It should work like the X32 which will do that, no problem. I think with Apple it's as simple as connecting it, but there are USB drivers on the Behringer Wing page that I'm sure you'll need for a Windows PC.

Thanks! Here are some links to some other channel videos you might want to check out- Vocal EQ Tips: kzbin.info/www/bejne/pYGXpJemoNCBnrs Kick Drum EQ: kzbin.info/www/bejne/eYLKYpJjj69ng7c Snare Drum EQ Tips: Tom EQ: kzbin.info/www/bejne/pISve6Skoa-YbJI Bass Guitar EQ: kzbin.info/www/bejne/fH_EaJSsmLqIia8 Guitar Mic'ing Tips: kzbin.info/www/bejne/fXO3qnmurbOBeKc

Sure thing. They sound really good either way.

I don't have an X-Touch so it's not something I can test or talk about with actual experience. :(

IIRC I was recording to Reaper and then synched it all back up to the video in post.

You're thinking correctly and are not far off in your conclusion. Most of the time-based FX in the M32/X32/X-Air platform doesn't give you a mix control. So, like you said "all or nothing". Further, you're limited in what FX you can put in FX5-8 rack slots. No reverbs IIRC. You CAN do inserts in FX1-4. I have a video showing how to do it. kzbin.info/www/bejne/qnmagp2Ci7N5oqs So, with that said... take a look at some of the dual FX plugins like Delay + Chamber. I'm pretty sure those (at least some of them) do allow you to insert them because they do have a balance/mix control, and I know the Delay + Chamber also has a balance control for delay vs chamber (so you could shut the delay off by adjusting full Chamber). That might be a viable option... to a point. I also have this video talking about the XR18 and reverbs/monitors... but the concepts all transfer over to the X/M32 as well. kzbin.info/www/bejne/ioeYdJ9-lLKKqLc Whether it has an answer for you might be debatable, but it might help you confirm some things. It sounds like you might have some buses free. One thing I've never tried, and honestly I assume wouldn't work, but wouldn't hurt to experiment with is seeing what happens if you feed a reverb with two separate bus sends. IOW, make FX4 slot fed from Bus 7 and Bus 8. My assumption is the verb is combining inputs (at some point within the effect) and 'stereoizing' the signal to come out both FX return channels anyway. But I've not tried it to confirm that. It's 'possible' it doesn't work that way and if you send it two separate inputs, it'll spit out 2 separate (but same type) reverberated signals. Which would certainly add to your options. Like I said, I doubt it works this way, but I've not tried and not seen anyone mention it. Just spitballing an idea here. ;) Also, not necessarily ideal, but if you do have buses free you can use external verbs just like you would've with an analog console. Use the aux outs routed as bus sends into your outboard FX and return to channels or aux inputs. Then just treat as you would the regular FX returns. Or I assume you can get tricky in the routing and set these up as inserts. Of course, being outboard, and inserted, the musicians wouldn't have app control over them like they would with an outboard FX set up as send and return.

@@AlanHamiltonAudio I'll try more tomorrow, my brain is cooked, LOL In the meantime, using the M32C and Edit, I followed step by step your "inserts" vid. It doesn't translate exactly, some things are different in Edit, but close. It doesn't seem to do anything, whether pre or post. Do I need to assign it to a return or send bus too? Maybe I'm just tired. I'll get on it this weekend. Thank you very much!

