Building My X32 Band Console File From Scratch
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- Опубліковано 9 лип 2024
- ►► Get this template found in my audio toolkit:
www.producedbymkc.com/audioto...
00:00 - Intro
00:52 - Buses, Matrices, FX Routing, Output Routing
06:46 - Input Labeling and Processing
14:54 - Insert FX, Drum Processing, Vocal Processing
18:47 - Time Based FX
My band organically chose the same colors several years ago - our singer picked blue, our drummer picked red, guitarist picked green and I (bass) went with yellow. So our mic cables and stands and such are all color coordinated with this exact system. What a beautiful coincidence.
That's so cool! Sticking with trusted, thoughtful systems always makes everyone's life easier.
Great to see how you do your setup. As I do a lot of multi-band events, I tend to use what I call my Festival File; I'm lucky to get a rider at all, and on the rare occasions I do get one, they're often out-dated. As you say, it's about being speedy, but accurate. I put my file together on the basis of what I see most often, to the point where I can cover most scenario's with minimal changes.
Mr. Curtis, your videos are always so well done. Thank you for taking the time to make these videos.
You're very welcome : )
You're the best thing I've come across on youtube since Dave Rat! This is great stuff!
Aw shucks : )
@@MichaelCurtisAudio haha😆 Seriuosly. This is upping my game. Thanks so much man!
Mr. Michael Curtis ..real am getting a lot of knowledge of which sometime in our areas its difficult God Bless you. Thank you for taking the time to make these videos.
You're very welcome! So glad they've been helpful to you.
Thanks for doing these videos, MC! I love seeing how other folks I trust set up their console. I just purchased and went through your PA setup workshop. Great stuff!
I’ve been mixing on an X32 for 10+ years as the tech director for my church. This past year I used a feature on the X32/M32 I never thought I’d use or need.. the Automix feature. I absolutely LOVE IT! It’s definitely a purpose feature.. don’t need it unless you have a specific use.. that use is more than 1 person speaking on stage. For instance, if our pastor has a guest or a small group of folks he’s interviewing or chatting with from the platform, then it’s INVALUABLE!
It’s caused me to change the channel setup on my X32. The automix is only available for the first 8 channels.. so now, all of my handheld, lav, and headset mics (non-band mics) live on channels 1-8. I’ve turned on automix for these channels and just leave it on! If there is only one of these “Mc” mics on, automix doesn’t do anything.. but as soon as I turn on a second, third, fourth mic.. it automatically participates in automix.
For a feature I thought I didn’t need, I’ve got to say, I never want to be without it! If you have two or more speakers on stage, it makes the house mix and especially the recording sound infinitely better.
What got me to try it, was a video on Dugan automix in general that showed with metering with a constant audio signal on each channel. As you turn each channel ON without being in automix, it adds 3db of output level to the master bus. When the channels are in automix, they share the same 3db of overall level to the master bus. For instance, if you have 4 mics on without automix, you’re sending +12 db overall to your master bus.. with automix enabled on the same 4 mics, you’re just sending 3db to your master bus! It’s magic!
It’s so good, it literally got me to change my channel layout going forward.
Isn't the Dugan (automixer) an incredible tool? Glad you've been able to put it to use in your services!
6:15 Oddly enough, I did once have edge case where stage monitors had to be delayed. It was a pretty whacky gig. Stage in the middle. Audience in the round and the PA was a quad system around the whole room pointing inward. Musicians onstage were having a hard time with clarity on their stage monitors. All cleaned up when we delayed the foldbacks to the system and they were much happier. The one and only time I've ever delayed mons.
Way to think on your feet and make it happen!
Love the delay into plate idea. As a guitar player I can totally dig that! Going to have to try it next show I’m on an X32
Give it a try and let me know how you dig it.
I realize this is a year old but still finding it helpful! Question Michael on adding reverb to kick. I agree; I've heard some pretty strange live recordings with dry kick and everything else swimming in reverb. By that reasoning, wouldn't bass need it also? In a live recording, how do ambience mics factor into this decision for you (since they are capturing real reverb)? Final (aesthetic) question, how does the size of the room factor into your FX decisions? Do you think audiences accept hearing massive reverb in a smaller venue? Do you accept that?
Great video, thanks for sharing your thoughts and workflow with us for this scenario! Really encouraging to see a lot of similarities when I'm setting up my showfile!
So many great side notes - get the PA set up first because patching the band as they're walking in is more forgiving is such a good reminder.
One thing I do is put my mains on Out 13-16 and leave the frontend for 1-1 patching of my monitor sends. Really comes in handy to quickly communicate with a stagehand or a band member that monitors 1-8 are Outputs 1-8.
Thanks a ton, Matthew! Great tip you have on leaving the monitor outs 1:1. Do you run your monitor outs in numerical order from FOH perspective or stage perspective?
From FOH perspective.
In my showfile, Out 1-8 is reserved for Bus/mon 1-8, Out 9-12 are empty extras for things like Livestream from Matrix 5+6, and Out 13-16 is reserved for mains from Matrix 1-4 for L/R/C/M.
Not perfect but helps me remember and communicate that all monitors are also 1:1 numerical on the stagebox and mains are always at the end in L/R/C/M order ✌
@@matthewcselby I love that. Having repeatable systems really helps speed setup up and simplify troubleshooting.
Do you happen to have an extension of this video showing how you then use stage boxes such as the SD16 etc?
Thanks
Check out Drew Brashler's youtube channel.
Thanks again Michael!
You're very welcome, Roger! Thanks for tuning in as always.
Very insightful....👍
thanx for another well made video - I'll use this to help teach my intern, im suer she will appreciate your work too
You're very welcome!
People sleep on the Lexicon style reverb effects and I don't understand why. Glad to see you use them, I think they sound way better than the other options.
They really do sound great!
Even your videos sound good. Could even hear the kid crying in the background. Thanks for this one. Really usefull. :) +10
Thanks, man! Yes, sometimes my kids get a little crazy while I'm filming. You're very welcome.
Dude the delay trick is really cool I tried it with my TC electronic external FX and the one of the x32 is sounds really cool.
Thanks a ton! Yes, it really helps add texture to things. Glad you got good results from it.
@@MichaelCurtisAudio Do you Un-Assign the Long Delay from the LR when you do this or leave it assigned? I usually un-assign the delay from the LR because it gets rid of that hard first repeat of the delay, which can sound like a bad karaoke mix... It's been awhile but I will play around with it assigned and un-assigned again. Just curious on your thoughts... thanks!
Great video!😊👍
Do you ever use sub groups in your mixes?
Catching up on your older videos and just watched this one. Great content especially the case to get the outputs up first. Question about your fx setup. If you were setting up for a bigger band that had more instruments like keys and horns. Would you dedicate a reverb to the horns or other instruments and keep vocals in their own? Other words, what is your fx strategy with larger acts?
Great question! Yes, if it was larger act I'd probably roll with just one vocal delay and flip the other FX slot to a verb for the keys and horns.
is it possible to use LA-2A and De-esser simultaneously on a vocal channel?
are there any good efficient keyboard shortcuts that are crucial to learn on m32 edit?
Thank you for the X32 Tutorial. I would Like to see you do the same with the "WING". Cheers!
That would be fun! I haven't had a ton of flight time on the WING, but I can get a hold of one in the future.
the SCN files you have on your site, can they be used on mixing station software?
I always have a graphi eq on the monitors and the main PA, but as you mentioned that you never used them i had a hard time thinking when i really used them the last time...
I'll kick them out...bye geq, hello fancy compressors :D
Hey Michael love the education you provide, and I have a question- How are you managing feedback for stage monitors when you leave no room for graphical eq's and you mention you don't even use them. are you just using the parametric EQ given on each Aux Bus for that? thank you in advance.
If need to do any ringing out of monitors I use the parametric EQ on the bus/aux.
Verb into a verb... something worth a try. Maybe do a video on why you never use GEQ or dual ISO GEQ.
It was the long delay into a verb. CLA has talked about how he does this too
Yup! His (somewhat) new plugin CLA Epic with Waves makes this routing scheme even easier to implement. That technique has been a huge part of his sound for a long time.
This is awesome! Do you think you could do the same video but for the XR/MR 18 and how you would portion in/out etc.?
I honestly don't use the XR/MR 18 much, but all of the same concepts transfer here!
@@MichaelCurtisAudio Which FX would you use on the XR/MR scene since you only get 4 instead of 8 and where would you assign them? Also, how did you assign multiple DCAs to a singular channel? I was trying to figure it out and it kept replacing the DCA I already assigned it to instead of adding another DCA.
