening. Our amazing sound guy moved away which greatly understood your description above on running sound. However, for some reason the young sound guys are learning somewhere to put all channels at unity and mix all night via the Gain knobs, I don't get it... It seems to be a wide trend lately. "The bottom line is that if it give peace of mind to all sound techs, use the splitters." Totally agree and I think that is what I'll setup during band practice tonight and will try to make everyone happy tonight with their in-ear mix. I look forward to your response on the best way to give EQ, FX to all, I think I'm forced to use a shared FX across someone bus which will be OK if I use FX1 for a plate reverb just for snare/BD, FX2 for a Hall Reverb for Vocals, FX3 Delay for vocals, and only give FX1 & FX2 to buses that want FX in them but still looking forward to hear your thoughts. We use all our own Mics every gig so once we dial it in and save it as a scene this should keep the IEM mix 95% there for most shows.

DannyKurywchak · ‎2019-08-07

"Please understand that the actual physical preamps are integrated with the XLR jacks of the console and stageboxes." I did not know that and it now makes perfect sense why to two consoles can't control the one digital stagebox, thanks for this clarification. "But if a proper sound check is done where the "real gain" is determined (not "check 1, 2" and expect it to be right when the vocal is screaming into the mic during the show), then there should be no need for gain (or phantom) re-adjustment." Amen! We always get to the gig early enough for a full soundcheck and 98% of our shows we are the only band for the evening. Our amazing sound guy moved away which greatly understood your description above on running sound. However, for some reason the young sound guys are learning somewhere to put all channels at unity and mix all night via the Gain knobs, I don't get it... It seems to be a wide trend lately. "The bottom line is that if it give peace of mind to all sound techs, use the splitters." Totally agree and I think that is what I'll setup during band practice tonight and will try to make everyone happy tonight with their in-ear mix. I look forward to your response on the best way to give EQ, FX to all, I think I'm forced to use a shared FX across someone bus which will be OK if I use FX1 for a plate reverb just for snare/BD, FX2 for a Hall Reverb for Vocals, FX3 Delay for vocals, and only give FX1 & FX2 to buses that want FX in them but still looking forward to hear your thoughts. We use all our own Mics every gig so once we dial it in and save it as a scene this should keep the IEM mix 95% there for most shows.

DannyKurywchak · ‎2019-08-07

Thanks so much for all the valuable information Paul, I do enjoy reading your comments to others and really appreciate your experience and advice! I would love your advice on this next statement. It appears to me in this setup that either the FOH guy or Monitor guy ( in this case my band members wirelessly controlling their own mix) is going to get frustrated because of only one controlling the Gains/phantoms. It seems like pulling out my new 32 channel split snake that has two 15' breakouts is the easiest as we might do that with other venues that refuse to use our board for FOH. Would you agree? The question now is: When using our M32C/DL32 as an independant Monitor mixer with the split snake, I would like to set each individual channel for each musician's liking (EQ,FX, etc.). To clarify, I mean that the drummer will get to select how he likes all his drum channels and everyone else gets his preference, etc. Is there an easy way in routing or other method to pass all EQ,FX, etc from each individual channel to their Bus Output of the DL32 which goes to their IEM's? I know I can use Send On Faders to turn FX on for each person's bus but was hoping to just use what's going to their channel instead. Any other advice to give each musician the best sound experience in their ears would be much appreciated.

DannyKurywchak · ‎2019-08-07

Thank you for the clarification Paul. A couple quick follow-up questions in you don't mind; 1. So all instruments plug into the DL32 and if we need more than 32 channels I would continue with Channel 1 of the X32Rack which would be channel 33 now, giving us a total of 48 channels? 2. All of our IEMS would go into the DL32 Aux sends and if more aux sends are ever needed would we use Aux 1 of the X32 Rack which would now be 17? 3. Does this give us full independent control between FOH and IEM Mixer? Acting just like using a analog Split snake? any issues to be aware of? 4. I noticed in the routing instructions there's no mention of routing beyond 48 channels but with DL32, X32Rack and S16 thats a total of 64 inputs. Is this a limitation or is it because you mention the S16 as Mode 3 (which I need to look up what that is ) If so, what would the S16 be used for? Thanks again for the quick response!