For testing, make sure nothing is connected into the mixer except a mic at channel 1. Eliminate any wildcards in the process like that. If you speak into the mic, on the CHANNEL meters you should ONLY see signal on channel 1. Ignore the output meters for now. If you see signal coming up on other channel meters, nothing plugged into the console except a mic in channel 1... that is a problem. In that case, I'd do a console reset (reinitialize console from the SETUP screen). You can save your existing scene first in case you have things you want to get back to later. The reset should get rid of any accidental routing issues that might be plaguing you from a forgotten setup change. If you still see signal on any other channels (channel inputs) then that seems like a hardware problem. Especially if there's nothing connected except a mic into channel 1. No other DI's, mics, or even cables. You should only see signal on the input of channel 1. If that's not an issue... If right now, or after the reset, you only have channel input meters on channel 1 with your mic... Then my next guess is you have assigned one or more bus outputs to feed L-R. For example, you wanted buses 1-4 to be monitor sends, and bus 5 to be stream feed, and bus 6 to be a sub feed. If you go to the bus output section of those buses and look at the settings for one or more of those, it's likely you have one or more with L-R enabled. So not only are you sending them where you want (monitors and other feeds) but ALSO to FOH. How this manifests itself can be a little different depending on whether the offending bus master is fed from the channel(s). Post fader or prefader channel sends. If it's a pre fader channel send then lowering the channel fader will still have that channel coming out of the house via the monitor (or whatever that feed is) bus output. And if it's a post fader channel send that is feeding that bus master that is also assigned to the house, then it WILL go down in the house with the house fader. But it's still being fed to multiple output paths. But also in all of this, if your XLR 'outputs' are pre-fader, they're always going to be 'live' whatever whatever they're sent to (intentional feeds or not) because that output routing selection REMOVED the bus master fader from the chosen output. There's some confusion with this point because people tend to know they want pre-fader monitor sends... BUT... that is pre-fader CHANNEL monitor sends. Pre-fader on the sends on the channels themselves. In the output section, that is simply a setting for whether with XLR output has a master fader or not for that overall send. If the XLR output is PRE-fade... then the monitor OUTPUT is BEFORE the master fader on that output. This can lead to some issues with things not muting or turning up/down when you think they should. Plus can mean no bus EQ since it could be inserted AFTER the output in the signal chain.

Also... using the FX rack wrong as far as inserting FX vs Send/Return can also lead to routing problems and things being on when you think they shouldn't be. FYI... The X32 is set by default to work how most people will want it for a live gig. Maybe not their own personal ideal and optimized way, but a lot closer than some people think. So they make some configuration changes they didn't need to make. Like the FX are already applied correctly, but maybe you don't want the default chorus or whatever. If you simply change that to a reverb or delay, it's still ready to go. But if you change it to a compressor, THAT should be inserted, not in that default send/return FX slot setting. By default the first 8 buses (on the full X32) are set up to be monitors. The next 4 are set up to be things like fills... or other post fader needs. And the last 4 are FX sends. Outputs 15 and 16 are the main L-R outs by default I believe. On the X32 rack I believe outs 7-8 are the main L-R outputs. I'm sure buses 13-16 remain FX Sends. I'm not sure if they then allocate outs 1-6 ALL as monitor sends or not. I ASSUME so, but I don't have any way to check that. If you reinitialize the X32 Rack and select any channel... go to the SEND page and you can tell because any of them that are "POST EQ" sends on a channel are set to be monitor sends (POST EQ 'is' a point Pre-Fader in the signal chain). And then in routing you should see them routed 1 to 1 up to bus 6 (6 to output 6)... with 7 and 8 routed to L-R.

Many thanks for taking the time and trouble to provide your very full and informative response, though sadly it has not resolved the problem. I did all as you suggested. There was only a signal on channel one, but I did reinitialise the console anyway. None of the BUS outputs are L-R enabled and all the XLR outputs are post fader. In SENDS 1 and 2 are pre fade, 3-8 are post EQ and 9-16 are post fade. Yes, on routing 7 and 8 are L-R.

@@ianthegig4099 If you want to send me a copy of your scene I can take a look at it and see if I notice anything wrong/odd.

@@AlanHamiltonAudio I have saved a .SCN file - how do I send it to you please?

"Basic" in this case means "typical". IOW, how to set up typical routing scenarios needed for normal gigging. It's designed for people who maybe know what they want to do, maybe have had experience on a previous console without all of these options, but are lost in the weeds of all of the options and what means what as far as the signal chain in an X32. The information for that is in the video. It can be paused, rewound, and replayed if a section is not clicking. It doesn't hurt to have X-Edit open to follow along, if not have the console on itself. YT doesn't like/reward (promote) videos that are slow and plodding, and repeat information. Viewers typically have a question they want answered and look for videos that get to the point and answer the question. Maybe picking up additional tips along the way. The comment section is where more detailed answers can be given for specific questions for something not understood in the video.

