X32 Family

[Shez]

You do indeed get to send 16 signals to the P16s but those signals have to be either direct channels or mix buses - it's not 16 signals on top of what you're already limited to. It's still a lot of flexibility but if you've got a lot of input channels and need to use a lot of mix buses for, say, effects sends and spot effects speakers then it could be a little tricky to get 16 useful signals to the P16s. I suspect it would be a pretty complex show that couldn't plan around that but then if the show is that demanding, this probably isn't the right desk for it.

[S&L]

You do indeed get to send 16 signals to the P16s but those signals have to be either direct channels or mix buses - it's not 16 signals on top of what you're already limited to. It's still a lot of flexibility but if you've got a lot of input channels and need to use a lot of mix buses for, say, effects sends and spot effects speakers then it could be a little tricky to get 16 useful signals to the P16s. I suspect it would be a pretty complex show that couldn't plan around that but then if the show is that demanding, this probably isn't the right desk for it.

 

I know when you link two x32's together the raw data can be retrieved by one from the other and then processed from scratch i.e. it's not sent on mix buses but on the data system - I had assumed that the same was true for the P16's with the caveat that you could only have 16 of the available input signals selected at any one time. I'm even more confused as to what the ultranet and aes50 are (or are not) capable of.

your reply prompted me to look at the routing options

it would appear possible on the screen (and remote app) to route separately to the P16 and main outputs - i.e. you can assign mix buses or whatever to any of the outputs and assign either a mix bus to a P channel or a direct out from a channel to a P channel, either pre or post eq, and pre or post fader.

so that while you could send all the theatre vocals to a mix bus \(which you may do anyway) you could pick up a number of other pieces of data untreated and mix at the monitor end using a P16 for each monitor separately without affecting the majority out mix bus outs. Are you saying this isn't so? or am I STILL misunderstanding.

sorry to bang on but being new to digital and to the behringer networking possibilities, (which is one of the only systems realistically with in my grasp for learning on and purchase of) I'm trying to understand the possibilities and limitations.

 

 

 

 

[Shez]

AES50 is a standard protocol that can carry up to 64 channels over ethernet cables. Ultranet is Behringer's own protocol that can carry up to 16 channels plus power over ethernet cables.

 

I'm not entirely sure where your confusion lies so I don't know what avenue to go down to try to explain further. You can select up to 16 channels / mix buses to send out to Ultranet and each P16 can create whatever mix it wants out of those 16 signals. Each P16 receives the same 16 signals. If all of your desk mix buses are already tied up with mixes for delays, front fills, surround speakers etc, then you'll only be able to send direct outs from channels to the P16s - you don't get extra mix buses dedicated to generating mixes for the Ultranet.

[pisquee]

You could use one of the core rackmount units for setting up the mixes as required for the P16 systems (in a set and forget role) - have it racked up with the P16-D disto unit. This would give you a complete new set of output buses to be able to feed your P16s in the way needed.

[MarkPAman]

You could use one of the core rackmount units for setting up the mixes as required for the P16 systems (in a set and forget role)

Only if there's no need to mute mics that are offstage. So that may work with a band, but probably not for theatre.

[Shez]

Only if there's no need to mute mics that are offstage. So that may work with a band, but probably not for theatre.

In which case you could possibly send a post-fade mix of mics (if such a mix bus is available) from FoH desk back to the Core and use that as one of the P16 mixes. Routing is starting to get complicated but that should be manageable.

[chelgrian]

Only if there's no need to mute mics that are offstage. So that may work with a band, but probably not for theatre.

 

If it was a pre-programmed show you could put the same scenes in to both desks and have the core follow the main desk via MIDI. However it doesn't help you if you are mixing on the faders or the mute buttons. From reading the X32 manual I don't think there is any way to get one desk to follow another one. It looks like all the remote control is based on OSC to doing something like this looks like it could be done in a firmware upgrade if they thought that kind of functionality was useful.

[pisquee]

Yeah, route a lead vox mix and a BGV mix from the FOH desk back to the core rack, and then the band have them on 2 channels to use (or not use) same could go for any SFX fired from FOH desk.

[S&L]

reading through these latest posts has done two things for me:

1. it generally re-enforces what I have been saying to musicians - if you think band sound requirements are complex then try working on a theatre show... those cat's are proper engineers.

2. theatre shows appear to run a lot more sends and mix buses than your average 10 piece band

3. it would be possible to run a simple theatre show with an x32 and possible to patch through things as a work around - possible but perhaps not preferable unless budget is an issue.