DannyKurywchak · ‎2019-08-06

Dave, you would be my hero if you can assist me in cofiguring it correctly! Here's how I have everything setup now. AES50-A of the M32C going to the AES50-A on my DL32, AES50 B on the DL32 going to AES50 A of the X32 Rack, AES50 B of X32 Rack going to AES50 A of the S16. What needs to change to not allow FOH to control gains on the X32 going forward? Thanks for your quick response and I really look forward to your next reply!

DannyKurywchak · ‎2019-08-06

I have a Midas M32C & DL32 that we always use with all our IEMs (in Stereo) connected to the AUX sends (4 wireless and our drummer is wired). We have it setup with great mixes until we get a new sound guy that continually plays with gains changing our IEMS all night long. I decided we had enough and tried tonight to connect our M32C/DL32 to act as FOH and use our DL32 AES50 B to connect to a X32 rack system. I was able to get it all connected and working however, when testing it during band practice tonight the same issues prior appear that they will still be a problem as the AES50 doesn't allow a complete independant connection between the FOH and IEM Mixer in this case. They both share the gains of FOH which will be a problem again with a sound guy that likes to continually change gains. Am I doing something wrong? if not, why would anyone recommend AES50 split between FOH and IEM mixers? My goal is to give my band complete flexibility of EQing each channel to their liking within their IEMS. Right now by using just the M32C/DL32 after FOH is set we can change EQ of just their stereo Bus sends to assist but that's it. I did purchase a 32 channel split snake this week and haven't tried it yet as I wanted to try the easier solution with AES50 split first. If everyone agrees that we can never get true independant mixes this way for our IEMs that won't be affected by FOH, is my only solution to use an Anolog split snake? And if so, what is the best way to give each musician what they want in their IEMs? I'm willing to work with each musician until the EQ, FX, etc. is to their liking, I know if the drummer likes his kit mixed a specific way in his IEMs everyone gets what he prefers but seems to be the most fair as each gets to choose their own mix of their instrument, correct? I would appreciate any pointers on this topic ASAP as I need a solution by this Friday so we can start and end with the same great mix in our IEMS regardless of what FOH does. Thanks in advance, Danny K

DannyKurywchak · ‎2019-07-28

Thanks for the info Paul & Dave. For my band we use 24 channels of the DL32, sounds like it might be easier to purchases a 24 or 32 channel split snake with breakout xlr cables attached? If so, do you have one in mind that you can recommnend? Thanks for any follow-up advice. Danny

DannyKurywchak · ‎2019-07-26

Hello, I own a DL32 and a M32C. I love my setup but need a split snake for our IEM setup for analog FOH systems. I was thinking about purchasing another DL32 or another device that i could connect via the second AES50 port to act as a split snake. Any thoughts on how this could work for Anolog FOH systems or digital systems that don't have a AES50 port? Thanks for any info, Danny K

DannyKurywchak · ‎2019-01-09

Thank you Patrick for the info on X32Xlive_Wav utility, what a God send! I have a follow-up question. Once you export the wav files with the utility or import into a DAW like Studio One 4 and expand out all tracks. What is the best method to return the mix into a 32 channel single .wav file? I'm currently using an M32C with a DL32 and channels 1-24 for the live band and would like to use 25-32 for playback tracks and have totally figured it out and it works great if I playback the tracks without editing them. However, after exporting, editing tracks and trying to use them again has returned nothing but digital noise on playback. Any info would be appreciated.

DannyKurywchak · ‎2019-01-09

I bought Mixing Station and Yes well worth it! Thanks,

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