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I suppose you could with the x/y mixing, I have never used that. But the idea is that if you see signal on something set up for X it takes priority over everything else. It tries to auto mix for you. But I would caution you with it. It works great for something like a panel that once the moderator talks everyone else’s mic goes quiet. But in a worship setting it could throw things off especially if the pastor leaves his mic on and is signing with the music….

It really depends on where the source is. Did you plug it up to local inputs? Aux inputs? Stage box? If a stage box, make sure you are connected to one of the AES ports on the wing. Go to the routing page, click the sources button at the top to view your sources then select AES A or B or C and make sure you see a picture of your stage box connected. If not then you aren’t getting signal from the stage box

@@chriscampbellmusic I have it connected directly to the board via local 3. Input. I can’t see anything on the meters. It’s playing but no where to be found

All of my faders are at Infiniti

I am completely new to digital boards. I was working on an analog board for my church when they decided to upgrade to digital I was away on vacation. The church has the Behringer X-32 which I understand pretty much. But the Wing is a different mindset. I like it’s potential, so I bought one for myself and I have it at home, but I am finding it to be a challenge to get through

@@adfeldr For each channel you have to assign it a source. The easiest way is to select the channel, then on the home screen you should see an input section with a box in it. Typically, this is a blank X unless you have already assigned it to something else. You tap that button and it will take you to a menu where you can select what source you want to use.

Email is in the description

Don’t know what you mean by “hi”, are you referring to the speakers? Speakers are output from the local outputs on the console since those cables existed from our old analog setup years ago. Subs are outputs 15-16 on our digital stage box currently.

Each channel (and each mixbus) has the option to output to 4 different 'mains'. I have main 1 set to be my house mix sent to my PA system. Main2 is my broadcast mix. So I use that instead of an aux bus. The advantage is that it is always a postfader mix, so any changes you make to your house mix is automatically reflected in your broadcast mix. You just have to adjust how much you are actually sending to the Main Outputs. what sounds good in the room doesn't always sound good online.

Setup button.

@darvintoc I am not sure what you mean by sour in 1 mix, but yes, it is adjustable, but not at the Matrix level. The only things that can send to matrixes are mixbuses or mains. There are 4 "main mixes" that you can use. Typically, Main 1 is your main PA output. You can always output that straight to the PA if you wish. I tend to send the Main 1 to matrix 1 and do my signal processing there instead of Main Mix. That way, if I ever need to, I can send Main1 to Matrix 2 or 3 or any of them up to Matrix 8. You can set up a 2nd Main mix (main mix 2) and send that to your Matrix 2 or 3 or whatever you are using. Alternative, you can set up a mixbus and do it that way to. The good thing about the WING is that you can do broadcast mix about 15 different ways and get it done. Just trying to share how I do my mix!

Yes. Assuming you have all of the routing correct you can do up to 32 mixbuses off both consoles combined. You would of course need to eq and compress the channels on your 2nd board as well. But yes it is possible to do what you are asking

@@chriscampbellmusic thanks for your prompt response. Is it possible to give me the connection outline? Master X32 A to S32 Box A and then Stage box B ( 1- 16 mix outs) to second X32 A and Slave X32 B to S16 A ( 17-24 mix outs). or it should be where master and slave X32 to be connected to each other such as Master X32 A to S32 A (1-16 mix outs) and Master X32 B to slave X32 A and Slave X32 B to S16 A ( 17-24 Mix outs)? Sorry if I have confused you!

@@niloyjana0314 So, this is where things are trial and error for me, I haven't had a need to do this in 2-3 years and I don't even work on the X32 these days (WING)...but from the S32 you would plug up X32(A) to A port, X32(B) to B port. On X32(A) you would want to set AESA Outputs 17-48 to be AESA inputs 1-32. AESA outs 1-16 should already be set to local 1-16, which is probably ideal for your situation Then on X32(B), you would set your inputs (home tab on routing) to be AES-B-17-48. I would use the local outs on the X32B for anything you can't get from X32A outputs. I am assuming X32B would be on stage anyways so there is no need for anything else. EDITED to correct a glaring mistake!