@@JackOwensMusic Great questions. I would keep all my time based FX (two verbs, two delays) then shift everything else what was using a rack based compressor to their channel strip counterparts. I feel like having the flexibility with creating space with time based FX is better than having a better sounding compressor on the drum mics or vocals.
I'm not sure how to stack DCA's on the XR/MR : (
Interesting. Just curious why you don’t run your instruments into sub group busses? I suppose with just one guitar and one bass it’s not really necessary for those but what about a drum bus with some light compression for glue and also to control the unit as a whole for going into your mains? Or is that for a more advanced set up vs this being a quick on the fly set up?
Hey, Brady. You're totally right that if I was working with a bigger band and had "more time" in this scenario I would subgroup things out, but like you intuited this was more of a "it's 30 minutes until the band shows up, let's get this thing built".
@@MichaelCurtisAudio gotcha! Makes total sense to me now.
@@MichaelCurtisAudio Thanks for the positive reminder that sometimes, it's ok to "just" mix from inputs 😉
@@matthewcselby You got it! Every time I find myself trying to get too fancy or esoteric in a live setting I usually get reminded that simplicity and speed are often rewarded most in event production. Keeping things simple helps me solve problems faster, makes an easier and more repeatable "mental map" to follow when troubleshooting and mixing.
Mr. Curtis, How can I apply the Dual Leisure compressor if I have more than two vocals since the X32 only has four FX insert channels?
With each Dual Leisure compressor instance you have two channels for use as an insert. So, one instance of the compressor will cover two vocals. In your case you would have to sacrifice another FX slot to get another instance of the compressor.
@@MichaelCurtisAudio Thanks for your reply, Is possible I can use a MixBus and apply the compressor to all the vocals
@@Studio279Productions Yes you can, but it would be trigging off of all vocalists. So if you're doing an IEM mix, that vocal send back to the performer would not have the compression.
can you go into more detail on why mono destinations are -6db and not at unity?
Sure thing. When you sum together to correlated sources they double. 1 + 1 = 2, which is the same thing as a +6dB addition in SPL. I want to keep gain structure consistent, so I send them at -6dB so when those sources add together they come out at unity.
How often do you use an X32/M32 for gigs and would you consider them professional grade?
It honestly depends on the client, the production company who is hiring me, and show scope. The local company that hires me the most currently has a fleet of M32's, but will be moving to something else in the near future. The three consoles I've had the most flight time on are the Yamaha CL5, Behringer X32/M32, and the A&H dLive.
They are professional grade in the sense that they have most of the features you'd want from a digital desk and sound decent. Built quality is "ok", but not phenomenal. The M32 definitely feels nicer than the X32. The sound quality difference is neglible.
After literally hundreds of shows with them I've never had a X32 or M32 crash on me, so that's a big plus. I think they've also got the best iPad control app out there, by far. MILES ahead of Yamaha or A&H in that regard.
For me personally, professional grade means that the piece of gear can do what it claims to do, is reliable, and has most of the modern features one could expect from an audio console. I've mixed shows for Jewel, David Ramirez, Penny & Sparrow, American Idol finalists, Fortune 500 CEOs, and Presidential candidates all on an X32 or M32.
@@MichaelCurtisAudio Love this. Very interested to hear what your local production company switches to.
The trusty x/m32 sets a high bar for price/results.
Groups that have come through my area running dLive have me drooling over how custom that system can be.
@@matthewcselby A&H really has stepped up their game with the dLive series! It's definitely on this local production company's radar. Either that or a Yamaha PM series. We'll see : )
How do i get x32 edit software
slow attack on the Ultimo is 1? and fast is 7? I am so confused...
Yes, i just looked it up. Thanks for going into these things.
You got it. Yes, for whatever reason the designer put the knobs backwards!
Link isn’t working for me. I’ll try from work
It still giving you trouble?
No drum buses?
If I didn't have to also mix monitors from FOH and eat up buses, then yes a drum bus would be nice.
Vocals, with a massive cut on the low midi? Sounds like you need a different mic.
That EQ move is mainly to help counteract the proximity effect, which would show up in (almost) any vocal. I'm using a SM58 90% of shows.
I also do it in handheld mics specially in conferece Q&A. Most of the times at 400 Hz and at maximum 600 Hz low cut shelving.
Hmmm...
Linking channels on X32/M32 is simply wrong...❌
It sounds bad... Avoid doing this.
Simply wrong? Then why is channel linking a standard feature on every modern digital console?
You can of course do as you wish, but I don’t think it negatively changes how things sound.