Statistics

165,442 members
197 posts
  • shadwell
    Contributor - Level 2
    2020-05-29

    hey all , 

    I am really struggling with getting basic signal flow going to and from protools.  I am also trying to use this as front end fro a streaming situation.  I will pay a person with real knowledge to can help me solve this.  I work in tech support at a major university and this kinda stuff never gives me a hard time. 

     

     

     

     

    read more...
    0 113
    • shadwell
      Paul_Vannatto

      Hi Aaron @shadwell ,


      I'm not sure what console you have, since they never made an M32 Rack. The assignments of signals to the DN9630 is done on the Routing, AES50 (A or B) screen in banks of 8. If you want to record the signals directly after the preamps, mirror the Routing, Inputs screen on the appropriate AES50 screen.


       


      For the streaming requirements, it depends on the software used to do that. Many apps only accept USB 1/2 if you are using a Windows OS. If you are using a Mac or linux, you have more flexibility.


       


      For signals from the DN9630 to the console, it depends on how many you want returned. If you want just a stereo return (master out of the DAW), you can assign Card 1-2 to the Aux In Remap (on the Routing, Inputs screen). That will bring those signals to the Aux 1 and 2 channel strips.


       


      If you give us more details of your requirements, we can add more detailed solutions.

      • May 29, 2020
    • shadwell
      shadwell

      Paul @Paul_Vannatto  many thanks,  I meant m32C. my mistake.   I truly appreciate your knowledge and help. I am serious about the payment offer, I feel i am asking a lot and that offering something in return is very important. 


      let me try to say more about these uses: in both of the following situations the klark Teknik DN9630 gets me into the computer from the M32C. 


      The simple one is recording to protools, I'd like to have the option to be able to print the dynamics, eq and FX in the m32C to pro tools tracks.  I mostly do demos at home working quickly is very important.  I hire out the proper recording, mix and master.  The songs come first. 


      The second situation is sending a stereo mix made up of the 8 inputs that come in on the optical card out to the computer for streaming.  right now I am looking at OBS or Eccam as a streaming app to both record and interface with various streaming platforms.   I am on a mac book pro.  


       


       


       


       


       


       


       


       


       


       


       


       


       


       


       


       


       

      • May 29, 2020
    • shadwell
      Paul_Vannatto

      Hi Aaron @shadwell ,


      Thanks for the details. An M32C does change things, since it relies on external inputs/outputs such as stageboxes etc. So I assume you are using a stagebox connected to one of the M32C AES50 ports and the DN9630 connected to the other port. Also if you want to use the channel processing of the M32C (EQ, dynamics, gate, etc.), that changes the routing requirements significantly. It also assumes that you are using the M32-Edit app and not the console display for controlling the console (which is a good thing IMO). If you are attempting to try and do this routing, etc. with the iPad app, don't bother, unless you want to lose more hair than you really want to (and I can't help you, since I don't own any Apple products).


       


      When setting up complex routing, the first thing I do is to layout the interconnectivity mapping. For example, you might have the following ([A] and [B] are the AES50 ports):


      S16 [A] <-> [B] S16 [A] <-> [A] M32C [B] <-> [A] DN9630


      If you mapping is different, it will subsequently change the routing. Since you want the channel strip processing, you will need to first assign the individual channel outputs using the Routing, Out 1-16 and Ultranet screens. There you can assign Direct Chan Out and also change the taps (right clicking the circles) to probably either pre-fader or post-fader. Then you would assign these outputs in banks of 8 to the Routing, AES50 B (if you are using the mapping above) in order to send it to the DN9630.


       


      For streaming, since you have a Macbook Pro, most apps (such as OBS) can probably select the various USB inputs (which are outputs of the DN9630). Most apps default to using USB 1/2 (and Windows users typically are stuck with this default). I switched from Windows to linux in January and also now have more possibilities. 


       


      You mentioned an optical card. What card would that be?


       


       

      • May 29, 2020
    • shadwell
      shadwell

      @Paul_Vannatto 


      I have no stage boxes in this rig. the only analog. i/o is done via the Focusrite Clarett octo pre . https://focusrite.com/en/adat-mic-pre/clarett/clarett-octopre. it has some ad/da functionality.  8 in 8 out  and it talk to the M32c via light pipe , that box for the light pipe card is attached its an x-Adat from Behringer 


      the Klark Teknik DN9630 is connected to the AES50 A port and in turn talks to the computer via USB


      many thanks for your time.  


      Aaron 


       


       


       


       


       


       


       


       


       


       


       

      IMG_2211.jpg
      • May 29, 2020
    • shadwell
      GaryHiggins

      @shadwell 


      Just to add my meager 2 cents. If going straight from from your Adat card to a computer you probably would only need to change your "card out" routing source to P16 or Out 1-16 instead of "Local" Using those routing menu sources allows you to dictate the tap points needed to record full ch processing that can include Gate, Comp, EQ and pre/post fader. (eg P16 ch 1 = Direct out of ch1 post fader etc) Local is pre everything and can't be otherwise. Doing the same post fader for Main L/R as the source for 2 of your recorded ch's will also capture your complete mix The DN9630 should be able to also accommodate the ultranet (or out 1-16) as the source of up to 16 aes50 ch's which should allow the same tap points when using it. 

      • May 29, 2020
  • georgekaripidis
    Contributor - Level 2
    2020-01-08

    good evening and Happy New Year!!!

    i would like to help you I have the MIDAS digital 16 channels and I want you to tell me what I can find setting for P16? 

    thanks you!!!

    0 126
    • georgekaripidis
      Paul_Vannatto

      Hi George @georgekaripidis 


      Welcome to the forum. Which Midas console do you have? Is it the MR18? If so, assigning signals to the P16 is done on the Routing, Ultranet screen in the M-Air Edit app.


       

      • January 7, 2020
    • georgekaripidis
      georgekaripidis

      yes MR 18

      • January 7, 2020
    • georgekaripidis
      georgekaripidis

      there I will be able to give each individual tension

      • January 7, 2020
  • Erikdunham
    Contributor - Level 1
    2020-02-16
    Not quite sure what I’m doing wrong. I’d like to use the second S16’s outputs 7 & 8 (actually 15/16) as the main L/R Out. I have read & seen in videos that when you hook up 2 S16’s, the main outs default to 15/16, rather than the normal 7/8, but that is not happening. It that default change not going to happen on the M32C? It seemed like something I read was hinting at the idea that it was only on the M32 Rack
    read more...
    0 82
    • Erikdunham
      DaveMorrison

      @Erikdunham 


      If your second S16 is set to Mode 2 (receives 9-16 from AES50), Set the M32  Routing : Out 1-16 : Source L&R to Output 15&16. This will work with the default AES50 routing scheme ( Routing: AES50ut 9-16 -> AES50-A {or B} 9-16).

      • February 15, 2020
    • Erikdunham
      GaryHiggins

      @Erikdunham The C has no physical outs so it would show asterisk for the outs. M32-Edit I believe defaults to 15/16 for the output routing, That is user selectable after this point. Since no S16 has more than 8 physical outs and it's only by mode switch that those 8 XLR outputs assignments get changed, maybe that's why 7/8 shows up? (if that's what you are seeing). That may also be true for any X/M32 model with no or less than 16 physical outs. You still need to rout the out 1-16 menu to assign output sources and mode select on the S16's to set one of them to show +8 to get 9-16 as its output sources even if main L/R is 7/8 or 15/16.


       


      EDIT: Sorry Dave, your response wasn't there to see when I wrote mine-happens a lot to me of late.

      • February 15, 2020
  • allendicharry
    Contributor - Level 1
    2020-03-22

    I've been using the board for about 4 months and tweaking and perfecting the entire setup (not aware that I needed to save the set up, since it came right back up everytime I powered on). We had a special service outside the usual, so I decided to save it as a scene, but when I did an old scene loaded up (from the previous owner of the board) and wiped out all my work. I tried the undo function several times, but I cannot get back to the config I have been using for the last 4 months. I have since learned that I should've been saving that configurations as a scene and never did. Upon accidentally loading up a saved scene, it looks like it wiped out everything I had done. Is there any way to bring back my old config? (I've only saved audio files to usb.) The scene that got loaded was from a previous owner of the board and totally different from how I configured it. Please tell me I don't need to rebuild the entire set up from the ground up!

    read more...
    0 64
    • allendicharry
      Paul_Vannatto

      Hi Allen @allendicharry 


      Welcome to the forum. Unfortunately loading a scene will overwrite almost all settings on the M32. Once overwritten, there is no way of getting it back. It is not only very important to save your settings to a scene (on the scene list), but export it to a file for backup. 