It's so you can set your monitor mixes, ideally using the same mics and DIs (and musicians) at a rehearsal (or tweaked at a gig or two) for then all your gigs, and have your monitor mix baseline saved and pretty much dialed in the moment you turn on the mixer. The monitor mixer would ONLY handle monitors. The splitter would then feed a separate FOH console. If you're touring, you might not even be carrying FOH PA, or a FOH engineer, and even if you are, the different rooms and room configurations will mean the FOH mix will need several tweaks whereas the monitor mixes will stay much closer to the baseline. The stage sound itself, considering everything is close-mic'ed and DI'ed, will not change much. Especially when the musicians are using IEMs. That takes a lot of the venue/room sound out of the equation. You're dialed into those close mic'ed instruments and voices, and not really getting a lot of room sound in your mix. Now, true, there will be SOME ambient sound by nature of open vocal mics and such, but that won't be nearly the same with IEMs as hearing wedges on a live stage with all the reflections, stage bleed, natural echo, room noise, etc. also reaching your ears. Meanwhile, that is all a HUGE issue for the FOH mix and is why that mix can vary greatly, even from a baseline mix. And especially if both the venue AND the rig is changing multiple dates of a tour and gig schedule. Plus... Anything you do on the monitor console, at least with an analog split, will not change one thing at FOH. And vice versa. Gains are totally independent, as is everything else too. With a digital split, gains would be shared. So the splitter itself isn't for the monitor console per se', it's for the FOH console. But it's something the touring band wants to have so that their stage mix package is self-contained. They just have to hand the tails from the splitter to FOH and both entities can be in their own 'worlds' as far as line checks and soundchecks. Plus, the band can be ready for even a throw and go just based on a line check and instantly at least have the monitor baseline working for them while FOH pulls the mix together for the audience. Otherwise, they could be starting with a monitor mix that is far from ideal if it had to start from scratch or rely on FOH to pull together, all while also trying to pull FOH together. I realize a throw and go isn't ideal, and that's not the main reason to have a self-contained monitor/IEM package, but it's one situation that happens... Just being able to have your monitor baseline from the start of soundcheck makes things go SO much smoother for everyone. And just that much quicker to get back to the room or to catering! :)

@AlanHamiltonAudio thanks for the clarity! I'm subscribing to your channel! I like your content and attention to detail!

@@Tarheelheat Thanks!

Usually that's either a USB cable problem... Try using a different cable and computer port too for that matter. Make sure the cable is not longer than spec (IIRC 15' is the maximum length for USB 2.0 spec (check me on that but if anything it's probably shorter, not longer than that). ...or it's a driver problem. Make sure you installed the most recent driver, rebooted, reconnected the USB, have the most recent FW in your X-Air too as well. And if that still doesn't do it, try loading an older driver (assuming you're on Windows and need drivers... Apple doesn't need drivers). Install the older driver, reboot and reconnect and see if that makes it work.

You're making a mistake in what you're saying as you're conflating two different parts of the signal chain. The video is talking about outputs. In simplest terms, you want the monitor OUTPUT to have a master fader for that mix (normally). What you're asking about is normal for CHANNEL sends. You want the monitor CHANNEL sends to be PRE fader so that FOH adjustments don't impact monitors. The conflation of the two things also causes people to make mistakes in configuring their mixer, like by thinking that by setting the output section to be pre-fader, they've now set their console so that the FOH faders won't change monitor settings. But by only setting that OUTPUT section output to be pre fader, the channel sends themselves are unchanged from whatever they were already set at, BUT the master outs for the monitor mixes now don't have a master fader. And depending on exactly where they are tapped, might not even have a master EQ. This video explains this showing both sides of the coin and in direct focus because this problem happens so much. kzbin.info/www/bejne/nobbh3SCibZmhtE Truthfully, if I was Behringer I probably would've not even have allowed the outputs to have an option... Just make them always post fader. Only allow the option on the channel sends where there are reasons to change them depending on use case (just as there are now), but eliminating the confusion about what the tap points are doing in the output section. It's pretty rare not to want a master fader for any output. Of course, for most basic live uses, the mixer is already configured properly out of the box for a gig. But due to the learning curve, experimentation, and confusion about signal flow and position of things in the signal flow (and what certain settings actually change)the settings get changed. And it's an easy mistake to make on first glance... People mostly seem to know (or can easily learn via Google) that monitors should be pre-fader. But they aren't peeling the onion to get to a deeper understanding to learn about the signal chain and it's the monitor sends on the CHANNELS that need to be pre-fader... not the monitor OUTPUTS. Let alone, in this case, this setting in the output section isn't some type of GLOBAL change for everything in the bus which is another way to get tripped up thinking it's doing something it's not. And not realizing what it IS doing.

I've only ever used the 928s and 918s myself, and no issues thinking they limit early or need to go deeper. They were impressive at the demo, and impressive each time I've deployed the rig. Even in smaller deployments. But everyone that I've spoken to with experience with both says there is no comparison, and essentially, the 928s go louder and go deeper. More so than the spec comparison would tend to make you believe would be the case.

