How to Set Up the Behringer X32 or Midas M32 Mixing Console and Stagebox for Worship | Online Course

welcome to this course in which you will learn how to set up and configure an X 32 or M 32 sound console in digital stage box for worship now I know that may have sounded like a lot but here's the purpose of this course if you are setting up a sound system for the first time at your church it can be really intimidating taking a mixing console in a stage box and all your other pieces of gear and all integrating it into one cohesive system that you can use week in and week out so what I thought it would be best to do would to actually take my - M 32 R as well as our digital stage box the s 32 by bérenger and walk you through step by step how do you start with a blank console straight from the factory and configure this for your worship ministry so this course is going to be excellent for those smaller to mid-size churches who are looking to implement this system it's also going to be great for churches who are portable they're setting up and tearing down on a weekly basis that's what my church does and you'll see how powerful these tools are for making that process very easy and efficient in this course I'm going to dive pretty deep into how you can route audio with this mixing console so you're gonna learn how to plug in all your microphones and instruments any other digital devices you have like if you're running a Dante Network using the card that's built into this console so I'm going to show you all the details and ins and outs of that so you not only know how to get signals into the mixing console but you'll also know how to send signal out of the mixing console to get to your PA speakers as well as your in-ear monitoring system and it's also important to understand the way I'm setting this sound console up it's going to be optimized for actual day-to-day week-to-week ministry so we're gonna make sure that you have it set up in an efficient way for your volunteers to navigate the sound console we'll make sure we have some good effects set up to really enhance the sound of your worship band and also show you some tips and tricks in of getting this sound console to play with other devices when it comes to capturing audio and mixing audio for broadcasts in your worship gatherings and before we dive into this course make sure you've already worked through the beginner's guide to church sound that's the prerequisite before going into a course like this one because in the beginners guide I unpacked from you a lot of the higher-level concepts about the different pieces of gear we're working with as well as things that have to do with processing audio with our mixing consoles so I'm not going to show you how the equalizer works or how Gein works or things like that you should have already learned that in the beginners guide to church sound then you'll be able to take those concepts and you're going to be able to quickly start navigating this board in processing audio and building a mix for your worship ministry so without further ado let's dive into the training in this lesson I want to give you an overview of all of the gear and software you will need to effectively follow along with me in this training so first let's start with the pieces of gear the obvious one is the mixing console itself so here I have the Midas m32 our digital sound console and you're gonna have to have a sound console that's within this ecosystem for this to make sense so you can have the x32 by bérenger very popular the Mitas m32 which is the full-size version of this you can have the x32 compact or x32 producer or x32 rack and like I already said you can have the full-sized midas or this rack mountable version do not get caught up in the differences of hardware between these consoles the mitos is kind of like Cadillac the behringer boards are kind of like Chevrolet right they're really created by the same overall company but one of these consoles immitis has just a bit higher quality luxury hardware so to speak but when it comes to the user interface of these boards as well especially the software that we're gonna dive into it is exactly the same the next most important piece of gear you will need is a digital stage box so right here I have the behringer x32 stage box it has 32 inputs in 16 outputs I highly recommend when you're building a system for your worship ministry get a digital stage box and try to get rid of those old analog snakes and you'll notice because this is all part of the behringer Midas ecosystem these devices are compatible with one another these stage boxes use the AES 50 protocol which is a digital networking protocol which is allows us to send many channels of audio to and from our mixing console to this digital stage box over an Ethernet cable and the specific cable we use that's our next piece of hardware it's an ether con cable so it looks like Ethernet but the end of it looks more similar to an XLR cable so make sure you get an ether con cable to connect your digital mixing console to the digital stage box so those are the two major pieces of gear you'll need in order to follow along for this training the next piece of gear you're going to need is a simple Wi-Fi router so I actually have a Wi-Fi router this Netgear it's a very inexpensive one probably like 20 bucks on Amazon I found it and this is a Wi-Fi router dedicated to just this mixing console ecosystem and what this allows me to do is it allows me to wirelessly connect my computer running the x32 edit app so I can actually you know control the board see I'm actually moving the fader here by just adjusting the virtual fader so it allows us to control the board edit the board it'll be much more efficient I'll talk a little bit more about that later on but the important thing is get a Wi-Fi router it can be a cheap one it does not need an internet connection you don't need to be able to browse Facebook or Google for this to work you just need a local area network so that your laptop running the x32 edit app as well as your musicians who want to run the mxq app on their phone they can wirelessly control their monitor mixes so I definitely recommend getting this Network set up now and all you have to do is get the Wi-Fi router plug it into power and then plug the ethernet cable from the back of the Wi-Fi router you'll see here you just pick one of the regular ethernet ports not the internet port you don't need internet if you do have internet nearby you can plug it in there but you don't need it plug the ethernet into here and then plug the other end of it into the Ethernet port on the back of the mixing console the next piece of gear I recommend having is a laptop so you can see I can have a laptop here again to edit the parameters on this digital console another piece of gear I recommend is getting a label maker so you'll see on my digital snake I've created some physical labels for these inputs and this is about the only time you'll actually be having to physically label inputs and outputs within this setup but it's really going to come in handy when you just want to plug the same thing into the same spot every single week so I'd recommend getting a label-maker for that purpose and then finally I would recommend getting a four gigabyte USB thumb drive so that's what I have right here and it has to be formatted to the fat32 format so you plug it into your computer go to the disk formatting app on your computer whether it's Windows or Mac Mac on Mac it's the disk utility app and you want to format the fat32 and that's going to allow you to do any firmware upgrades to your mixing console and bérenger has great instructions on all those things on their website so if you're just Google you know behringer firmware update you can follow the instructions there but you want to make sure that the firmware is up-to-date and finally for the purposes of me teaching you how to use this board how to set it up I do have a microphone to kind of test some of our routing here to make sure everything's working properly before we actually move into the space we're gonna set up for worship and then I have a monitor right here as well that I'm going to be using to to simulate my main PA speakers so that's all the gear you're going to need to make the most of this course in this lesson I'm going to show you how to configure a wireless network for your M 32 or X 32 digital console so that you can easily connect the laptop running the M 32 or X 32 edit app as well as your musicians can connect the MX q app to control their mixes wirelessly with their phone so make sure you have a router as well as an Ethernet cable and you're gonna plug that Ethernet cable from the router into the mixing console then you're gonna want to fire on the Wi-Fi router and I recommend configuring some of the basic settings on the Wi-Fi router so if I were to look on the bottom of this Wi-Fi router it actually has some information as to how we can go ahead and configure this you know so what you need to do is fire on the Wi-Fi router and then you're going to see it in the Wi-Fi on your computer here you'll hit the little Wi-Fi icon and then look for the name so the original network name for this was net gear 0 0 that's how it came from the factory and the password for that network was quick Lotus 355 so I used those credentials to log on to this Wi-Fi router network and then for a router login pretty much on all these routers it gives you an option to basically go to a URL where you can get into the settings of this thing so you go to a web browser like Safari Firefox or Chrome you go to the URL in this case for this net gear router it was router login net and then the username and password was just admin for username and password was password so those are the default settings so that's going to allow you to log into the Wi-Fi router settings and then you can configure the network name so I recommend naming something obvious so we named ours mixer control so I have mine right there and that that's what you know we know if we're editing a mixer or we want to control our monitors that's the network that we need to log onto and then I'm definitely set a password so not anybody can just log on there and download the app and start just you're mixing parameters that would not be very good so get the Wi-Fi router configured there's really not a whole lot of fancy stuff you need to do besides just change the name something memorable and also set a password for people to actually log on to that Wi-Fi router and you do not need internet capability on this router like there's going to be a plug on the back of it this yellow port for internet you do not need that it'll work just fine without internet so go pick up a Wi-Fi router a cheap one off of Amazon get it configured get it plugged in the console and then it's going to be ready to go to start talking to your other devices on the mixing console itself go to setup and then navigate over to network and then you may need to go ahead and you know if this is all zeros you know I would recommend you know going down here on the bottom left encoder and kind of like a default way of getting these numbers set where they need to go is if you just hit that button when it says IP here it'll actually just kind of automatically assign an IP address the subnet mask and a gateway to this device so that it's ready to go and to start talking to the App so again I would just hit this you'll see it just went through and kind of like did some fancy networking thing here and then that should really be set to go so you'll see a number like 192.168.1.3 it's a very common address and the gateways usually 25 or sorry not the Gateway the subnet mask is usually 20 to 55 255 255 0 and the Gateway is very similar to the IP address except that ends in 1 so just hit that button to kind of reset it let it kind of figure out what spot it needs to be or what address it needs to be on the network next I'm gonna go to my computer make sure that I'm logged on to the mixer control network which I am and then I'm gonna download install the x32 edit app so just search for that on Google you'll find it on Berenger website get that installed on the computer and then open that app once it is installed and you'll see I've already had this up and running so it's actually already asking me to connect to this mixer because it sees it on the network and you can see that IP address matches what was on the mixer so I'll press I might repress cancel for now I'm gonna go to setup because sometimes you know if you don't see this for the first time you'll have to go hit the gear icon here and then select your mixer it'll show up on the network if multiple mixers would show up here if you had multiple and then just press connect and then I like doing mixer to PC so this just means it's gonna send all the current mixer settings to the computer takes a second to transfer those parameters and there we go and then just to test it I'm gonna move this first fader and as you can see that is working just fine on my iPhone it's going to be a very similar process so I'm going to make sure that I am on the right Wi-Fi network here so mixer control make sure that gets logged on okay looks like it did and then I'm gonna go to mxq that's the app you can find in the App Store for Android or iOS and automatically because it's on the right Wi-Fi network we see the mixing console show up here so I'm gonna press that it says connected and now as a musician I can go through and start controlling my mix very straightforward you know this app you're gonna see the mixer of all the channels here when you hit that button this is where you're gonna select the mix bus so later on we're gonna configure and edit all these for all the different musicians but these are all the different in your monitor mixes that they'll be able to access and edit and that concludes this lesson on how to set up a Wi-Fi network to get your mixing console to start talking to other devices to make your life a whole lot easier in this lesson I'm going to show you how to configure the audio routing on your mixing console this is a very important thing to do before you go start plugging in microphones and in-ear monitors we have to make sure the mixing console is setting audio to and from the right destinations properly so that everything will just work when you actually plug in all these devices so a couple things to make sure you have in place make sure you have the digital stage box connected to the mixing console via the ether con cable and both of them are powered on so make sure that is ready to go and then you can go to the routing tab this is where a lot of the magic is going to happen on this console and there's a couple tabs that we can scroll through here and this is going to look really confusing at first but I really just want to break this down for you as simply as possible so the first thing I wanna bring to your attention is that you'll see there's a little section here called connected devices and it's saying AES 50 a so that means on the input input a on the back of this console for the a si si es 50 cable I have plugged in this digital stage box so I could plug another one in and that would show up under B but for most cases most worship ministry setups you know having a one stage box like this with 32 inputs or 16 outputs is all you will need for all the different purposes in your worship ministry but the important thing to know is that you'll know they're talking to each other and your cable works when you actually see this digital stage box show up here under connected devices so under this Home tab on the mixing console and I'm going to pull up the routing section on the app as well so you can kind of visualize it this way here is where the magic happens and this is where you're telling the mixing console to pull audio from these are the input selections so you have 1 2 3 4 5 different banks of inputs that you can configure in pull from different sources when I say sources they could be input sources on the back of the sound console they could be the import sources on the stage box those are kind of the main two hardware options that you have they can also be input sources from digital network like Dante and that's what the the card inputs mean and indicate so when I go to inputs one through eight what we're saying is hey for the first eight inputs that I have available of things coming into my console here's where you need to pull those eight inputs from so we have a couple options it says local so that means the local 16 inputs that we have on the back of the sound console if you have the full-size one you have 32 inputs that's why these ones right here 17 through 32 are in brackets because those aren't available on this particular model and then down here we start seeing our digital stage box so we have a es 50 a so think of that as digital stage box one which is the only one that we're using so that's what this is indicating here and then if we had a second one we have a es 50 B that would be for a second stage box then we have card inputs so we can have card coming card inputs coming from the Dante digital network on this console that I have I do have a Dante enabled sound card in the console so that's where my card inputs would be coming but when these boards come from the factory you get a built-in USB sound card that you can easily plug into a laptop and it basically turns this device into a large audio interface but for a lot of what I'll show you in this because I highly recommend using Dante that's where the card is going to be coming into play so you'll see we have the same exact options for all of these different banks we have local as50 a AAS 50 B and then card inputs and it's just the same exact selections through here and then it's a little bit different because we even have you know we have 32 channels of inputs on this board but we actually have an additional few inputs I think it's six or so inputs that we can use for auxilary input so there are zillions on the back of the sound console like quarter-inch inputs and there's local you know we can select what those sources are right so again we can be like oh we want the first two channels of the stage box to be our auxiliary inputs so I honestly in our setting we don't really use those that much for anything but they're just additional inputs that are there available for mapping if you need it so let's just worry about inputs for right now and here's how I would configure this when I'm using this console in this digital snake it's going to be up on our stage and pretty much all of our devices all of our microphones all of our instruments are just gonna be going into this stage box so first thing I would do is really determine how many different instruments you have and how many vocal mics you need all the things I need to go into your system for inputs determine what those are and then go ahead and label these inputs on this stage box so you'll see I have a certain style of labeling that I did by default you know these inputs have numbers on them but it's not very helpful for when you're in here and patching things into the right channel so a little trick that I did is when I labeled these inputs I actually labeled them first with the the actual input number for this stage box so not just one but I put a one because this is going to be a es 50 the letter A and then the number of the input that you see on the digital snakes so you'll see here this is how we have it configured our church we have a one it's our kick drum a two is snare a three is high Tom a force low Tom a five is overhead left and then a six is overhead right and so on so I could have gone through I could have gone through and just labeled everything you know according to that a protocol there and I just usually just just labeled everything that we're actually using on a Sunday morning so we are using about 13 for usually 14 channels every single Sunday and I labeled those appropriately so that when we are setting up every week our musicians know exactly where they need to plug their instrument or their vocal mic into so I highly highly highly recommend labeling the stage box to save you a ton of time and headache and then labeling it with that a in front of it so that you'll see later on when we start patching out our channels in the in the board you'll know what a one is or a five is or something like that because you you linked that patch number with the actual device or instrument so let's go ahead and actually assign the right input banks here on this sound console so for inputs one through eight I'm going to set those to be as50 one through eight so that means now these first eight channels are going to be inputs one through eight on the Casal console and then I'm going to do nine through sixteen for the second Bay of inputs and then let's go even one more let's do 17 through 24 on this digital stage box is going to be input 17 through 24 onto this mixing console and in our context we like to use Dante digital audio networking for running our tracks in our main stage setup it's really really handy so I'm gonna go for inputs 25 to 32 we're gonna use card 1 through 8 so that basically means I have about 8 channels of digital audio networking I can use to send up in to send to the mixing console and in our scenario that that works just fine we don't accept really exceed that with our digital inputs and where the auxiliary inputs could come in handy is if you want it to plug your propresenter laptop or something like that via 3.5 millimeter headphone jack into like a stereo RCA input that you'll find on the back of this console you can plug it into the auxiliary 5 or 6 into the back of this console and it'll map to that just fine so that's an example of how you could actually use that axillary in one thing you'll notice now that we have these inputs mapped to the channels is by default all of these channels are gonna match one to one with all inputs on the stage box and that's why now we see the letter A on this this just means a 1 a 2 a 3 and so on but now I want you to understand what this will look like when you're configuring an individual channel and saying what input do you want to go to this particular channel on the sound console so let's just look at channel 1 for right now and I'm gonna select the channel and then it's gonna bring up the the home screen for that channel make sure you're on the Home tab if you're not and then go to config and this is where you can configure the source the input source for this channel so notice when I go to the source knob here you'll see it says you know I can set it off and that'll just turn the channel blank or by default it was on a 0 1 which is a 1 on my digital stage box and I can scroll down here and you'll see we're pretty much using the a inputs all the way up to 24 and then because I set inputs 25 through 32 to my card input now that's giving me the option down here so again it's really important to connect how these different pages kind of link together and how they're working together so if I go to routing let's say I wanted to use the local 1 through 8 inputs on this sound console for these first 8 channels on the board I would connect that there then I'll go back to my channel configuration and now you'll notice it actually switched to Ln 1 which means line 1 which it went Ln it means the back of the sound console when it's a or B it means the stage boxes so now though you know I'll scroll through my sources and it only has the local line inputs through 8 right because that's how we assigned it back here 1 through 8 and then when we go to 9 through 16 inputs you're actually going to see the stage box be selected and it goes back to the a 9 through 16 and so on so I hope you're grasping how these work together I'm going to switch 1 through right back to our digital stage box so that's ready to go but I'm hoping you're really grasping how all this input networking and mapping works because it's really gonna make it's your life so much easier and you'll be able to plug things in and confidently just know where exactly they're going or how to route them to different destinations because one of the beautiful parts of a digital sound console is you can pull whatever input one of those 32 plus the auxiliary inputs into whatever channel you want so even on channel one it doesn't always have to be limited to one on this stage box which we usually plug the click kick drum into or vocal one or whatever that is like I could be like okay I just need to switch the source for this channel I want to switch it to five so now it says a five on this scribble strip right here so now I know that this channel is getting the a five input on this digital console so there's so much flexibility I definitely think it's preferable you know when you're setting these things up for the first time if you can do that one-to-one mapping of knowing that okay my first eight channels are gonna be just vocal and speaker mic so let's just plug those into the first eight channels on the on the digital snake like I think once the one mapping is always great as a default but as you need to you can start digitally patching things in two different places so let's just test out this input routing really quickly to make sure everything is working fine so I have a microphone plugged into a seven on my digital snake so I'm gonna go to channel seven because that's what's linked to a seven right now I'll select that Channel this microphone doesn't need phantom power and then I'm going to go ahead and start turning in the gain up on that and I'm also going to turn the volume up for that channel so now you can see we're not really worried about output volume yet because we haven't configured our main speakers but you can see as I start talking you can see the gain coming in to this channel which means that it's working just fine but let's say I wanted this microphone input to actually map to this first channel on the board well out select that first channel and then I'll go to configure and then I would go to a seven and now you can see that this this microphone is actually coming through two channels you could do that if you wanted to not really much of a purpose to do that but it just shows you the flexibility of routing these different microphones and devices to different places on your sound console so now that we have taken care of all the input mapping for a sound console let's go back to the routing tab and now let's talk about outputs so with this M 32x32 line of sound consoles we have up to 16 analog outputs to work with which is often plenty enough for a lot of our use cases so if I scroll through this first Bank here you'll see it goes all the way down to 16 and then with these outputs what we're gonna assign to them are things like monitor mixes as well as our main main mix that goes to our PA speakers so I would recommend you know assigning your left and right main output mixes which is gonna be you know outputted by this master fader here I would assign those down output 15 and 16 so what you're gonna do is you're gonna go down scroll down and just assign this little selector here to output 15 you don't have to click on it just put it over it and then you're gonna go to category you're gonna hit main left right center and then you want to then click a sign on main left 4 for 15 and then for output 16 we're going to do the same thing go to main left right center for category and then go to main right and then it's assigned and then you always have this option called tap and this is where it's tapping into you know whatever that signal is whether it's a monitor mix or the master mix from master mixes you want to make sure you have that on post fader just because you want that sound to be doing post or after what you're doing with the fader here you want the fader to affect that level of output being outputted to your main PA speakers so that's how you configure your main speaker outputs here we're still not done yet there's a bit of routing that has to be done to configure how these outputs actually go into this digital stage box we'll cover that later but let's again come just kind of continue with mapping these output so I'm gonna scroll to the top here now from outputs 1 through 8 I'm gonna sign those to be in your monitor mixes and and we can easily you know go through and label the name of these in your monitor mixes but by default they're called mix busses so mix buss 1 through 8 just think of those as in here monitor mixes so I'm gonna go through just kind of double check what it's already set to so with these monitor mixes by default it's already kind of mapping them to you know output for is mix +4 output 5 is mixes 5 and so on so that's pretty straightforward here they actually had 7 & 8 here are going to some main PA speakers so I don't want to do that we already signed those PA speakers so I'm just going to go down here to the mix buss outputs and replace those main PA speaker feeds to that the other thing though I want to change is I want to change all these mix buss outputs to be pre fader which just means that it gives our musicians the ability to just hear their mixes without it being affected by the fader on the sound console because you don't want your sound person you know adjusting well you want them adjusting the mix for the main mix but you don't want that affecting your musicians in years so this is where you can make the tap selection in most cases you know it's good to have it be post EQ and post-processing and such so your musicians can hear their voice at least eq'd but put it on like pre fader so that they're not their mix isn't affected by what the sound person is doing to the main mix so that's how you can go about assigning the outputs for your monitor mixes as well as your PA speakers but we're not done yet because we haven't actually got the signal to our stage box which is where all those outputs are going to be coming out because you can see here these bottom ports that we have these are all outputs for our in your monitors and then these last two are outputs for our main left and right speakers for the main mix so in order to actually get that output signal to our speakers let's just focus on the main mix right now we need to scroll over to our a EES 50a tab so this is where we can start configuring these outputs that we assigned in/out one through sixteen here think of these looks kind of like your virtual outputs to work with but here's where you're actually assigning where those are going so by default this may be ready to go but here is what to double-check so you're gonna see multiple banks of outputs and you can actually have up to like 48 outputs we don't definitely don't have 48 like actual plugs or physical jacks to be able to do that but we have sixteen on this stage box so we can at least utilize these first two banks so what we're doing is out of these sixteen output channels on the stage box on the bottom of the stage box we're going to assign outputs one through sixteen because the when it says out one through eight and out nine through sixteen these are what we assigned up here where says out one through sixteen back on this tab so this is just telling it hey here this we have sixteen available outputs here's what we want to each output where you should be pulling it you know tapping into that feed you know that's pre fader or post fader pre fader for monitors post fader for your main mix and then go over to the AES fifty a stage box settings and this is really just the outputs for that stage box and then you want to go down and select the right output so by default mine was already on outs one through eight and then nine through sixteen for the outputs on this stage box and there we go it's it's good to go now let's actually test this to make sure it works so I'm gonna go back to my my mic I had set up on Channel seven I'm gonna turn the fader up they're sending outputs in the main mix but now I need to actually turn on my main mix here and you probably can't hear it might sound kind of weird through this mic but it's working just fine so this mic is coming out through my main PA speaker that I've set up here and main PA speaker is plugged into named left and I just double-check that main right was working as well and I can even you know test it by by panning these just to make sure that you know everything is working so if I went all tip all the way to the left on the pan I can't hear anything if I go all the way to the right now you can hear it so the main output speaker assignments are correct and they're working perfectly and while I'm testing my setup and we already made sure that the main outputs work I'm gonna go ahead and actually switch this speaker I'm gonna plug it into the outputs coming from my first in ear monitor mix so that's plugged in there and I'm going to go ahead and then pull up my busses so bus one is gonna be that mix one and then I'm gonna hit flip fader flip so that now whatever changes I make here are actually you know sending signal to this bus so I'm gonna go ahead and go ahead and turn this guy up this is Channel seven going into bus one and now we can hear it just sounds just fine but what's cool is because it's a pre fader output now whatever I do this is our main mix fader for Channel seven and then this is our monitor mix so like when I do this this is just the level of the monitors but when I do this it does not so it's good to just double check to make sure everything's working fine because you know when you're looking at these routing settings you could miss something and you know and then you're confused it like why are my monitors not working properly why I'm not hearing things out of the main mix and of course when you're on the mixing app you can see just a different way of looking at this and it's a bit actually more user-friendly so the inputs we already went over you already saw those changes but again outputs I assign those to the mix busses for one through eight and then we're not using nine through 14 for anything right now and then we have the fifteen and sixteen we are using for our main left and right speakers here which you can see so it's kind of showing you this it's like this patching grid shows you you know what's mix is being sent to which output here on the left and then here again we're seeing our AES 50 output settings that we just assigned another aspect of routing I want to bring your attention to is the card routing so this is the card output tab we already talked about card inputs of like digital signal coming in we allotted 8 channels here under inputs 25 to 32 to take in those card inputs from things like Ableton Live tracks or mainstage anything on our Dante network but let's go to the card output because now I have to think ok how what about sending digital single out of this thing to other places in a common use case is to be able to capture a multitrack recording of your whole worship and so what you want to do there is you actually want to capture this what I recommend capturing the raw inputs going into the digital stage box so for card output routing what I tell it to do is I go down to a es 51 through 8 and then 9 through 16 17 through 24 and then I would say you know it's kind of flexible 4/4 which what you select for the last one and honestly we don't even need that many of the feeds coming from this digital snake since we use about only 16 channels on a given Sunday but what this is telling it to do is is saying hey pull pull the signal that's going into these inputs here before it ever actually even goes through and gets processed by the mixing console these are gonna go out the card - like the Dante Network like I said that's what we have on this this console and then I can send that directly into software like Pro Tools or logic or Ableton whatever I'm using to capture a multitrack recording so then when I pull open that software like Pro Tools and I select you know my Dante Network or this device I'll know that those inputs 1 through 8 are gonna match up on my computer with inputs 1 through 8 on the stage box so that's what the card output does and it's important to kind of think through how you want to go about configuring that so for the last Bank I would assign card one through eight so then I all of our Dante Network audio that's coming in not via the stage box but through digital networking we're capturing that and sending that out to any other devices we're using to multitrack record audio so those are the card output settings I would recommend especially if pretty much everything you plug in is going into your stage box maybe you do end up plugging a few things into your local mixing console so you'd have to go to local one through eight or nine sixteen to make sure you capture those but you basically have 32 channels you can capture and send out your card to be recorded in multitrack but you have only four banks to work with so you have to kind of think through you know which banks do we need to capture and and have that capability with a couple more taps to bring your attention to we do have the auxilary output tab so you'll see on the back so back of a mixing console like this we have six auxiliary outputs and you can you know send whatever mix bus you want you can send your main mix out those so it's just additional flexibility of sending signal to different destinations that way then you have the alternate tab this is where the peace 16 digital personal mixers come into play and you can actually select on those personal mixers what 16 channels of audio your musicians will have to dial in they are in your mix so it's pretty straightforward you know you can just go through and for like alternate you know one for channel one on the P 16 you can go and then just select okay direct output and this is often the most common thing to do is just select you know what direct output from which channel on your board is gonna be number one like a vocal mic or if it's yeah if there's channel one you probably like a vocal mic channel to welcome like three and so on and then you can start building this sixteen channels out for there an ear monitor mix but that's that's only if you're using the AlterNet with the P 16 outputs and you use digital monitors that way or in your monitors that way I'm not a huge fan I'd rather go the wireless in your monitoring route and the head phone amp route I just think it's so much more flexible as a musician I love just mixing with my phone rather than having to have that physical unit onstage especially in a portable setting may be in permanent settings you may want to consider those p6 teens but that's where all the magic is done in selecting what are those 16 channels going to be on those devices and again you can select the tap of if it's going to be prepaid or a postpaid and such one last thing to consider too is here is where you can actually set some configurations for you know if you're using some speakers like turbo sound speakers that have the ultra net capability this is where you will actually assign you know your main left and right outputs to the ultra net and then you plug that ethernet ultra net cable into your main speakers and just make sure that you have the main left and right assigned here for these outputs so ultra it's a cool feature I personally don't use it very much but those are some of the cool things that you can do with it one last tab to bring your attention to is the XLR output tab so this is the XLR outputs on the back of your sound console because sometimes maybe you have your wireless in your unit back by your sound booth and that's where you want to send it out from so in that case you know you'd want to just select you know for XLR one through four is that just gonna be outputs one through four is that gonna be different your P 16 is it gonna be card one through four you know if it's one through four here that means the first four outputs on the back of the sound console will match up with these first four outputs that we have here in our out one through sixteen assignments so again this is handy if you just need to pull audio directly from the XLR outputs on the back of your sound console so that's really it now you should have so much more clarity about how to send signals in to the mixing console through the input routing as well as configure your main 16 channels of outputs and then making sure that those outputs map properly to the outputs on the physical digital stage-box device and that concludes this lesson on how to figure input and output routing for your ex 32 or M 32 digital console in this video I'm gonna show you how to go about labeling and organizing all of the inputs and outputs on your sound console so I'm gonna show you how I would go about if I were building a mixer from scratch and in organizing the layout of all of our faders and banks I'll show you how I would go through and label everything and color code everything to make it really easy to navigate whether you you are the sound tech or whether you have other members or volunteers on your team who will be running this on a regular basis since the physical hardware of this unit is is laid out in banks of eight I like to work with that and I like to just make it look as clean and simple and quick to navigate as possible so what I'm going to do is I'm going to navigate through the different input banks we have so we have 1 through 8 9 through 16 17 through 24 25 to 32 now they're all completely identical right now they're all yellow and they do have you know the labels in terms of what number these channels will be on the stage snake and then also some card inputs here on this last Bank but we don't have to get super caught up in where all that routing currently is because we're actually going to really just build this out and by me building out a full band setup in this board and organizing it hopefully you'll just pick up a lot of tips along the way and we'll be able to implement the same technique for your ministry and what I'm also going to do is I'm actually going to save kind of the end product of what I'm gonna build now into a scene file so that you can actually load that on to your USB Drive and then you can follow my lessons video about how to load scenes and then you'll be able to recall all the settings that I built but I really want to walk you through this process especially if you're the one building this at your church you have to understand how all of this work so here's how I'm gonna go ahead and organize the layout of my channel so right now if I hold down inputs 1 through 8 and 9 through 16 you're gonna see all 16 input channels right here it's a cool little trick you can do with this sound console instead of seeing you know inputs and mix busses so you can really kind of mix it up if you have the full-size x32 or m32 doesn't really matter as much to you but what I'm gonna do is my first 8 channels I'm gonna allocate these towards my primary speaking mics and vocal mics and at this point again I'll give you a good framework to work with but a lot of this organization is totally personal preference I'm going to show you my personal preference as we do this so to the label you know you can select the channel and then you can go to setup on that channel hit scribble strip and then you can go through and you can you can rename the channel you can recolor it you can do the icon but it becomes really cumbersome working with that little typewriter in here this is where you'll especially want to utilize the power of having the Edit app alongside so what I'm going to do is I'm going to go through this edit app I'm going to go to the channel and I can edit the scribble strip settings for a channel so I'll keep it mixer view here I'm going to command click that scribble strip it's not very intuitive so command hold down on the keyboard and click on it and now I'm gonna start renaming it so we'll just call this speaker mic 1 or speaker 1 sometimes you can't fit all the characters in there and I'll hit enter so now that's relabeled on to the board and if you have like a pastor or a host you could name it you know accordingly so whatever their specific title is if you would like I'm just going to kind of give everything generic names and can just get this all laid out for us so again let's go ahead and call this speaker 2 and then command click this click speaker 3 command click speaker 4 and let's say we have four mics dedicated to people who are just you know speaking pastors at our church so now let's let's get some mics set up for like vocalist so say we have for the vocal singing musicians at our church others usually usually we have like two at most but we'll have like sometimes I have three vocalists and one talkback so it really really depends on how you know your a specific context so I'm gonna go through and real able that so now we have vocal one two three and four and it's all labeled here it's all yellow it looks great so those scribble strips are labeled and then this could be also a good step in the process where you want to make sure that all of the routing is gonna match up with your digital stage box and we already talked about the importance of labeling your digital stage box and making sure everything is you know set up accordingly in a way this can be easy to navigate easy to plug things in I recommend you know if you can set it up by default like do it this way and try to match the channel numbers with the numbers that are on your stage box but if you can't that's not a huge deal so for example like the way we originally set up our stage box a mixing console is a bit different we put drums on the first six channels and then we have vocal mic so if I were to go through here and find vocal one it's actually on a seven right so I'd have to go through select that channel and then go to configure and then I'd have to find the right source input and it's actually a seven is vocal one and then vocal two I'll select that and then I would go to a eight and then this would be a nine and then we could say this one would be a ten so you may not have these completely matching up if you're doing this for the first time though you might as well set it up so all of these labels are going to perfectly match what's on the board and I would just do vocals and then we'll talk about the next maybe instruments Bank you'll do then the drum set and so on but I'm going to go back and set this to be more of a sort of one-to-one patching great now I'm gonna move on to our second bank of eight channels the channels 9 through 16 we're gonna dedicate these 8 channels to just the other instruments that we have in our band so guitars keyboards that maybe aren't on Dante or any digital audio networking and maybe any other auxilary instruments that you have going on so let's go ahead and go to our labeling here and I'll go to this channel bank so let's start with some guitars so let's say we want our guitars to be green and let's label this acoustic one so maybe we have more than two acoustic guitars in your band and then I'll go ahead excuse to and then let's say we have two electric guitars I'll also keep those green electric guitar one sorry two green and then let's see we've got let's let's say bass guitar that's an important one late with that green and then maybe for 14 and 15 let's do piano let's say you had like a acoustic piano that was being miked or something and then let's let's label that purple and then let's say you also have maybe an old school synthesizer will let your keyboard you know it wasn't doing Dante but you're actually pulling the sounds directly from that keyboard from like an instrument cable let's just call that synth and then let's just say call channel 16 extra I'll just put that placeholder here for now any other auxilary random instrument that you want to plug in so at this point you know the way that we have is set up again we're not really going to go in and mess around with the digital patching because we have this one stage box and we're assuming we can just plug all these instruments into this one stage box on stage and everything kind of matches 1 2 1 9 on this board is the same four who stick one is going to be nine on a stage box that's where kusik 1 will be plugged in and so on in with the skin and with the scribble strips where you're labeling channels you can get fancy you can go to set up and you can actually pick you know different icons for whatever instruments so for example acoustic guitar I could select the channel and then under here under scribble strip I can go ahead and you know select acoustic so if you want to get fancy with those types of things go right ahead and you can take the time to do that I'm just going to go ahead and real able these real quickly you know my vocal mic so I'll just go ahead and you know scroll down here put like a wired mic image you know and there you go there's simple simple images you can put in one thing I like to do whenever I'm building you know a whole new scene for a board I like to just save once in a while just to make sure things our work will be saved so go to teens you know create your create your scene and make sure you save it just so if something went the power's went off it'll all be saved for you all right let's move on to the next bank of channel so let's go to 17 through 32 and these are all blank 17 for 24 we're still pulling the inputs from the a snake that we have here and then 25 32 that'll be our card inputs from like our Dante Network for running tracks and such so let's dedicate 17 through 24 for drums and any other percussion that we're gonna have so let's go ahead and real able these I'm gonna actually go ahead and change these to blue and then I'll name this kick I'll name this one snare hi Tom low Tom overhead left overhead right and now those are all blue and then maybe we'll just have a couple extra channels on the drum space here in case if we have another drum like for some reason or a auxilary percussion input or something like that we can just kind of have two two extra spaces dedicated towards that and then you know I'm going to go through real quick go to set up and go to my scribble strips and let's go ahead and label these drums so there's a kick there's a snare there's a high Tom my Tom and then there's a floor tom and then here's an overhead left and overhead right in for some channels you know if you have stereo channels like an overhead left and right you might want to actually link those so go to home select the channel like the overhead left and then just hit this link on the bottom left yes and now that's actually gonna link those overhead mic channels if you want those to be consistent so it's good for things like overhead mics or any other stereo channels like when we get into our tracks and in keyboards rig and then finally let's go on over to the final bank that we have here and this will be kind of our digital audio inputs for our tracks our mainstage rig as well as any of anything else coming in from our Dante Network into the sound console so I'm gonna go over to the a pin here and I'm gonna make sure I can actually see the channels I need to see to make this possible let's go ahead and blank some of these outs I can see the rest of this board here you can select which channels are showing up in your mixer so I'll just go ahead and go back here perfect now I can see 23 to 32 let's go to 25 and let's just call this click so that's our click track and guide cues track and then this will be our bass tracks for like those bass synths or weeks where we have to put a bass guitar through there from the tracks and then we have tracks left and then let's do tracks right cool so here are four track channels they're all set to go there and then let's create channels for our main stage rig so I'll go ahead and click on this guy and then I'll label this let's make it pink since it's mainly a keyboard keys main stage I'll just put a main s right there so you know that's the main stage rig it's running in stereo so both the left/right tracks from Ableton we want to link these channels so I selected it hit linked now these are linked and then on main stage must like that hit link and hit okay so now our keyboard rig that's linked together and good to go and then let's go ahead and add a couple more channels let's say we want to actually you know hook up our propresenter computer to the mixer which is going to run audio to the Dante network over Dante via so I'm going to go ahead and assign this to I'll just call it computer and I'll just need to label it white and then a computer again this will be the the right side of it it'll be a stereo Channel and then I'll select this link it's good to go then we go to my scene and again I'm always a little paranoid about just making sure we save everything so that's good to go now we have all of the input channels labeled on this sound console so here's one through sixteen vocals guitars and other instruments and then we have drum set and our digital audio coming from Ableton mainstage and any other Computers you also do have another Bank for inputs this is the auxiliary inputs so you'll see you have six auxilary plugs in the back yon soul you can you know by default these these inputs are set to you know aux one through six the local aux inputs but you could change those to anything you could put whatever inputs from your snake into these channels I'm gonna leave them blank for now and then you have the inputs for your USB recorder so the USB root on this device can record audio I haven't had a lot of great experience with a Midas and x32 USB recorders that's why I like to record externally but when you play it back it's going to come through these channels and that's gonna how you can hear back your recordings so the next important step when it comes to labeling inputs in keeping them all organized is using a feature called the DCA group so if I hit Group DCA one through eight right here this is a really great way to control a group of channels together so I would definitely definitely utilize this feature so in a nutshell what a DCA group does is it'll just be a master fader for a group of vocal mics or instruments or whatever category you want to create in a way to create a DCA group is very simple so here's how I would recommend organizing this so let's make our DCA group one let's make that be for the speaker mics like your host Mike or pastors Mike anything like that the people are just talking during the service so that's how you do it you select the DCA group and then you're gonna see whatever select buttons you hit over here that's going to join it to that group so I hit these first four channels so they're blue that means they are part of that DCA one so now even these these four faders are up but if I were to pull down this fader on the DCA group one or hit the mute button you would not hear anything in these four channels so that's what the DCA group does let's label that I'm going to go ahead and head on over to DCA groups here on the mixer and I'm gonna go ahead and enable named this speaker mics and there we go DCA group is labeled as speaker mics we could go ahead and you could change the icon you have to say something else other than DCA there but we'll just keep that there and then the next one let's say this will be vocals and that'll also be yellow and then I'm gonna select that and then I'm gonna hit I'm gonna select all the vocal channels here so now this DCA group will control all of these these microphones here now let's go to let's pull the drums up here on the left fader there sorry not drums the instruments like guitars and keyboards that's what we have here on 9 through 16 and then my next DCA group I'm gonna call this guitars now I'll label it green and then I'm gonna select it and then I'm gonna select these green channels I like to use color coding because it just it'll just make it really quick and easy for you to navigate the next one DCA group is for is going to be our keyboards so I'll have my piano keyboards here also though I want to go to our main stage rig because that's a keyboard again still selecting the DCA group button and then hitting the channels here so now we have all the keyboards and mainstage within this DCA group here I'm gonna go to my app I'm gonna just real able this keys and make it purple that's it to go let's go the next one let's call this next one tracks so I'm gonna go ahead I'm gonna real able it here and then or I'll call it Ableton just so we have all their Ableton tracks in one group I'm gonna select it I'm gonna select all of the Ableton channels right here now that's in that group and then I'm gonna go to the next one which will be drums so I'm gonna go ahead and color that blue I'm going to call it drums I'm going to go to our drums bank of channels here and I'm gonna hold this down and there we go I'll keep those extra ones aside right now because we're not using them for anything now the drums are on a DCA group and then I also like to label some DCA groups for some of our effects like reverb and delay just so they're in kind of a really convenient place for our son engineers to to to alter you know instead of having to scroll through banks and navigate to the effects panel on the board so what I'm gonna do is go ahead and I'm just going to call this one effects reverb and then I'll call this one effects delay and in terms of assigning you know what's going to these DCA groups with the effect so we'll get that up to that later when I walk you through how to actually set up the effects on this sound console one more time I'm gonna go to my scenes and just make sure we save all this up to this point so at this point we went through and we labeled all of our channel layers and we also created our DCA group so this will really help us stay organized with all of the input channels coming into our sound console the next step is to make sure we have all of our outputs properly labeled and organized so the first step is to determine like how many in-ear monitor systems do you have you know where are those going to be mounted in this scenario we're gonna assume that everything is in the the rack on stage next to your digital snake so here on the digital snake we have all these outputs on the bottom in this scenario we have what we have to wireless in your systems or setups and then we have two headphone amps and then we have a stereo headphone amp for our keyboardist and we have a stereo headphone amp for a drummer so these are the monitor outputs that we use for our band and this will be great to help you visualize how you would set this up for your band so just to be clear the first four in your mixes are mono meaning you're only getting one signal and you're not hearing left or right it's just mono whereas the keyboard headphone amp and the drum headphone amp they're getting two outputs each one for left and one for right they get a nice stereo mix they can pan things in their mix definitely some benefits to that so once you have labeled properly where you want to plug in all of your in your monitor systems or headphone amps on the stage box at the stage rack then you can come over to the mixing console and it's time to start labeling your mix buss outputs to line up with what you have on your stage box so now I'm going to go to the bus 1 through 8 fader layer I see all of my mix busses and I'm gonna label these in the same way that I see them labeled here on the rack so I'm gonna go over here to the Mick's view so I can see all my mix buses and I'm gonna go ahead and re label this one the first one is wireless ears one and actually we're running out of characters so I'll just go wireless one I know that if it's a mix bus it's it's gonna be a bus being sent out for in your monitoring so I don't often necessarily put yours in there so I'll put wireless one wireless two headphones I think we're gonna yeah I'm just gonna put H a for a headphone amp 1 and then a j4 headphone amp 2 and then we're gonna put keys ears left because I know my keyboardist is the one always using this keys ears right drunk years left drum ears right in and there you go we have 8 mix bus sends here and we're using about 6 monitor sends which is pretty typical for your average band of about 6 people we do have more output buses to work with specifically 9 through 12 13 through 16 by default this mixer allocates those so you can have up to 4 effects sends and I'll talk a little bit more about how that laterz works later on but in essence you can have up to 12 unique mixes sent out with an analog signal from this sound console from your stage box so this works just great and 99.9% of church settings you may start running out of channels if everybody has a stereo in your mix but for the most part this really should cut it for your band at this point we're really pretty much set to go in terms of our monitor mix setup everything's labeled so now when your team members pull out their phones and they go to the mxq app and they are on the Wi-Fi network they can select the device and now they're gonna select the mix bus that they need to listen to so they'll hit that top left mixed bus button and now they can select my wireless one to headphone amp keys here's drums and such and so on and another important thing to make sure you do which I forgot to do in this case is to link your stereo monitor mixes so I'm gonna go to keys ears right here and I'm gonna hit link this is just like when we linked input channels but we want keys ears left and right to be linked and the same thing for drum ears left and right so anytime you have a stereo monitor mix and make sure those are linked by selecting that link button there so now when they go to the app you know they're gonna see I'm actually gonna restart this just to refresh it if the app ever acts up on you just simply quit it out restart it it should be good to go but now when we go to this app you'll actually see the keys monitors as well as the drum hears they're linked together and then your drummer keyboardist not only do they have mix or control but they can actually go in and start mapping things left or right and I really create some nice separation in their mix so watch this cool trick so I have my phone out you can see my voice monitoring on this channel and as I moved my monitor mix fader again this isn't the master fader for the master mix this is just within the mix buss if I turn this off you won't see it do anything right it's it's completely it's completely off right here plus if I do move this master mix fader it's not affecting the monitor mix here it's only when I'm looking at fader flip which is showing me the sends on a certain fader that's when it's actually going to start affecting this I iPad app or iPhone app is actually gonna start affecting what's in the mixer so that is how you organize and label all of the inputs and outputs on your sound console and there's gonna be a little bit of difference between how you're navigating these fader banks for your channels you know you can use that to button trick to see you know 16 channels side-by-side or you could have you know inputs on your left side you can scroll through like vocals your interests your guitars your drums your computers on the left and then keep like your DCA groups on your right that's probably going to be the most popular way as you're running sound you'll want to have quick access to these groups all the time to be able to kind of adjust overall levels of things but then you'll be able to also scroll quickly through these individual banks to be able to adjust the levels of your instruments and your vocal microphones so I really hope this gave you a lot of clarity on how you can start organizing this board and labeling everything to navigate it quickly and easily for you and your volunteers and that concludes this lesson on how to label and organize all of the inputs and outputs on your m32 or x32 sound console in this lesson I'm gonna walk you through how to set up effects on your ex 32 or M 32 sound console we've already created some DCA faders for our FX 4 reverb and delay but we haven't haven't actually set up the effects rack yet so these are not going to be functional so I'm gonna walk you through all the steps to make that possible so you can add some nice reverb to your vocals as well as some nice slap delay and any other effects that you would like so first I want to give you kind of a higher level explanation of how effects work with this mixing console and it's very similar to really any mixing console situation I'm going to navigate to the effects tab here and what you'll see is our virtual effects rack so before digital mixing consoles in order to have effects you actually have to purchase these rack unit pieces of gear it's a process reverb delay chorus or you could also have graphic EQ which is what you see on the right side of this diagram here where you can really dive in deep to the different EQ frequencies so in the past you know we would have had to have purchased eight so we have eight options here for our effects rack and we would have to install them externally to the board and the bigger picture view of what's going on with effects is that let's let's kind of keep that model of if we had the old-school effects Arrakis here's what would have to happen the input signal would come into the sound console from a vocal mic for example and then if you want to add reverb you'd have to send that signal out into the effects rack let's say we wanted to send it to the vintage room reverb and then we would set our parameters on the effects and it would alter the voice and it would add space to the voice that's what reverb does and then it would have to get sent back into the mixing console into the effects return channel where then we could adjust how much of that effect is added to the main mix so one more time the volkl comes into the mixing console it gets sent out into the effects rack and then back in after it's processed and it gets added to the mix so here's what that looks like on the x32 or m32 consoles so let's pretend you know I have my vocal mic here and I have signal that's going to be coming through it here and I'll go ahead and make sure my DCA group is up so we can actually hear my vocal mic coming out of my main mix check one suit yep that's coming out now so I have my main vocal mic here but we need to tell this mic to go to that effects rack and let's just focus on the first effects right now so you're gonna see when you're looking at this rack you can determine the source of the signal coming into each of these racks that's what's indicated on the left side of the rack so we have buss 13 and then we have buss 14 bus fifteen bus 16 so for the vintage room effect we're just going to be pulling signal in from buss 13 so that means if I were to go to my busses I'm gonna go to bus 9 through 16 you'll notice that buss 13 through 16 there by default on your mixing console reserved for effects and the reason why the manufacturer did that is because they know hey you're gonna have to send some signals to your effects rack and we're just gonna put aside for of your bus mixes for that purpose so you can actually take multiple vocal channels send them to a particular bus which then gets processed with a specific effect like delay or reverb so what I'm gonna do is I'm going to select this bus and then I'm gonna go ahead and hit the fader flip so now all my channel levels I see here these are the levels going into this bus mix because I have a selected and the fader flip is on so I'm gonna go ahead and as I turn this fader up now I can hear that reverb from this vocal mic and that's really as simple as it is when it comes to applying effects but I want to show you kind of the last step of the process just so you don't miss this it could cause a lot of confusion so I'll put that reverb on I'll just put it down really low here it's a little hard to listen to myself like that so there's this effects Return button on the digital mixing console and this is going to show you how the effects are returning into your main mix so I disengaged fader flips so now I'm seeing the master mixes here for my effects return and you'll notice we have signal coming into effects return left and right one so it's a stereo return because often these effects will apply in a stereo way that's more space makes it sound better but I can then control how much of that reverb from my voice is actually being sent back into the main mix so when you're thinking of effects return faders think of those as those are kind of the last step of my effects levels and how much are going into the main mix often you know we just keep our effects returns at Unity here we don't really touch them that much it kind of gives you just an extra option in terms of mixing if you need it in most cases you know what we end up doing in our context at our church is we'll just go ahead and use the the bus really to control the overall level so the this bus again this fader is just controlling how much of my voice and any other voices in this mix that I wanted to add let's say I had a couple channels that we wanted reverb on on these vocal channels this bus controls how much of that signal is being sent to the vintage room effect and then you know if I wanted to go through and do the same thing for delay I select the delay and then I would add signal here and you're probably not going to really hear much of that but actually that's a hall reverb so the second effect is Hall reverb as we can see here as I selected it then we have to lay check check one season check it's completely obnoxious and then we have then we have semaphores it's a little bit more subtle of effects so that's saying here myself repeat like that so now you're hearing just the Hall effect one two check check and then of course you can dive in to all of these effects parameters to alter the sound whether it's for delay or reverb so one more time just to clarify how all this this works you go to the effects rack this is where you can determine the source for the signal for all these different effects so you know if we want it to be something different we could you can apply it to you know either it can be it could be an insert effect it could be an effect again that just is on a bus which is kind of what I recommend most of the time for these first four figure out which effects you want to be able to apply to like a group of instruments whether that's verbs or delay that's going to be the most common don't feel like you have to get super fancy with the fix either usually just a good hall verb as well as maybe a tap delay and then like a slap delay or something like that that's about all you'll need to really you know have some great mixes and then on the right side here we actually have the graphic EQ z' so you can actually go through and you can use the encoder here to select which one you want to edit and let's say we wanted to add a graphic EQ to the main mix or really to any mix because you can do channels but let's say we wanted a graphic EQ on the main left in right or you can looks like you can do main yeah main left and right and then same thing down here so I'll bring this to main left and right as well I'll engage that now you see the signals coming through because it's just it's inserting this graphic EQ to the main mix and then when I scroll over on the tabs to get to that graph EQ now if I make any changes to this EQ it's actually going to apply that to the main mix so if I wanted to as well see if you hit a graphic EQ on faders here now it's actually showing me you know I'm it's showing me this selected area fader so I can go through and start adjusting the graphic EQ and if I wanted to change the area that it is adjusting I can just go through and scroll like this so now when I scroll through you'll see the faders move accordingly to where they were here so I'll go ahead I don't really need to make any adjustments put those at minus 10 but you know if you had like a bad frequency in the room or something like that you wanted to get rid of the graphic EQ allows you to start editing EQ with much greater detail so I'm just gonna go ahead I'll keep that graphic EQ there okay so if we we ever needed it could be handy to have set up already and the same thing can be set up for three other times so like if you had one instrument you can actually go in here and select you know what instrument it is like by Channel and you can insert a FET in effect on a single channel and then what's cool too is you can also change you know what the effect is it can be EQ it can be some compression you know it can be pretty much any of these effects it looks like they they give you a couple options they don't give you things like all the same reverbs and stuff but they do give you some effects like EQ it's kind of like think of think of these insert effects is like if you just if you can't