I was also pondering the p16 scenario while driving round this afternoon and pondering on giving the wisdom of giving the talent the ability to alter individual levels in an open speaker monitor (as distinct from in ears).

 

I'm learning. slowly. It would be great to see a real life list of an actual show that used more than the 16 mix buses and 16 sends if any one fancies posting a link to one.

[TimmyP1955]

Unless you need to process your "stereo groups", there's no reason to use buses at all, just use the DCAs.

 

Unless these things prove to be unreliable, I can't see recommending a Presonus in lieu of an X32, the exception being that I know that the operator(s) will just get themselves in trouble with the extra capabilities of the X32.

[MarkPAman]

From SOS forums: another announcement from Mr Behringer...

 

What Apps Are Available for the X32?

 

We encourage you to check out our XiControl iPad App, so you will hopefully agree that it is the most comprehesive mixer App available to date, as it allows remote control of every aspect of the X32 product family.

 

Additionally we have also published a very cool iPhone Monitor App for in-ear or personal monitoring.

 

Furthermore we have now all editors available for PC, Mac and even Linux.

 

Of course all those Apps are free of charge. I like to take the opportunity to give credit to our world-class Midas team in Manchester who has developed those fantastic Apps in record time.

 

 

 

Allow me to copy a post I had recently published on soundforums.net as we are in the process to gather input for a major software upgrade that is planned to be released for later this year.

 

We Like to Have Your Feedback for the Upcoming 2.0 Upgrade

 

Today I am reaching out to you as we are in the process of defining the specifications for the new 2.0 software upgrade that we plan to roll out later this year. We would like to get your feedback to understand what features you like to see in the new upgrade.

 

Aside from a dedicated and assignable Smaart-like analyzer, we are planning the inclusion of high-end FX “plug-ins” based on physical modeling of classic audio hardware. Our algorithm development engineers are essentially “rebuilding” classics from Neve, SSL, Urei, Pultec and others into effects that will be included on the X32.

 

Well-known and loved gear such as the LA-2A compressor, classic reverbs and even a multi-band compressor are on our list. The FX "Plug Ins" alone represent a value worth several thousands of dollars if you would buy the actual hardware.

 

We are also working on some pretty amazing pitch shifting and pitch correction tools for the X32. Imagine pitch correction on every console and the power of what that will allow you to do in a live or recording environment. The best part is that these effects will be made available as part of our firmware updates and hence will be free of charge to all X32 owners!

 

Please leave comments <snip> on our forum where we have a dedicated topic. (www.behringer.com/forum)

 

As mentioned earlier, the X32 is a living platform for constant expansion and improvement. The 2.0 Upgrade however will take the X32 Series to a complete new level and provide you again with unprecedented value.

 

Last but not least we are very proud that among the many accolades, we were just awarded the coveted Reader’s Choice Award by ProSoundWeb.com, recognized as a finalist for a TEC Award and even received the “Best in Show” Award from Pro Sound News and Pro Audio Review for the new X32 Series. At times we won against competitors' products costing more than 20 times the price of the X32.

 

Warm regards

 

Uli

 

--------------------

CEO, MUSIC Group

Midas, Klark Teknik, Turbosound, Behringer, Bugera

[Dave SA]

Wowzers.

[Wilflet]

From SOS forums: another announcement from Mr Behringer...

 

 

 

Aside from a dedicated and assignable Smaart-like analyzer,

 

If its actually like smaart thats ridiculous. single user for current version is just shy of $900, and you need a decent soundcard... some of the smaller ones start seeming like everything else the desk does is a (nearly) free bonus.

[S&L]

As posted on one of the other threads yesterday, I spent Sunday afternoon in a tech rehearsal as dep engineer on the x32, with the x32's owner monitor mixing simultaniously (and moving faders under my fingers to prove a point) via wireless laptop and router, while the guitarist altered his personal in ear mix with the iphone app - the whole thing was quite surreal!

 

I work my first show with the band concerned and the x32 on Saturday

[cedd]

A Smaart-like analyser in a 1u rack mount console...... That might be an interesting little tool for some people!

 

I'm starting to see the rack mount units far more as a dsp engine than a console. Speaker management, room analysis, seem like quite useful boxes to me! I think they've missed a trick in not including even just one or 2 mic inputs on the 1u version though. Guess any analogue I/o will have to be via the expander cards they mention if you want to do any of the things I suggest. Still, even in the 3u version it's pretty smart.