      • March 22, 2020
  • staceyhainey
    Contributor - Level 3
    2019-06-07

    Just a general question,,,,

    My band just purchased an M32C with the DL32, and PM16’s for monitoring 

    i split the vocal, and instruments into mix busses, and sent the busses to ultra net, but it seems like we aren’t getting the full signal (some busses seem absent on the pm16)   We do have something that kind of works, but there’s gotta be a better way 

    will post a screen shot of the routing pages

    read more...
    0 285
    • staceyhainey
    • staceyhainey
      RexBeckett


      @staceyhainey wrote:


      Just a general question,,,,


      My band just purchased an M32C with the DL32, and PM16’s for monitoring 


      i split the vocal, and instruments into mix busses, and sent the busses to ultra net, but it seems like we aren’t getting the full signal (some busses seem absent on the pm16)   We do have something that kind of works, but there’s gotta be a better way  


      will post a screen shot of the routing pages





      @staceyhainey 


      Where are you connecting the P16Ms - to the M32C or the DL32? If the DL32, you need to open Routing -> AES50 A/B and select AES50-A 33-40 = Ultranet 1-8 and  AES50-A 41-48 = Ultranet 9-16. This will send the 16 Ultranet outputs to the DL32 on AES50-A 33-48 which are routed to the P16 socket.  


       

      • June 7, 2019
  • ChukGleason
    Contributor - Level 2
    2019-08-30

    Church sound tech here, we have a Midas M32R, about 15 months.  

    I for one (and maybe it's only me) have been struggling to really understand the routing ideas in the M32R; I know there are some defaults, like inputs 1-16 default to the 16 XLR Inputs, etc.   Plus, I've got 16 channels of vocalist & instruments coming in thru AES50-A, as inputs 17-32.  

    But is there any documentation the defines the default routing, and how do a quick startup & get music coming out for the FOH?  I see in the M32R Manual that it calls out that XLR outputs #15 &6 default to being the main stero pair.  Or XLR Jack #7&8, in another piece of documentation. (combing the Quick Start Guide and the Main Manual I've found a couple discrepancies between them) 

     

     

    read more...
    0 277
    • ChukGleason
      DaveMorrison

      Hi @ChukGleason 


      On 16 output mixers, 15&16 are the LR main bus. On 8 output, 7&8 are the default outputs. Routing is one of the most confusing aspects of this mixer. Because it's powerful, it's a little harder to understand the concepts. The output assignments are generally done in two stages. Output 1-16 is main "staging" area to assign individual outputs from the many different sources (Aux Out and Ultranet can do the same). Output 1-16, however, is only an intermediate stage; these assignment go nowhere until they are then assigned to Card Output, AES50 A/B, or XLR Output.


      If you have questions about input, output, and routing, this is the place to ask. You can upload a scene file for us to analyze or fix, send us a description of your system and requirement, and we can give you a hand.


      The forum members are a great resource and will gladly help.

      • August 30, 2019
    • ChukGleason
      ChukGleason

      Dave - 

      You've made a classic understatement about the complexity of the routing. 


      So here's what I've worked out so far:


      1) Define all your inputs; whethere Local, (1-8, 9-16) and whatever you're bringing in thru AES-50-A (and of cours -B, if you're using it)  Write them down, one by one.


      2) Define your main output, Mono-Center or Main L-R, and if it goes out thru AES50-A to the amp, write that down; #8 for Mono, and #7 & 8 for stereo, route it from (whichever it is) to that AES-50A output


      3) Standard input signal operation;  Solo it to get its initial level, adjust the input gain to your standard level (0 dB or -10 dB, or whatever is your common), adjust the channel slider to your comfortable level (again, 0 or -10)


      4) Assign that channel to your  Main Output, with the Main Bus control portion on the upper control surface, adjusting Pan/Balance control as necessary if you're using Stereo. 


      5) In the Routing screen of the main display, figure out how to assign Main L/R or Mono Center to AES50-A #7 & 8 or just #8; 

      6) Assuming you've already got everything connected properly end to end, both incoming from the stage box to the mixer, and going out of the mixer back to the stage box & an amplifier & speaker, should be able to bring up your Main Level slider, and get some sound.  


      7) Continue with each input, in turn, getting  a decent level going out to the Main Output.  


      8) Each new output, such as Monitor speakers, or feeds to the other building or being sent to a PC for recording, is done similarly, but routed thru the MIX BUS sets; and you can route up to 4 at a time on one screen.

      Here's my example:


      1) Pastor's wireless  with lapel mic:  her mic gets routed everywhere (Main, Overflow, via MIX BUS2, Hearing Assist system, via MIX BUS 3, and  Recording, via MIX BUS 4 ) EXCEPT to the Monitors, which have routed thru MIX BUS 1, out the the AES50-A, #1 up to the stage box & to the monitor amp; 
      2) Associate pastor's mic, with lapel mic, exactly the same; because neither need to be heard in the monitor speaker for the praise band.  
      3) Next inputs, wireless headset mics for the vocalists, again, same except they DO get sent to the Monitor circuit. 


      4) Next, instruments like the guitar, the Clavinova, the mic for the Grand Piano, each get the same input trim treatment routing to Main Output(s), and then to the correct MIX BUS outputs, except probably don't need any Grand Piano mic in the Monitor mix; we do want it in the Recording feed.


      5) Output to other places can be sent out thru the #1 thru whatever XLR outputs, or maybe thru the AUX Outputs (again, my example, I round anything to be recorded, out thru AUX 5 & 6 as a stereo pair to a PC running Audacity). 

      So, that's a rough draft of how to go thru setup & routing.  It does seem to be kind of daunting because you have to decide early on where things are going and how to get them there, without having made other decisions first, so it's a little 'recursive' ; you define some things, run your setup routine for levels & routings, then have to do it again, 

      I'm reminded of my dad's story about his own mother, who married late at the age of 41 in 1915, a comparative old maid.  Her  new mother-in-law was trying to teach her to cook husband's favorites, and would often say 'Well, how much of this? Use your judgement!'   To which my grandma G would respond 'I am new to this, I don't have any judgement to fall back on! I need it spelled out concisely.  If I try to use my own judgement now, I'll probably fail, and not know exaclty where I've failed' 

      So, does that make sense, as to what I've been struggling against?  Now I have to take that general (VERY general) setup routine, and boil it down to a step-by-step procedure that a newby could follow if ALL the experienced members of the sound crew were to (for example) fall off a cliff.

      Further discussion requested here.  


      Further apologies if I've already borked some description here; it's been a long day & the brain cells are shutting down.    


       

      • September 20, 2019
    • ChukGleason
      DaveMorrison

      @ChukGleason 


      I think you have a pretty good grasp of the system. Sometimes it's the little things that can trip you up. For me, it's some of the labels and terminology that Midas uses—some of it seems backwards to me. Anyway—You can post your scene file if you ever get stuck. And we can always answer your questions. 


      The matrix function may be of interest to you if your overflow and/or Hearing Assist system (maybe even the PC feed) is similar to the Main output. The matrix outputs could be a copy of the main output with separate Level, compression and EQ applied to it. This could reduce your five independent mixes down to two or three.


       

      • September 20, 2019
    • ChukGleason
      ChukGleason

      Dave -


      Thanks for the offer to look at my file; here it is.  It's kind of a hodge podge of some different setups, combined non-linearly.  So there are a few disconnects and dead ends in a couple of the routings.  EX:  the way this is set up, the Main PA output is sent thru the Matrix 6 to the Recording output; altho I also have a MIXBUS #3 is supposed to go to the record output, instead. That way, the record output level can be independently controlled, separate from the Main Output.  Currently, if we make any adjustment to the Main Output slider, it also adjusts the record level.  

      I've also only just realized another problem I have, not that it can be solved here.  The Main Screen of the M32R is just at the wrong distance for either pair of my glasses; either the short-distance readers, or the distance/driving glasses with a nearsighted bifocal.    Must be time for a new Rx for the eyes.  


       


      Thanks.


      Chuk

      Midas M32R Scene Moderately standard.scn
      • October 22, 2019
  • KingstonCole
    Contributor - Level 2
    2020-02-04

    In my studio, I have a large audio interface and mix with software. I feel that my options are pretty limitless this way, and I can really dial in thick effects and complex audio routes. I write electronic music, and being able to lay on effects really thick to where they're bordeTweakbox  rline part of the instrument Appvalley is important to me.

    When I think of a mixing console, I think simple "send/return" effect routes and basic EQs. If I wanted to (as an example) add a few effects to a channel, split it to two channels for effects on the high and low https://vlc.onl/  frequencies, then combine them on another channel with a compressor, I see this as borderline impossibility with a console.

    However, you can probably tell that I'm really out of the loop. There has to be a reason why every professional recording studio has a console. Is it the hands-on approach? Are the mixes simpler? What am I missing?

    read more...
    0 104
    • KingstonCole
      Paul_Vannatto


      @KingstonCole wrote:


      When I think of a mixing console, I think simple "send/return" effect routes and basic EQs. If I wanted to (as an example) add a few effects to a channel, split it to two channels for effects on the high and low frequencies, then combine them on another channel with a compressor, I see this as borderline impossibility with a console.


      However, you can probably tell that I'm really out of the loop. 





      I would say most definitely to your question. Have a look at one of the introductory level digital consoles - the XR18. It can do what you describe and a lot more. Then have a look at the X32, the Wing, etc. 


