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I Mic the kit all the time to my drummers confusion. But I typically do it because I’m recording. Then they just get anxiety lol.

It sounds to me like it may be a long way to the top of you want to rock n roll.

100%!!

There are no bad mixers these days. I think it boils down to what you are used to and does the console do what it needs to do for your use cases. I own a X32 Rack and have never liked the workflow, it’s (in my opinion) complex. I also tried Yamaha. A lot of info on one screen. Allen & Heath typically make their user interfaces and workflows easier (for me). That’s why I’ll very likely buy the SQ and not the Wing (even though on paper it’s a really good mixer!

Leland Sklar.....also played for years with James Taylor.

Oh man I'm just a few seconds into this. I can totally relate. I'm really frustrated with 3 year old guitarists thinking that they are teaching me something by running me through their three chord progression. I've been playing for 30 years and it's like okay stop counting out a different Tempo than the song. Let me count the tempo. If they're good then they want you to play like Ringo. And I'm not trying to be Mike Portnoy or a super olympic drum extrodinare. I don't want to blow everybody out of the water or anything, but I'm also frustrated when they ask you to learn 12 to 15 songs and then you're like okay cool. How about we play one like Sweet Leaf also. That way the drummer can have some fun. No they're afraid that it will outshine all of their songs that they've written knowing four chords and written 40 songs all at the same tempo. Forgive me for sounding so arrogant but sometimes when people ask me about a band project I just have to wonder if their previous drummer quit or died from boredom.

The band I did sound for did like a rocked up version of "can't you see" by marshall Tucker and a reggae version of "what I got" by sublime but that was by request at a party and people really liked it so about 50% of the time they'd do that version

I rarely like to watch a gear related video with no gear on video, just some guy talking, but somehow yours are great and I appreciate hearing your points to the end. Alright, thanks a bunch for the thoughtful content.

Cover bands play for the crowds. Most crowds want to hear the songs the way they were recorded. In my band we always tried to keep the songs as close to the recording as possible. My motto is “in a cover band you’re playing to the people, not yourselves”. If a band bends a cover tune just a bit but it doesn’t change the whole song then I can live with that. I don’t like seeing a cover band that changes the songs totally. Just my opinion.

Is 96k that much better than 48k? I have the SQ-5, Qu-16, and Qu-SB. SQ features are far superior than the Qu series but sonically I can’t tell the difference. Maybe my ears suck 🤷‍♂️ 🤣.

At the end of the day……you’re pretty much right lol

I also chuckled when I read the SQ Rack specs. I agree with you on most points there, especially I/O count. But output I/O plays right into stereo IEM mixes, which is absolutely not an ego stroke and is a hill I'd die on. As a fellow engineer that also performs, I personally don't care if my IEM mix is mono or stereo. I know my IEM mixes are balanced and leave space for everything to be heard. But switching my fellow musicians to stereo was the silver bullet to making them feel comfortable on stage. They don't feel like everything they hear is inside their head, they feel like they have regained situational awareness... especially in those larger gigs when we put up stereo crowd mics (yep, this is a norm in the middle market now for bands touring with their own ear rigs), and their hearing is protected now that they aren't constantly pulling one ear out to feel "normal" on stage. Rant over.

After 30 years, yes I can tell if it's digital or analog. Yet I agree with you, 48 or 96, most smuks have no clue nor do they give a crap. Yes the SSL digital is a sick desk, no one listing or going to a show don't give a 💩

. .. … I agree with all your points, even your current philosophy on mono monitor mixes. But I believe stereo monitor mixes will become more in demand and standard in the future for performers. From the performers perspective, I would choose stereo over mono for IEM’s.

There is a chance AH does an SQ-SB without a screen. They had two rack versions with QU-PAC and Qu-SB

Put the sq rack on one side of the stage and a 16x8 stage box on the other side and best of both worlds. Better than having 32 in one location.

Love my Wing Rack. Plenty of local I/O for most gigs with 24 in/8 out (I have a DL32, if needed), sounds great, gobs of effects, and 64 channel dual SD recording. If I had to go A&H, I'd go for an Avantis, for almost 8x the cost, plus a stage box (never going to happen. Lol).

The m32 and the x32 are fine but as a technician who works on many brands they are terrible for parts availability. Im sure thats well known. Allen and Heath have good tech support as well as parts , even Presonus under Fender is easy to deal with.

Hey man.. most of this video is you saying you don’t care .. you do you etc etc .. and just not really giving real information.. really this is what the channel has become ??

maybe the M32/x32 is the sm58 of the industry and they don’t need to change it

There is supposed to be new SQ firmware coming out because of the rack...I'm hoping that because the racks will obviously be used with pads much more extensively than the regular sq boards, that it means the SQ tablet software will catch up to the behriger x air and x32 apps

My biggest criticism would be the same - the stage boxes just are not super well thought out. You get a single port on the SQ. If you want more than that you have to use up the single card slot to get a second port. If you want to avoid that you either have to buy one of the larger stage boxes that has multiple dSnake ports or buy a hub because of how limited the daisy chaining is. There is a 1U 8in by 4out but again you can only chain 2 together on a single dSnake port. Honestly the Roalnd M series had a more functional digital snake system in 2007 and REAC could be used as an ASIO interface. Also don't forget if you want the fancy pants compressors/eq's/inserts that's several additional purchases.

I was really hoping for for a v2 M32 96K 48 ch at namm. I guess I’m gonna be going for the waves upgrade for my M32

I owned an SRX 910 rig but sold it because the amp gets hot enough to burn you. Otherwise I liked them. I was worried about long term reliability.

I completly agree. People want to hear what they know. Nobody cares about D+ effort and hearing guys justifying their cover by saying "well it's our version". Hogwash. I play in a 90s/00s cover band and we try to capture the song note for note and as close to the tones as possible. Some of that involves samples for extremely specific parts, by the rest of it is just good old fashion work and rehearsal. (Shameless band plug)

No touchscreen was the deal breaker for me, the main reason I went with the Presonus ecosystem over X32. Was really disappointed they didn’t add one to the M32. If the release a new version with one I’m in.

Sweetwater just had the M32 for $2999 last week.. It's back to $3999 Now that I'm ready to pull the trigger. M32C and DL32 it is...

They are fucking incredible. This guy is an idiot

This is so spot on and nailed it! Loved this video!

I’m glad I found this channel while doing my research. I’ve been an A&H guy but have been looking at a Wing set up. I don’t NEED to buy anything right away and now I think I may hold off until Spring NAAM.

excited for any new v-drums comin out! things have been getting so interesting in that field lately. wonder if more touring drummers will switch to something fully electronic in the near future…

Hello, hello my friend, how are you? My answer is... yes..!!! Of course, M32 is still relevant today despite all the new appearances on the market.. In another message I told you that I also have my own M32R (with DL32) (bought in 2017) and really with my mixer, I have done, do, will do and can do any kind of show with the ONLY limitation that there are only 32 channels.. which on the other hand, for a standard group, is more than enough.. I have never lacked outputs for different PA arrangements.. I have never lacked matrices or buses.. (if there is a separate monitor mixer in the show, in the FOH M32 you can configure buses that you do not use, such as auxiliary outputs (as if they were monitor sends but in post fader) to have more sends to the PA arrangements if 6 matrices are not enough..) I have never lacked channels.. it has never failed or blocked me.. it has not no equalization missing anywhere.. I have been able to do any kind of mix no matter how complicated or complex it was.. I have never missed more than 4 effects.. in a standard LIVE show no change is noticeable between 48k or 96k.. my M32R continues working like the first day.. and it continues sounding PERFECT and, for me, it still has nothing to envy any other mixer in its range.. here in Spain, as I mentioned in another message, it continues being an industry standard in all sound companies, large or small,.. and for many years still.. and no technician or group puts up any objection if there is an M32 in a show (the same does not happen if they find other mixers).. as I said in another message too, if it is for personal use, for private use, to use it with your own group or your own project, anything will do.. (x32, wing, presonus etc..) but for professional use, for renting sound companies, it is not worth putting just anything, and in this case the M32 is still the winner and for a long time yet.. the main issue is that people have to understand very well that these two uses must be separated; professional or personal.. for professional use M32 is a standard.. (and for many years yet..) for personal use, I understand and it is normal that other brands or models are bought since they do not have to answer to anyone but themselves.. by the way, I am from the baby boom generation..!!! hahaha greetings from Spain..