get by with the processing like kind of built into every channel on the board then this gives you kind of another layer of advanced processing that you could add to it and then of course once you have all your effects and insert effects set up you just scroll through the tabs here under the the main effects menu to be able to start adjusting the parameters for all of these so now I want to actually go ahead and figure some of these effects for what I'd actually use for your typical worship and setup so I'm gonna go over to my first effect here and then I'm going to change it to the hall reverb and then I'm gonna go over to effects one oops I need to actually helps if I actually select it so you gonna hit that button now it's gonna show up in our effects one and now let's go ahead put some signal through it a couple quick things I do with the reverb I will generally increase the pre-delay check once you check check check and then let's make the size a little bit smaller check and then let's decrease it decay check maybe a little bit more check praise the father praise the Sun praise the spirit three in one God of glory majesty sometimes that's a actually singing it's hard to like a reverb yourself live like this but those are some basic settings that I would have I always find that like having the pre delay to about 50 to 60 milliseconds it allows the voice to cut through then it then it starts adding the reverb so I think that helps a lot and then I'm gonna go over to the second effect and let's go ahead and make that one let's make this our slap delay so I'm going to go ahead and change the effects I'll go over to the delay effects let's turn it off the reverb select the delay check so I'll go in and turn the feet back down check check check yep so the feedback is how many times it'll repeat check their praises so this is just a really quick delay without 89 milliseconds of time between that the time I actually give it a sound and then it'll repeat that sound back and I only repeat it back and once with very low feedback so slap delay just kind of help things stick out so here's what it sounds like a both of those effects on there check check check check check check and then I'll put some reverb on it check check check check praise the father praise the Sun and it's as simple as that so let's go back to the home for our effects so we have the reverb we've got some delay and just mute these for now and then maybe we want to have a more like a tap delay on this third one so I'll go back to my main effects home here and then I will select this one and then I'll change it to three tap delay and then so this is this is a tap delay that you can end up you know tapping a tempo of it if you want kind of a longer fancy or delay so let's keep these muted let's turn on this guy so for tap delay what's important to do is actually set up a button one of the assignable buttons on your sound console for the actual speed so you can actually tap out the tempo of the delight so to do that under the science section go to view and then you can go ahead and you can go to the assign a tab then I'm gonna go down to my cut change color I'm just gonna go down to button one and then I'm going to find the effects button I'm going to go to effects three parameter because it's the third effect and then just gonna have time so now you'll see button one on my encoder ended up starting to blink pretty fast cuz that's the tempo of this delay why if I do slow check if I do delay go back to like a normal tempo one two check so a heavier delay like this you're gonna want to be more tasteful you get the timing right you'll be able to tap it along with the song but that's an easy way to go through and start tapping this button to affect the timing so if I go back to my effects page you're gonna see the time of this effect to start changing you'll see the time under this start changing so I did it really quick there now I went down 178 milliseconds but it really quick I can't tap much faster that 140 milliseconds or slower it'll go to 458 milliseconds so that is how you can set a tap delay so now that we have this all configured with which effects we want to be here it's a good idea to definitely go through and label them so I'm gonna go into my mixer app I'm just gonna right click here I'll just type reverb and then I'll type delay slap I'll delay s for like delay slap and then maybe delight efore defer for a tap delay and then for we'll just keep blank so the next step though is remember how I showed you in our DCA group so we can have our delays right here as a DCA fader so here's how to do that go to your main effects return page right here and then you have to select which effect you want to put on that DCA group so we've got this selected now we're seeing the settings for this effects return for reverb and then I'm gonna hit this down arrow so it shows me some more options and here I can actually select which group I want it to be so I'm gonna go over and select DCA group seven and hit a sign so now you'll notice actually my reverb is gone because this DCA group fader was down but now when I bring it up you can hear that reverb so then I'll do the same thing for my other two effects I'll go down or not the two maybe just for like my slap delay effect or actually know what slap delay maybe I won't do it for that because I think it's better to have slap delay kind of always subtly applied in the background doesn't have to be super heavy but let's put the longer tap delay to DCI group eight so I'm going to go to effects three and then I'm going to go ahead and tell it to assign let's see your eight will be three so now now we'll have that set up there and let me actually go ahead and send check check check check check check check there's some slap delay from this voice I think like I said that should always be kind of subtle and then let's also send some crazy delay so now I want to turn that crazy to lay down and this is going to be our tap delay on DCA eight and let me just label that too so now we can just add in this tap delay by turning up this fader check 1 it's pretty cool go ahead I can mute both of those so we don't have delay going on so this is just a quick way to be able to mute effects and stuff like that on the spot during a service and having them have them having them be like in a quick access location on your sound console especially like when your worship leader goes from singing it to then talking and you want to be able to just maybe pull that reverb down like this with a fader or you can just mute it entirely and that is how you configure the effects rack on your m32 or x32 sound console for worship so we didn't spend a whole lot of time diving into the details of setting your effects parameters we actually do have a whole course on that within the beginner's guide to church sound I dive deeper into these concepts like pre delay and decay time as well as just some of these other effects that you can mess with so I definitely encourage you to go through there if you're finding that you're just not able to dial and these settings properly work through that course so that you understand those principles well and that you can have some amazing effects for your mix and that concludes this lesson in this lesson I want to give you a quick overview of navigating the processing on the M 32 or X 32 digital sound console so at this point congratulations you've configured this sound console and it's ready to go all the routing is configured with our digital stage box all the monitors are set up and ready to go as well you can start plugging those in you can start plugging in microphones and instruments and you can start building a mix but you may feel a little intimidated right now in terms of the actual workflow on this sound console to start building those mixes so I just wanted to briefly walk you through the just really the essentials of navigating this sound console I'm not going to go into every single nook and cranny but I want you to be able to start building a mix as quickly as possible and I'm not going to necessarily dive into that the theory behind mixing and things like that we have a whole another course on that called mixing for worship but when you can take the theory and concepts from that course and then just apply it to this board and know where to navigate to do the same thing on this sound console it'll be really easy for you to build an amazing mix for your church so let's go ahead and dive in I'll walk you through how you would go ahead building a mix with this sound console and navigating the processing and such so the first kind of thing to make sure you grass and you probably you probably picked up a lot of these things along the way within this training so far but for all your channels you have select buttons right so that's how you can you can select a channel and now when I select this channel any settings I do up here will actually be affecting this channel that I have selected so you can select individual channels you can also go down and you can select buses you can also select you know your main mix and apply effects and processing to that in most cases you're going to go through and select channels like this so I can go through go in here I can select the channel and then now most of the heavy lifting work when it comes to processing is gonna happen up here in this portion of the sound console so we have a few different areas to look the first one is the gain so this is where you're gonna sit set the input gain for your channel this is where you can also enable phantom power or you can turn on polarity for the channel if it needs it most most most cases of microphones don't it usually against abusing this if you have like you know two stereo overhead drum mics you can use that button to flip the polarity but you're you're configuring the preamp here you're telling it how much input gain to have and then here if we press the view on this whole thing you can see a better view of the gain meter and this is the low-cut so it's kind of a pain because you can't really see what you're doing with the low-cut knob here but if you hit view on EQ you can and then if you hit you have to kind of engage oh we have to engage the logo so actually hit the low-cut button here and now you can see that low-cut coming into the EQ the next section that we have here this is the gate so with all these sections just hit the View button to see it in greater detail here so with a gate they give you a threshold parameter for the gate and you can engage it by hitting the gate button like that and then same thing with the compressor you can engage it and then here you can set just the threshold so they'll give you you know one parameter to work with here but you'll also need to you know do the other things like attack and ratio and release time and hold time all those detail or parameters are on this page and whenever you're in this detail view page for any setting just hit the down button here on this little button pad and you'll be able to actually navigate to some of the other settings so it's easy to kind of have these settings to be buried in there if you see a little one - like page numbers on here that means that there's another page of settings and parameters for you to dial into and start moving with the knobs right here next we have the EQ so this is pretty straightforward you got to engage the EQ again you can adjust your low-cut in here if you have that engaged and then you can start going through and adjusting different frequencies bands so here's my low frequency band I can start adjusting you know what frequency it is I can adjust the gain of it up or down I can just width of that cue and then I can also change the mode for these so like you know I can change any any cue into a different style here so like a common example of this if I want to high right now that high is a shelf well if I didn't want to be a shelf I hit mode and now it's a cut it's a now it's a regular belly cue V or P EQ so those are some of the options that you can play around with there so that's where all your heavy processing is going to happen for each of these channels