@ super! Thanks!!

Glad to hear it! Let me know if you have any questions

Glad you liked it!

This is a tough one... It should help, typically, just because an antenna distribution system is going to be more efficient, allow you to place the antenna in the best position, eliminate the antenna farm, etc... BUT... it almost sounds like something else might be going on. So that makes me hesitant to say it would help in this particular case. Especially since you said you can turn all transmitters off but one and still have an issue (if I read that right). What about if the beltpack ONLY is on. No transmitter? Do the G3's allow you to adjust squelch like the G4's do and have you tried that? Is there something wireless (guitar RF, band mics, a venue/DJ RF mic, some type of camera/audio system transmission??) not on when you scan for frequencies? How close are the transmitters to any RF receivers? What about Wifi routers? Anything in the rack that is close? Have you tried turning any of these things off to rule out any sympathetic RF interference creeping in? Is this just in one location (church or auditorium system) or do you move the equipment from venue to venue and always have this problem?

Thanks. I tried a paddle antenna and the noise disappeared,

Hey Cindy!

dBFS = decibel full scale. Or decibels compared to full scale. Here is an older video from the channel that speaks to that more directly: kzbin.info/www/bejne/mn6bkoybnbSHr6s

I've got a 48ch analog passive splitter snake. It's at least 20 years old. It has ground lifts (pin one lefts) on it. This is the number of times I've deployed that analog splitter and had to flip a ground switch on it and it fixed an issue: Zero. So, the answer to your question is "Yes... but no". Sure, in a theoretical sense, having the option of a pin 1 lift is nice. In a practical sense, not really a dealbreaker IMO. Not if you follow good system interconnect and cabling practices. It's not to the level of importance that I'd put on having one on a DI for example.

@ thanks. Great to hear that experience. Would the Midas handle phantom power accidentally being engaged at FOH?

Appreciate the kind words! It means a lot to me when people find my videos helpful and easy to understand.

Thanks! Indiana is where I am located.

I have a couple versions of those, I think the ones in the video are the same as the ones on my Amazon page: www.amazon.com/shop/alanhamiltonaudio

I was watching a longer video on YT this evening and I noticed way more ads than usual (via TV app). Not sure if that is an intentional YT change or something not working as intended.

You have to have an available FX slot and insert a delay on an output. And technically, the pitch shifter plugin is actually perfect since it can be set for 0deg of pitch shift, doesn't offer ANY repeats for the delay option, and has 0-500Ms of delay available. Minimal options, so it's very simple to use. But, obviously, you need to give up an FX rack slot to do this and unfortunately is the only way to do it 'in the box'.

Glad I could help!

I don't have the 12, but the concepts remain the same as long as the physical outputs are available to you on the hardware in some form.

It's been a while since I tried Cakewalk, but it definitely did see all 18 sources from the XR18. But it's been so long since I had it set up and working, and it was only just a test even at that. So I didn't have to troubleshoot much that I can recall. Hopefully, somebody reading the comments can chime in with some ideas.

It's been a while since I tried Cakewalk, but it definitely did see all 18 sources from the XR18. But it's been so long since I had it set up and working, and it was only just a test even at that. So I didn't have to troubleshoot much that I can recall. Hopefully, somebody reading the comments can chime in with some ideas.

I actually just got one of these tonight and was wondering the same thing

Aren’t you maybe talking about inputs?!i don’t own the device but I am looking to buy one and I want to buy it exactly because it has 18 inputs so it’s a dealbreaker if it is showing only 1-8 inputs. It makes sense that it has 8 outputs it has 6 AUX outputs and 2 Main.

@@Turnaround_ @mcnc88 I got some answers about the initial issue. This appears to be an issue with Cakewalk not recognizing the XR18 USB driver. I tried with Ableton Live Lite Demo and other DAWs.... and here we are with 18 I/O ! I'll switch to a new DAW !

@@mcnc88 I got some answers about the initial issue. This appears to be an issue with Cakewalk not recognizing the XR18 USB driver. I tried with Ableton Live Lite Demo and other DAWs.... and here we are with 18 I/O ! I'll switch to a new DAW !