M32 is used everywhere, and not one audience member is gonna know if it’s 48K or not. Especially if they’re drunk, and they usually are.

I started out digitally with the Behinger XR16 and XR12 , then an XR18, for multi channel recording, (still own and use it for small shows). My studio rig is a Behinger X32R using a Behinger SD8 and an SD16 on the floor. I have a Midas M32C with a Behringer S16 stage box (rack mounted) for shows (I use an additional Behinger SD8 stage box for drums). The M32 has been rock solid but its weak point is my S16, I have had to ship it off to be repaired twice.

FYI, I asked Billy Hume (Grammy winning, Gold and Platinum awarded record producer, mixer, composer and musician) what he mixes with, and he said 48K.

I think the Wing is going to phase it out, really. The amount of stereo busses and matrices puts it in a really good spot for multizone situations.

“You don’t own a dime of equipment; shut up!” My favorite phrase. Everyone wants to talk shit with zero inventory! They own a shit mic and that is it!

I have a brand new m32 on the way…jan 21/2025… sold my 2014 version(which is still in perfect condition), a new one will be sliding into the old case… btw, i also have 2x sc48/pro2/had sd-9… I also A1 for a 10 piece abba tribute on my x32 compact (using dl251 head)… 😂, band is using m32c.

Nah F that! Gen Xer here….” Come at me bro” ! lol😂

"John Boy and the Wheelbarrows" 😂 ..... those guys are awesome😅🎉

The XR-18 got me into digital. I used a Windows laptop with a trackball mouse. Quickly fell in love with NO SNAKE and NO MOVING PARTS (except the mouse). Stepped up to a MR-18 for the better build. Loved it! A few bands (5% or so) needed not so much more than 16 channels but more than 6 monitor mixes. I then stepped up to a M32C-DL32 to solve this problem. I've kept a XR-18 as back up and have never needed it. Still using the laptop and trackball mouse. PERFECT for me and the bands I work with.

ALpha did a video doing real world tests, not "use your ears bro" on a lot of consoles...my page has real world measurments of piles of popular recording mic pres and converters. Its crazy when you compare what people say about how things sound vs what the reality is. The M32 was a revolution. And given how you can dual mono things like the de-esser, you effectively have double the number of rack fx compared to some others as well, ruclips.net/video/gBu3hj5hFHQ/видео.html&lc=UgzTN2F3jS9huu628h14AaABAg.ADblUAEOq9CADblr8_aFnR&ab_channel=ALPHASOUND

For me I'd pick up a wing/SQ just because I tend to run out of the fx rack on the X/M32 - particularly I like the simplicity of the LA2A and 1176. Church wise I too would pick the X/M32 because it's significantly less complex than a Wing/SQ. I don't need the custom layers in that scenario because it further confuses volunteers by adding one more layer of complexity. Alternatively: The TF is just a slow mess that has no business being a Yamaha console. The Qu & SL3 fall into what I called "fixed busses with nothing more in the fx department then verbs/delays stuck on dedicated fx busses.

M32 is on like 7 out of 10 of the bigger riders I see in hawaii, but the local mixers tend to want to use the allen and heath stuff. If the act is bringing their own monitor mixer, its almost always M32. I learned them both, prefer the X/M still but with mixing station, I'm really having a good time with the SQ6....All that said, I'm only recently in live sound, I am a life long recording engineer, sort of pivoting at 50

Bands with in-ears should carry spare belt packs anyway. Make sure the guest has their own ear buds. Also, give the engineer(s) advance notice. They may prefer to string up an extra mic for the guest.

My favorite is when the band starts running tracks but never told you they had full blown tracks; and you’re staring at the stage wondering why the instruments aren’t matching up and you’re getting no signal! I literally ran up on stage and the guy says, “I’m not playing, we’re using tracks.”

I work on an SQ at some clubs, SQ5 and 6, in many ways it is a step down from the X/M32, routing is less flexible, software is goofy, but mixing station helps

She's a sellout