just remember hit the select button and then start dialing in the channels and then we got a button here you can see the different bus sends on a channel so if you want to change your bus sends you can do it that way that's I rarely ever used tat that way of doing it I'll show you in a moment how I would I'll build those bus sends and those monitor mixes next we have the assign section so you learned how you can assign custom parameters to different buttons so you can easily go in and start tapping away for your delay or you can also assign mute groups as well so it's really it's really neat the custom assigning that you can do on this sound console this section is kind of important to be aware of the main bus sections so you'll notice on all of our channels here we have the main stereo button is enabled and that's just meaning that this channel is being sent to the main mix if this is not sent to the main mix then you're not going to hear through the main mix so by default all these channels have main stereo enabled you don't have to worry about mono Center unless if you have that type of speaker configuration but make sure for your main channels main stereo is selected if you don't want they go to the main stereo like if you want I'm like to just be a talkback mic for your band then on that channel you could just disable that and you wouldn't have to worry about someone like moving the fader up and coming through the main PA speakers and then over here we have the fader layer section so this is where a lot of the navigating faders as well as mixing faders will happen so on on this board in particular because the different models that look a little bit different but we can navigate here on these first eight Bank channels through the different banks of eight channels that we've already set up as well as auxilary ends our effects returns and then busts one through eight and nine through sixteen we can actually see there and then on the right side they give us the option to to view some buses so they have it configured so that you know you can see input channels on the left some buses on the right or if you want to see everything you know if you want to see one through sixteen you hold down both buttons here now I'm seeing inputs one through sixteen here or if I want to see buses one three and nine through sixteen all in one space one spot I can do that as well so let me just kind of walk you through you know if I were to go through and you know build a master mix I mean a quick way to do that is to you know view it by sixteen channels and then start you know processing your channels and then bring up the faders and they start building the mix that way so that's pretty straightforward right but in terms of building your monitor mixes that's actually more important for you to really understand what's going on here and that all has to do with this fader flip button so up to this point you've probably seen me using this button to send channel signals to my mix busses and that's really where it comes in handy so I'm gonna hit mix buss one through eight I'm gonna select my wireless in ear monitor Channel and from my mix buss this will be my monitor mix for the wireless and your monitors on mix buss one and then I'm gonna hit fader flip so now it's blinking so you'll notice whenever you hit bader fader flip it adds channel like for Channel seven here it says Channel seven arrow to bus one so it's telling you where you're actually outputting this channel when you move this fader so right now if I were to actually you know keep the fader flip enabled and if I went you know one through sixteen now we're looking not at the main mix for these sixteen channels we're actually looking at the bus mix so then for building a monitor mix you know I could start going through in building my own custom monitor mix and this has nothing the main mix when I disabled it this is the main mix right now everything's down but when I hit fader flip again because that bus was still selected now we're seeing the monitor mix so I can go through again it's these other channels here push up some faders and there we go that is the mix that you know someone could have for their ears obviously they take the time to dial this in correctly but now if I go over to let's see here pull up one through eight here so this is my in-ear monitor mix for these channels and then here's buss one through eight watch what happens though if I select mix buss two now you're seeing a blank mix for mix buss two for Wireless in years two so that's that's what the whole fader flip button does and it's really handy if you or someone in your band wants to come back here and dial in their monitor mixes from the board they just have to make sure that they hit the mix buss that's their mix and then they need to hit the fader flip button in order to actually see their mix and be altering their mix so a very very powerful feature super easy to use for building mixes and that's that's how it works that concludes this quick lesson on how to navigate the processing features as well as some of the different fader layers and different settings on your mixing console as you go about building your mix so I just want to remind you for a really detailed instruction on how to build a mix that actually sounds great check out both the beginner's guide to church sound in the mixing for worship courses they'll give you a lot of guidelines as quick as possible for actually building a proper mix in this video I want to show you how to set up mute groups for your mixing console for your ex 32 or M 32 so mute groups come in handy if you want to hit one button that's going to mute multiple channels so to assign mute groups it's very simple you're going to go and select the channel that you want to be a part of a mute group and then on that channel settings you're going to page down to the second page where you'll see mute group assignments and let's say we want this on mute Group one so now this channel fives on mute Group one let's go over to channel six let's also put that on mute Group one as well and then channel seven let's put this on mute group one and channel eight let's put that on mute Group one so now we have all of our vocal singing mics on mute Group one and then you may be wondering okay how do I enable or disable that you could go to mute groups right here and then you can just hit mute group one and you'll see all these get muted so very simple another kind of great little hack you can do is actually assign that mute group to a button so let's say we want to assign that to button number two so I'm going to go in here and I'm gonna hit get out of me a group of you here and I'm gonna go to button to and I'm gonna go mutes and I can go down mute Group one so now if I hit button two on my custom buttons here that's actually going to mute all those vocal mics so that's how you can assign different mute groups and of course if you wanted to assign different mute groups for other instruments and such you could go ahead and like go to drums and you could you know select those and assign those to like a different mute group so they could go to mute group two three or four or five or six so you have six different mute groups that you can create and that's how you assign them and that's how you assign them to a custom button on your board so you can quickly mute and unmute a group of channels in this video I want to show you how to set up the talkback feature on your sound console so this is going to be a really handy if your sound person needs to be able to talk to the band so you'll see a talkback input on the back you'll have an XLR cable go to a microphone like this one and you're going to want to go to set this up you're gonna want to go to monitor and then you're gonna go to talkback a so you can actually set up two different talkbacks an A or a B and this could be handy depending on how many destinations and who you actually need to talk to so let's pretend that talkback a you want to talk to your just all your band members and all the different mix busses so you would go through here and start selecting all the buses that it needs to be sent to so for talkback a I'm just gonna select mix buss 1 through 8 since those are all are in your monitors and then that's it we don't need anything there and then it's gonna be set to go the other setting you can adjust is the latching for the talkback so when when you're actually hitting a talkback button on the mixer to enable that microphone you can make it so you know it latches or you just have to just hold it down I recommend that so that you know you won't forget to undo it because if your sound person forgets to undo the talkback mic then your musicians will hear a bunch of noise and it's not going to be ideal so that's how you would configure talkback a so now I would hold it down and I'm talking and it's going to these mix busses let's pretend though maybe you want to talk back B to B just one of your musicians maybe like your music director is on mix buss 8 so you go down select that and now if I were to talk to that mic it's just going to go to mix buss 8 so the talkback feature is just really handy for mix engineers to be able to communicate with their team members and that concludes this lesson on how to set up the talkback mic on your X 32 or M 32 sound console and that concludes this course on how to set up and configure the x32 or m32 digital console for worship ministry and we covered a whole lot within this training and congratulations because now you have a really great skill to be able to walk through and set up a piece like this but hopefully you see that once you break it down to these steps it's pretty simple especially once you master concepts like routing your inputs and outputs as well as organizing your board in navigating your board I'm actually going to save the scene on this mixing console for everything that I've built showing you this course and how to set this up so that you can actually save that scene onto a USB thumb drive and then load it into your console if you want to actually use that scene and start building off of it yourself but I really do highly recommend though building your own scene and going through all these steps yourself because it's gonna make you so much more quicker at using this board and you're just going to understand it in a deeper way so you can use my scene as a reference to kind of check some of the things and see how we set this up in our course but I highly recommend just going through and walking through all these steps yourself as you build your own custom setup for your church because as I mentioned many times in this course there's a lot of different ways you can set things up there's a lot of choices I made about this setup that are really just personal preference but now you should understand the concepts and how to best optimize all these different tools for your worship ministry if you want to dive deeper into how to actually build an amazing mix then check out our mixing for worship course you will understand all the concepts just fine even though that course is taught on a different sound console the the model of sound console should not matter for you because you understand all these concepts that are a saint that that are the same for all these different mixers whether that's gain EQ compression gates and effects so dive into that mixing for worship course get behind your mixing console at a rehearsal and start dialing in a great mix for your worship minister and that concludes this training on how to set up the x32 or m32 family of consoles for worship ministry you

Channel: Churchfront

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Keywords: x32, behringer x32 setup, behringer x32 tutorial, behringer x32 tutorial for beginners, behringer x32 tutorial effects, midas m32, m32, how to setup behringer x32, how to setup midas m32, x32 worship, behringer x32 worship, midas m32 worship, jake gosselin, jake gosselin worship, churchfront, worship tech school, worship leader school, x32 installation, m32 installation

Id: em9Mc3ZWbOY

Length: 109min 47sec (6587 seconds)

Published: Tue Oct 08 2019