Yes!

Make sure on each channel you select the mains tab and make sure your main send is set to “on”. Or, if you are sending everything to a bus (such as drum bus) make sure that bus is on mains turned on as well. I wouldn’t do both individual channels and their buses or you will get inconsistent results with how it actually sounds tone wise.

@donaldburns4462 The broadcast is simply the Main 2 channel. The wing has 4 Main sends. I use Main1 for the FOH mix, Main2 for the Broadcast mix. I think just set up each channel to 0.0 for the Main1 mix so I have complete control over the room mix, then I adjust Main 2 volume for the broadcast. I usually bring the band down in the broadcast mix so that the pastor volume is more in line with the band for broadcast. In the room, we are running 90-92db with band, but only about 70-75db for the pastor, so we have to adjust volume somewhere to get the pastor as loud in broadcast as we can.

Great thanks, we have an individual using an iPad to control house and I control the live stream feed on the board. I still need the ability to change channels separately from the house. I am thinking activating sends on fader on the main 3. I have house on 1, subs on 2 and live stream on3. Thoughts?

@@donaldburns4462 yes. Sends on fader will work. Or you can do the sends on fader from the iPad too and run your live stream from it.

@@donaldburns4462 or you can set up your mix so when you make changes to your house you are changing your broadcast too.

Thanks for the info.

Yea, my 'free' app on the phone doesn't do stereo unfortunately. Here is the stream from this past weekend where I was mixing if you want to hear my stereo mix: ruclips.net/video/0jCmgJe3x4k/видео.html

@@chriscampbellmusic cool! Yes that sounds much better on headphones :) Nice!

Its an acoustic drum set in a room that seats maybe 500 people comfortably. The only thing I have in the PA is the kick and toms. The snare is basically in the room enough to give energy, otherwise it is mostly just the acoustic drum noise in the room.

@@chriscampbellmusic haha had the same problem with cymbals leaking over the drum screen. Measured 84 dB on just the cymbals at the booth.

@@spookie3000 my room measures 90db with the drum kit off and the only thing I am lacking is kick and toms. I even went with v7 Capsules on my vocal mics to reduce bleed.

@@chriscampbellmusic wow!

probably has drums routed to a bus then bus goes to main 1

Yea. I only use busses for thinks like a drum bud or a full vocal bud because our vocals are all using mixes from the wing instead of the P16, so band doesn’t need to hear all vocals separate just the combine stuff

Yes, you can do that, but for my rotation of volunteers I have intentionally tried to keep things simple, and just routing the input seems to work out pretty well for us. Our backline are pretty capable of tweaking their own EQs per channel now.

Absolutely you can! And I recently switched to this for a few things like instruments.

Yes I do pan based on my broadcast mix. My house mix is mono. It gets tricky because of the way panning works. Basically, set your main PA as a mono channel, same way you would a bus I think. But the issue is that when you do that it sums the left and right, but it doesn’t increase one side over the other. For example. You have something panned center, but when you pan it left you will notice that the right side decreases but the left never increases. So in your mono mix you effectively make the instrument quieter but your stereo mix for broadcast is fine. To compensate, you have to push the fader a bit more in the house but that means broadcast gets louder. easy fix, just lessen the send to broadcast from that channel like 1db or whatever feels appropriate.

@@chriscampbellmusic I got you I might try that! Thank you for the response and the video very helpful!

Pre just makes the value of the fader doesn’t affect what you send to the matrix (or this holds true for any mixbus or main out). Post means that your fader level does change the overall output to your output (matrix, main out, mixbus, etc) For anything that only has a trs connection (I.e. quarter inch cable) you will need a direct box to take your trs cable and change it to xlr.

@@chriscampbellmusic thank u

@@chriscampbellmusic so on matrix if i used pre fader the level that come from mixbus will not effect the leval of volume that enter from mixbus right ? and post fater when i incnrease on volume wil effect on matrix ? right

@@peteryousef5177 yes!

Use the routing page, select the aux output tab, and choose what “source” you want to send to that output. This can be anything from an individual channel, a mixbus, a main output or a matrix.

@@chriscampbellmusic i need to use both the aux out and mixes buss on the same time .

@@peteryousef5177 you can send a single channel to the aux out, or the main outs or matrixes. You can also send mixbuses to the aux out. You can send the same mixbus to multiple outputs.

@@chriscampbellmusic no i mean where the control of aux out and how i can send it . i know only the control of mixbuses only to send on it but the 6 aux out i do not where to send on it ?

@@peteryousef5177 think of an aux output as simply a physical 1/4” output from the console. You can send any channel, mixbus, or matrix as an output to it. There is aux mix that is a separate bus on the console. Hope that makes more sense

The Wing can record up to 48 channels stereo or mono at a time. This can be done to SD cards in the back, or via USB to a computer running a DAW. You have to set this up in the 'setup' screen under the audio tab.

@@chriscampbellmusic yeah, but there's not so many I/O on the board, nor there is provision for DB25. How many tracks it can track real time? I am looking at something more than 16 tracks for a band, this seemed to be expensive although it seemed like an all in one solution.

@@wckoek I am not sure what you are trying to accomplish using the physical I/O....most digital consoles these days come with limited I/O and rely on digital input boxes, in the Wings case, either the DL32 (Midas) or the S32 (Behringer), or their relative 16-input versions. You can track 48 channels over the USB port straight in to your DAW if you are wanting to multitrack record. Optionally, there is a Dante card available if you want to use dante networking to capture audio on another device as well. What exactly are you trying to do using physical I/O?

@@chriscampbellmusic tracking a band using the onboard pres and using the console as an interface.

@@wckoek Oh, you still just use the USB out in to your DAW. All of the I/O still passes through the onboard pre's. The S32/DL32 have their own pre's that are the same build quality as the Wing onboard. You may have to go in to the routing and adjust some things for the card out, not sure what the defaults are there.

So, the trick is not the physical outputs, it is available mixbuses from the console. There is no way to get a stereo mixbus without combining 2 mixbuses together, at least on the X32. If you want more than 8 stereo buses, you would need another console to do that. The physical output is just a way to get the mixbus out to a monitor source. You can use 2 stage boxes to get 32 physical outs, but you still only have the 16 mono or 8 stereo mixes available on the board. or, what we do, is we did a bunch of mixes from the Monitor board, paired with more mixes from the FOH board. Assuming you don't use any of the mixbuses on either board, you can get 16 stereo mixes (8 per board). However, at FOH, I tend to use several buses for FOH things, such as reverbs/delays, bus compression, etc. If you are wanting to get to 16 stereo monitor buses, i suggest you invest in a new WING, each console has 16 stereo buses available. That is the primary reason we upgraded to a Wing not too long ago, just for more monitor options. We currently have 8 monitor feeds from FOH, plus 4x stereo effects (2-3 reverbs and a vox delay), and some bus compression for drums, and a vocal bus and bus for all MD mics on stage to send to the P16s on stage. I have another video on how to use the P16s with the Wing, check it out on my channel.

@@chriscampbellmusic wow thanks so much for such detailed answer! Im currently looking into the MIDAS M32 Live which has 25 mixbuses. I understand from your answer that i could have 12 stereo mixes that could be used for IEM then? Thanks so much again!

@@andyroop8821 need to investigate that to make sure those are true mixbuses or if that also includes matrixes and aux outputs. The x32 technically is a 24 or 25 mix console too, but that includes the main LR, aux outs which are different from mixbuses, and matrixes. If you get a true 25 mixbuses, then yes you would have 12 stereo.

@@chriscampbellmusic gotcha! thanks so much for your help! Highly appreaciated! Blessings brother.

Popping in to confirm, the m32 line is identical in terms of routing to the x32. They both only support 16 mono aux busses or 8 stereo aux busses. If you’re looking for 12 stereo aux/monitor feeds then check out the Allen & Heath SQ series. All 3 models allow for 12 stereo aux busses.

1) I am not sitting in front of the console right now, but I think mains are only available from the right set of 4x faders. You can enable SOF to work on these 4, but you would have to find that option in the settings screen. I have seen it before, but forgotten where it is. 2) It allows me to do processing just on that matrix in case I want to send that main 2 mix somewhere else, such as maybe a cry room or lobby mix and I want to do separate processing on that (such as eq changes, etc). In practice, maybe you need to EQ your lobby speakers differently from your broadcast and maybe you don't want to use a limiter on it. Just allows for flexibility is all.

@@chriscampbellmusic thanks man for the reply and the video!

Following as well would like to know!

If you are referring to moving lights I can’t. We also switched to LightKey about 6 months ago when we upgraded computers.

Hey Zion! Haven't forgotten about this, but I am not really set up for it right now. I have been trying to find an affordable way to do this without dropping some serious money. I think I have a solution. Stay tuned. Yay for part-time work and full time life getting in the way!

@@chriscampbellmusic kool

Hey Zion, just posted a video of a live mix, should be live as soon as youtube finishes its processing stuff... Just keep in mind the audio is our broadcast mix so I am not listening to it all the time, I am mixing the room and this is just what I am sending to broadcast.

Here is my mix from last Sunday. Again, it is a best guess as I am testing the mix via headphones while I am mixing the main room, so once the balance is set I usually am just mixing the room mix and it translates to broadcast: ruclips.net/video/JS-5TrJPm2c/видео.html

That is exactly how you do it. All you need is a laptop with a DAW and connect to the USB output on the back of the board. It is the expansion card, usually next to the power input. If you have a mac it is easy because the driver for the OS is already available. If you are using a Windows computer, you will need to download the driver. I use Logic on a Mac, so just open a new project, select the X_UF device as the input/output and choose 32 channels in ascending order with the outputs being MONO Output 1 in ascending order. If done right, channels 1-32 will line up with inputs 1-32 and Outputs 1-32. Similar process is available with ProTools or Ableton or Reaper. You may have to google how to set up the devices and channels for those DAWs. To play back, on the X32, go to routing and on the HOME screen, change inputs to use Card 1-32.

It was recorded using the x32 as an interface, but produced in Logic Pro X. This was during shutdown so we prerecorded earlier in the week and remixed things. I am using a lot of plugins to get things this clean.

Not really. The you can’t send channels to a matrix. You can only send mixbuses or your main l/r bus to a matrix. In theory, if you made subgroups for everything you can send your groups to a matrix.

Hey Benjo, Yes that happened during a late 3.x patch, I can’t remember which. My board was not 4db off though. It was about 1db off. You may want to reach out to behringer and see if any of the community forums have any other people with the same issue.

The limiter is a GREAT idea. I wish I had a free FX slot for the limiter, been thinking about combining my reverbs instead of splitting vocals/instruments, but I have them both dialed in pretty well and I like having the option to roll in and out the vocal verb without adding any additional verb to the instruments. As for subgroups vs post-fade, that is personal preference. Both achieve basically the same thing. But Subgroup mode doesn't let you mix both L/R and Mixbus at the same time I don't think. For example, say your set is a heavy guitar driven set, but on song 3 the guitars take a back seat and the keys really take precedence. If you aren't sending post-fade to your mixbus, then when you make a change to your house mix, you would then have to go to your sends on faders and adjust the mix there too. At least I have never had any luck with subgroup mixing that way. May be possible though...

@@chriscampbellmusic actually the idea of subgroups is to be able to mixdown a group of faders before it hits the L/R bus. But as a broadcast mix we're grouping everything (or everything we want) to a stereo subgroup while NOT assigning it to L/R and routing it to another output. Subgroups can be linked like mix buses, and panning is still available. The difference is that a subgroup is fed at unity gain with respect to the input channel's fader position, where as a postfad mixbus will operate more like a separate mix. The advantage with subgroups is that you don't have to keep switching back and forth via the "sends on fader" button and your only managing one mix. I believe mixbuses are subject to the input channel's tap point similar to a monitor mix setup.

@@obidavekenobe Isn't that the point of using postfader tap points for the mixbus? The idea is that you get your house mix right, then you set up your postfades to match what you want to hear in your stream, then you just mix your L/R bus and as you mix your house mix, your stream mix gets adjusted as well. Subgroups, as you said, are unity signal at a relative fader position based on your sends on faders. That means, that if you change volume on your LR bus (house mix), your volume on your subgroup mix remains unaffected. Which means if you need to adjust channel volumes say for a different lead vocal for a song, or the guitarist changes intensity from picking to strumming, then you would have to adjust each mix separately. Am I correct with that assumption of your setup?

@@chriscampbellmusic No, subgroups do not depend on sends on fader. Its easy to confuse tap points on input channels and the operating modes of mixbuses. A tap point is where in the input signal path that mixbus is being fed from. A subgroup is always fed after the input channel's fader. With that said, a postfad mixbus is dependent on the input channel's tap point configuration in the config tab (pre eq/comp, post eq/comp, pre fad, post fad, or after the preamp) and makes sense for monitors and where a separate mix is required. A subgroup does NOT depend on sends on fader or input channel tap point configuration, but receives ALL of the input channel processing, including fx, after the input fader. Send on fader is berhingers way of saying aux sends from the analog world.

Sends on fader for subgroups is only used to select/assign inputs to that subgroup, not alter levels.

That honestly depends on your setup. If you tune your room (EQ on your main L/R outputs), then you can in theory leave your mixbus flat. If you do not tune your room, and you are making EQ changes on instruments to fit your room, then you probably need to apply EQ to your mixbus to compensate for your individual channel EQs for your live room. Personally, I recommend you taking the time and getting your room tuning done. If you don't feel comfortable doing it, call around local churches/production companies and ask if anyone will come do it for you. This makes EQ across the board easier to manage. With a properly tuned room EQ, you spend so much less time on instrument/vocal EQ, and you don't have to EQ any of your mixbuses unless you are sending that mixbus to another speaker system (i.e. front lobby, bathrooms, etc) and need to make adjustments for those speakers.

I have only used my macbook to connect to the X32, which has its own driver that is compatible. I do know you need to install a driver for PC to work. Have you reached out to Music Tribe (Behringer's user community)? community.musictribe.com/

@@chriscampbellmusic Thank you

True, I have mine set on pre

post fade setting is specifically for scenarios where one engineer is mixing FOH & broadcast. The mixbus allows you to set initial levels so you can make your drums loud enough. Post fade option allows you to make level changes on a relative scale either to compensate for softer or louder playing or just musical mixing i.e mixing to the song

Correct, you can go to your Routing screen and select any mixbus, matrix, mono, main L/R, or Auxilary to be sent to any of the outputs on the back of the console (or on your digital snake if you are using one). I choose to send my Main L/R to my Matrixes so I have independent control of how much I am sending to my Subs on Matrix 2, and my mains on Matrix 1 (we mix in Mono in our main room).

You will just have to watch your levels on your camera (most higher end cameras have a meter that show you how much volume you are bringing in). There is no real way to tell from the X32 if your camera is getting too much volume. You could add a compressor with a really high ratio to act as a volume limiter, but you still need to know what the camera is getting.

Hi Todd, glad this helped! I have a more detailed video showing my process and how I set up my board for my uses. You can check this out here: ruclips.net/video/c0gPVfnZSMg/видео.html

Great...thanks!