       




      There has to be a reason why every professional recording studio has a console. 



      The biggest reason is that you have to have an interface that can convert physical inputs (mic, instrument, etc.) to digital and the final digital output to physical outputs (analog). Modern digital consoles have dropped in price to the point that the cost difference to dedicated I/O interfaces has narrowed significantly. Mixing within the console (for FOH and monitor mixes) results in lower latency than if done in a DAW. Add to all of that, many prefer the touch and sight of physical faders, knobs, etc.

      • February 4, 2020
    • KingstonCole
      PatrickGMaillot My humble opinion on this is most people are much at ease with their hands/fingers on direct controls (faders, knobs, encoders), than clicking on a mouse for performing the same operations. Furthermore you have two hands, and can easily control several faders at once using your hands. Pretty much impossible with a mouse, unless you 'prepare' your move ahead of time. That's one of the nice things in using the X32 as a control surface with REAPER or XLive in the programs I wrote, either to just control REAPER' state [X32Reaper], or to perform full mixes [X32ReaperAutoMate & X32XLiveAutoMate]. With the latter two, the X32 is really used at its best, using the desk as a control surface and its audio engine for recording. Automation being performed in realtime, and all changes can be saved/recalled, even going back and forth between REAPER and XLive audio. -Patrick
      • February 4, 2020
    • KingstonCole
      AntoniPal

      Dear @KingstonCole,


      I'd say it's nothing wrong with mixing just in a box - it's just a matter of Your preferences. However, ... 

      Console gives You a bit more of flexibility to adapt to sessions demands - especially in the tracking process.
      Once it can be track-by-track, then it could be 20-by-80, and so on, and on, and on. 


      In case You do have a several (or at least two) performers playing together they might want to hear themselves, and track's coming from DAW. Due to the nature of DAWs and sound devices drivers some latency is always inducted. In general, hardware solutions - as consoles - are way more efficient regarding latency. 
      A perfect solution for small studio could be an X/M32 with P16, or DP48 system to satisfy not only tracking itself, but also monitoring. You can configure clean signals go directly to Your DAW, and whole processing for monitoring purposes can be done in the console. 
      Afterwards, whole mixing can be done on clean tracks in-the-box. 
      That usually works for me. 


      Hope that helps. Reach me out if You'd have some more questions. 

      • February 13, 2020
  • KingstonCole
    Contributor - Level 2
    2020-02-04

    Hey, guys, I'm doing a science fair project on creating a digital stethoscope, where I insert a microphone by the head of the stethoscope and then seal it off (so the continuous column of sound is preserved). The microphone then picks up the sound from the stethoscope head and transmits it to my computer through the 3.5mm headphone jack.

    Do you guys have any idea what things I would test as part of my experiment design, I want to compare 3 designs but I am not sure what criteria I should use to find which design is best? Any suggestions?, I was thinking like lowest frequency, highest amplitude

    read more...
    0 63
  • MichaLoosli
    Contributor - Level 2
    2019-08-31

    I'm using mainstage with UAD Effects as my outboard effects via the X-Live card. I'm sending 4 auxes to mainstage an 1 stereo return from mainstage to the desk. At yesterdays show I lost the stereo return already at soundcheck. Only shutting down and rebooting the console solved the problem, but just for a minute, then the desk (or card) lost the stereo return again. I'm running this setup for a long time now with never any issues. The card was recognized by the computer at any times. I also was recording to the SD cards. Anybody any idea? Thanks for your replys

    read more...
    0 116
    • MichaLoosli
      RexBeckett

      @MichaLoosli 


      When you lost the return, was Mainstage still receiving the sends?


      Have you tried replacing the USB cable?

      • August 30, 2019
    • MichaLoosli
      MichaLoosli

      yes, the sends were working at any times, I did not replaced the cable unfortunatly

      • August 30, 2019
    • MichaLoosli
      RexBeckett


      @MichaLoosli wrote:


      yes, the sends were working at any times, I did not replaced the cable unfortunatly





      @MichaLoosli 


      It would be worth trying a different USB cable. 


      I would also check that the mixer routing for the USB Returns had not, somehow, changed. This could happen if any scenes or snippets were loaded.


       


      After that, I would suspect the X-Live card. It would be helpful if you could borrow a replacement card to test.


       

      • August 30, 2019
  • midilord
    Contributor - Level 1
    2020-03-02

    Greetings

     

    I have been trying to connect (with no success) the Midas m32 to an iMac via ethernet and using the iMac to broadcast wifi in order to connnect an iPad to use the M32 mix app. Has anyone tried this with any success.  

    read more...
    0 87
Go to page