It's been a while since I tried Cakewalk, but it definitely did see all 18 sources from the XR18. But it's been so long since I had it set up and working, and it was only just a test even at that. So I didn't have to troubleshoot much that I can recall. Hopefully, somebody reading the comments can chime in with some ideas. Other software sees all 18 sources so I'm not exactly sure what might be going on with Cakewalk at this point in time. Being that I use Reaper primarily, it's not something that I've had a chance or reason to troubleshoot and chase down. It could be something with newer versions of Cakewalk.

I think they could be... But if you're using the Shure SE215 now, and want it for movies and a daily driver, and total isolation, I think you might want to check out the earbuds I talk about in this video. kzbin.info/www/bejne/fIDSn2Wter-mqZo Should come in around under US$50.00, although you might prefer and want to buy the foam tips for them too which would add a few dollars. A lot of people would pick these over the Shures.

@AlanHamiltonAudio those dont fit in my ear.. they has to be like the shure or westone shape.. I am just very curious on those westone pro x20.. since i also have a big interest in music and that stuff

@AlanHamiltonAudio like. Hows the sound in pro x20.. Does it sound wierd if i am used to shure se? Or make me hear sounds i dont hear in se215?

@gmbh8443 It's really hard to say because so much of this is subjective in the end. And these, by design, do let you hear some external sounds, but not at the detriment to the earbud sound. Which make them great for mixing monitors like I use them for. And could be great onstage when you don't want to be in total isolation. But, I didn't really delve into them as daily drivers for random listening to music and stuff. I would think definitely they'd be better than the Shures. They're most upscale than the Shures. But, again, we're back to subjectivity. The KZ's are liked by many people better than the Shures, yet technically, the Shures 'should' be the better earbuds. At least based on price.

@AlanHamiltonAudio you should try use them as daily.. aha.. cuz i like those in ears and hehehehe.. The kz in ear wont fit in my ear.. i have wierd ear shape 😭 and i dont know where to buy those.. also.. i dont like their cables.. If it isnt a good idea to buy the pro x20.. (despite i wanted to try something new 😭) i been considering buy se425.. I just also like the cable from westone.. lol I am rly stuck between shure and westone on that site i know.. And the most requirement is.. that they have to be sound isolated.. since i am extremely sensitive to sound.. and i dont like active noise canceling.. the sound isolation i get from se215 is perfect

Yes. IIRC a standard USB 2.0 cable (which the USB is 2.0) is a max of approx 15'. There are 'amplified' USB cables that can be used to extend the distance, but I've never tried one. Generally, you want to use as short of a USB cable as practical just to give yourself a margin for error. But this is true of any USB2.0 device, not just the XR18 and a laptop running a DAW.

I've thought about a course but I've not done one. Yes, you can do 6 custom IEM mixes.

Mixing? Not that much different. No different than hopping on any digital console really. "Same but different". You choose your channel and there are the options... the gain... the sends... the EQ... processing... insert points... fader. But when setting up your workflow, routing, etc... "whole new ballgame" pretty much says it. Nothing is really the same. Some of that is simply because of options and more power. But definitely, they built this on a clean slate. It's not an X32 with a couple extra pages of options and a bigger FX rack.

Let me use different terminology that will maybe make more sense to you. The 'faders' are 'natively' stereo, as is the rest of the channel strip (channel EQ, channel processing...). Then you have INPUTS. XLR's on the units. Those are mono. But you can assign TWO inputs to a single stereo channel. 1 fader... one channel strip... 2 INPUTS to it. So you need a left AND right input, for stereo, to feed a stereo channel (if you want it to be stereo). If you want/need mono, then you only need one input to feed the channel.

Great suggestion!

Are you talking about the "balanced armature" phrasing? @Dave Rat has a video explaining the two basic types of transducers (of which one of them is "balanced armature"): kzbin.info/www/bejne/aITGd4ShlNaXetEsi=yInMwHp597uoAGaN

@@AlanHamiltonAudio i just watched video.. im not sure i fully understand it

It's not normal. Not normal at all. It should sound BETTER than your powered Yamaha, and with more options to give you better control too. If you had a powered console before, then you must've had passive speakers. What are you using for speakers and amps now? I'm wondering about cabling as a possible problem point as well. Are you using XLR cables that are tested and good... no open legs or polarity flips? Also, is it live music that has an issue or when you're playing tracks from an MP3 player? That could be another place where a problem is coming into things. This video talks about that, and it wouldn't have to be an MP3 player. ANY source that you cable up wrong and end up with unbalanced stereo vs balanced mono being misapplied could lead to the same problem. And that is weak sound. kzbin.info/www/bejne/i5rEpqp8equYlc0