This Article was specifically written for the X32 producer, although most of the tips here can be used for the Full X32 desk. The X32 producer is a compact, top rack mounted mixer and as such has less outputs and busses than the full X32 console.

Definitions

Terminology used in this article...

  • Bus = MixBus = Aux (same thing)
  • DCA Group = Subgroup (control volume of multiple input faders)

Setting Effects on X32

For the X32 Producer, we assign the following busses...

Bus 1 - 4 : Foldbacks/Monitors
Bus 5 - 8 : Effects Sends

(For the full X32, typically Bus 1-12 are for Foldbacks/Montors, and Buses 13-16 are for Effects.)

 

To configure the effects, press the [EFFECT] button.

X32 Effects

Make sure that the Bus Input is set to Bus 5 (or above) – see below. The Fader for Bus 5 will then control the level to the FX Send.

X32 Effects1

By default, the FX RETURN will go to the Main LR Mix.

To add Effects to the Folds…

  • Press the [EFFECTS RETURN] button for the Effect Returns. (Left/Middle of console)
    X32 Effects1
     
  • Press the first channel [SELECT] button for FX Return 1. (Above channel strip)
    X32 Effects1
     
  • Press the [SENDS ON FADER] button to send that Effect signal to the Folds (Bus1 – Bus4). (Centre/Middle of console)
    X32 Effects1
     
  • Lift fader Bus1 – to send more effect to Bus 1.

 

Pre Vs Post Fader

Effects use Post Fader. Foldback/Monitors use pre Fader (ie: changing the Input Channel Fader should not affect the Fold). To check – press [HOME] and then check the sends tab.

X32 Effects2

X32 Effects3

This FAQ is all about mixer outputs. If you want to know about inputs (ie for Mics, Guitars, Keyboards) this FAQ is not for you.

 mixer outputs

The output connections is where you connect your mixer to various components like amps, powered speakers or recording devices. The outputs on a mixer come in 3 types:

XLR & TRS  Balanced  +4dBu  1.2V
RCA & TS Unbalanced  -10dBv 0.3V
Headphones Unbalanced Amplified   
       

A Balanced cable will generally have 3 conductors (2 signal and one ground). One signal is reversed in polarity. With the correct gear, the cable noise can then be cancelled out.

Generally the XLR outputs will sound louder than the RCA.

For distances greater than 10m - use the Balanced XLR outputs to reduce noise.

TS: Tip and Sleeve (mono plug)

TRS: Tip, Ring and Sleeve (stereo looking plug...but is generally used for balanced signal in this case) 

 

Today, the airwaves are full of transmissions - and wireless microphone transmissions can suffer from interference.

Due to the incompetence and lack of forsight of our Australian Government, equipment suppliers have had difficulty finding safe frequencies for wireless equipment - and as a result wireless gear is prone to reliabilty issues. So if you can, use cables - and only use wireless if you have too.

Hero4 SilverThese are our favourite settings for low light video (with relatively low noise) on the Hero4 Silver...

Resolution: 2.7K allows for cropping with no effect on light.
Frames Per Second: 25 best for Australian 50Hz power supplies - avoids strobing.
Field of View: Linear  No Fisheye
Spot Meter: ON Will set exposure with what is center of the frame.
Protune: ON Allow extra settings
White Balance: Auto or 5500 Use 5500 if matching with other cameras - Average Daylight
Color: GroPro Color Use Flat to grade with other cameras
Shutter: Auto  
ISO Limit: 800 1600 will show more grain. 6400 is terrible
Sharpness: Medium  
EV Comp: 0.0 Exposure Compensation.
     

BenringerX32 Mixing EQ

Here are some EQ guidelines for mixing live performances of acoustic style instruments. Every gig is different and requires unique EQ settings - it depends on how large the band is, what instruments are playing, and making spaces for instruments/vocals to produce balanced and clear audio.

VOCAL MIXES

100 Hz and below: Rumble: Mostly wind, mic-handling noise, stage/floor vibrations. Cut this out.
200 Hz Boom: This frequency is usually where you'll find the "head cold" sound. The female voice may run a little higher, but this is the ballpark.
400Hz Honk: Honky or Boxy sound. Sometimes you need to cut this slightly.
800 to 1,000 Hz   Word Clarity/Nasality: Not enough and intelligibility of some lyrics may be unintelligible, too much and you get the teacher from Peanuts
5,000 Hz Presence: Use to lift the vocal above in the mix. Adds some energy, or some "buzz" to a vocal. Not enough, and the vocal may sound deflated, flat, and dull.
4,000 to 8,000 Hz Sizzle/Sibilants: Typically this is the range a de-esser is handling – the "sss" sound. Male sibilance is typically 3-7k Hz and female sibilance is typically 5-9k Hz.
10,000 Hz and up Air: Apply a light shelf boost here to open up the vocal a little.

BASS MIXES

40 to 80 Hz  Bottom: Especially with five-string variations, this is where the bottom resonances of most basses live
80 to 200 Hz Fundamentals: The primary fundamental of the bass. Right around 180 to 200 Hz is where you can try to cut in on a bass that is too "boomy" to clean it up while preserving fundamentals
200 to 600 Hz Overtones: These are the upper harmonics of most bass tones, depending on the sound you're interested in. Lift these for more tonal carlity/definition.
300 to 500 Hz Wood: Particularly in upright basses, it's that distinctive, woody bark
800 to 1,600k Hz Bite: The growl and attack of most basses can be either emphasized or toned down around here
2,000 to 5,000 Hz String noise: Sound of the strings – normally cut this out.

KICK

 40 to 60 Hz Bottom: The tone of the reverberation in the shell, sometimes too rumbly, can be undefined/indeterminate depending on the mic'ing/speakers
 60 to 100 Hz Thump: The "punch you in the chest" range of the kick
 100 to 200 Hz Body: This is the "meat," if you will, of the kick sound
 200 to 2,000 Hz Ring: Typically cut these frequencies in a large band if you have issues with ringing and muddy sounds
 2,000 to 4,000 Hz Beater Attack: This is the range to look for the "thwack" sound of the beater, critical for getting that "basketball bouncing" kick sound

WHISTLES

150 Hz and Below  

Rumble: Wind and breathe. Low shelf cut all this out.

 3,000 Hz This is the screaming baby frequency - feels like being poked in the ear canal with a chopstick. Generally cut this for those high piercing notes. Wider band, -10dB

VIOLIN

150 Hz and Below 

     Rumble: Usually can hear the body shell noise and bumps. Cut all this out.

 
450 Hz Honk / Boxy: Might need to cut this. Narrow band – or you may lose the wood.
3,000 Hz This is the screaming baby frequency - feels like being poked in the ear canal with a chopstick. Generally cut this for those high piercing notes. Wider band, -10dB

Feedback Frequencies

Feedback frequencies can vary depending on room acoustics and microphones. Its best to ring out your mics before the gig to find these exactly.

Generally you may need to cut 2,000 Hz and 4,000 Hz for the high end feedback. Sometimes you may need to cut the low end hum at 500Hz.

 

REF: