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Thanks for the kind words! I don't know much about the Touchmix 30, but if it has an aux out, then yes - you should be able to use it to run a second mix to your ears.

The little USB-C power cable has a habit of unplugging though, so if you're looking to get one, be mindful of this :)

Hi Andy. Yes I am running ti in the back of the unit and no - No issues thus far.

Yep! Behringer make a range of additional cards that can do this. I know the X-LIVE card can, and connecting them is dead simple.

It is definitely the way to go. Having earpieces custom molded to the shape of your ear canals creates a seal and allows the lower frequenceis to be heard more easily. Yeah, they can be expensive, but definitely worth doing if you're playing a lot!

You're very welcome!

Be cautious of cutting compounds of any product/method that is brutal enough to be able to remove scratches in a single pass. It will also likely be wearing down the lathing lines - which is a big part of where the sound is coming from!

Great questions! It absolutely would be easier to leave everything plugged in, but one thing that occurs often which I didnt cover in the video is that the rig is often being broken down and repackaged depending on what is needed for the evenings show. Sometimes we wont run in-ears at all but will multitrack record the show. Sometimes we'll use IEM's and we'll be streaming the show live to Twitch. Sometimes we're using only a small portion of the whole thing so we break it down to pack lighter. As for the AES50 connection - Again, absolutely valid question. Why bring the splitters and looms? Because often, the FoH desks we're hooking up to aren't digital and/or don't accommodate an AES50 connection. Bringing all that ourselves is more to pack, but it also means we won't be starved for options when we get there. Hope this helps!

@ that’s great! Re AES50 that was just to go from X32-> Midas outs -> analogue snake -> FoH That would work right? And again the snake cable out to give to the sound man could live in the rack and stay plugged in forever?

Oh dear! Yeah, @WindanWaves - musicians shouldn't be changing an audio engineers setup any more than the engineer should be changing your guitar patches! I cant speak on behalf of all drummers obviously, but most of the ones I know at the very least want some drums in their mix. Sometimes just kick and snare, sometimes more. I tend to run the full gamut of channels where I can, mostly just for having total control, but what I put in my actual mix is pretty minimal. Some kick, some snare, no bass (the stage makes us feel it), very little guitar and just some vocals to guide me. I also incorporate a click at times when we are running sample tracks (which isnt often). However, while I personally dont have a busy mix, my X32 rack also runs IEM's for ALL members of the band, and their mix preferences are different to mine - hence why its often easiest just to get a split of every channel if we can. Hope this helps!

@@Damo_Drummer very helpful! Thanks for the in-depth reply. My band is still new to using a closed IEM system, so I like to hear from other musicians that have more experience with this set up. I was also aiming to get the full array of instruments for the same reason as you. Always nice to have it and not need it than vice versa.

Thankyou, Johnny!

Thanks!

They absolutely can. This is often known as a 'return channel', because it literally returns the channels (initially sent to the front of house desk) back to you. Of course, you won't be able to control the mix of what is in that channel - only the volume of it using your mixing desk - but it can be unique to the drummer, meaning you can ask to have your own unique blend of channels put through it.

By default, the X32rack's main outputs are configured to be 7 and 8. If you have the X32 desk, its channels 15 and 16. The point is, you can actually assign which output channels are going to be used as your main outs - including assigning them to the S16. In fact, this is actually how I do it, personally. My main outs are on the S16, output channels 7 and 8. Hope this helps!

@@Damo_Drummer Big help mate! im still learning on this rack rig world. So how do you assign them to your s16? Do you connect the main out of x32 rack to the input 7 and 8 of the s16 then connect the output 7 and 8 of s16 to the in house mixer? Correct me if im wrong mate.

Thanks for the comment! The answer is “yes” to both questions! :)

Perfect!

Heya! Not sure what you mean by 'patching', but instruments are all mic'd or DI'd either: a) directly into the X32 Rack, or b) Split through the S8's, where one send continues on to the X32rack and the other copy goes to Front of House. Not sure if that answers your question?

My pleasure!

Glad it was helpful!

You're welcome - Thanks for the kind comment!

Great question, Frank! No, we haven't had a sound engineer refuse our IEM gear, but in the early days we did have several who were concerned about the concept of splitting from their main system. This was mostly because at the time it was an unfamiliar concept. These days however, it's safe to expect that engineers working in live sound seriously will understand the basics of an IEM system, and their live stage/sound setup will take IEM systems into consideration. Most professional bands - especially touring bands - would expect that splitting of channels be made available to them. But - as I also keep pointing out - the band needs to *be prepared* to use IEM's. This means making it as simple as possible from your side, too. Ensure the sound engineer and stage crew have a copy of your stage plot, including where the IEM rig will typically be positioned, it's channel assignments clearly marked, etc. Ultimately, remember that you always want the setup to be as simple as it can be to get the job done. Don't overdo it! The more gear you need to set up, the more time it's going to take, and the greater the risk of a technical issue occurring - especially if scheduling is tight. Hope this helps!

Hi Bob, and thanks for your question. Well spotted! The two ART S8 splitters allow for a total of 16 channels to be split. These 16 splits currently all go into the back of the X32 (as inputs). If I needed to split more than 16 channels (which I currently do not) then I'd have the option of adding 2 more ART S8's to my rig, which would then feed an additional 16 splits into the S16's front XLR inputs. Of course, if Im in an environment where AES50 (CAT5) connectivity is an option, I can split all 32 channels with one cable.

​@Damo_Drummer quick question. If you did add more S8s splitters to split more than 16 channels, how would that look like in the rack considering the inputs on the S16 box are on the front rather than on the back like the X32? Would you have to feed the XLR cables out from the back of the extra S8 splitters into the front where the inputs on the S16 are? Or is there an easier way to do this? Also im assuming you'd then need another 16 channel patch bay at the bottom to allow you to send it to FOH as well? Of course, as you say at the bottom, if the ability to send the signals to another desk via AES50/Dante is an option, but just in case it's not, just wondering how it'd work. I'm quite new to all this, so sorry if I got anything wrong. Thanks.

@@Bevsworld04yes, if I’m splitting more than 16 channels, then I’d need more s8’s and use those to split channels 17-32. To connect channels 17-32 into my X32, I’d need to connect from the back of the s8’s to the front 16 inputs of the S16. I would also want another P16 so that all 32 channels for the sound engineer are available from the front of the unit. Although it’s a more expensive option than what I have, the S8’s are also available in a 3-way variant. This means they not only have a split on the back for each of the 8 channels, but also one on the front. If you were to say, purchase 4 of the 3-way S8’s, you can use the front connectors to attach your loom to the front of house desk, and remove the need for the P16’s entirely. Hope this helps!

@@stevelaporta5791 thanks! I’ve actually had quite a bit to do with cymbals over the years, visited the factories, etc. To be fair, there have been very few detractors of this method, but the issue I’ve always had in this industry is the sheer amount of marketing fluff passed off as ‘fact’, and the level at which players buy into it. Don’t get me wrong, some cymbals absolutely are made differently and should be cleaned with more caution, or in a completely different way or sometimes not at all - but by and large. its us as players who need to learn more about the gear we use, and not just blindly swallow what’s written in the marketing brochures! Thanks for watching!

You're welcome!

Thanks for the kind words! There are so many ways to do it, and the x-vives are very popular right now. Which interface are you using?

Im using Windows 11. Windows 12 as far as I know isnt released yet.

The audio format is largely irrelevant from the perspective of illustrating the concepts in the video. Of course you want the best audio quality possible, but ANY format that can be played back by your system will work. The idea here is to simply work with what you have. As an example, I prefer .wav wherever possible. karaokeversion.com downloads are mp3. My point is that it doesn't matter, provided the audio can be imported and played by your DAW. Does that make sense?

@@Damo_Drummer wav's are available from KV at an additional $. There is a discernable improvement, but we judged it not worth the $ difference.

You're welcome! Thanks for the positive words on the video... They take some time to put together, so its good to nknow people are finding them useful!

Great question! In my experience, there is another scenario for these kinds of situations which I didnt discuss in the video. It still involves splitting, but the splits for your IEM are set up within the stage boxes, and not your own rig. In other words, all the stage mics plug into the stage boxes first and on to the main desk. you plug into the splits ptovided from their stage boxes. This makes it easier for bands to plug/unplug to the sources easily, while the mics can all remain plugged straight into the stage boxes. Make sense?

@@Damo_Drummer Yes, definitely. I would argue why not do this in the first place? I mean isn't this the "safer" option for the sound engineer anyway, regardless of whether to handle one or multiple IEM rigs?

Provided every stage box has splits

@@Damo_Drummer Unfortunately I've been in many small venues that do not have stage splits. In the scenario of 2 or more bands showing up for the typical 3-4 band night with their own IEM rigs and 20 minute changeover, I would definitely relate to the sound engineer refusing to help at all.

@@DionisisChristodoulatos I've just been on my first gig with our IEM rig and we did put our rig in front of the stage box. We had the 16 cables that we needed ready and plugged mics and guitars into our rig and then used two snakes to go to the stage box. This way we did not move the original cables from mics to stage box and when changing bands it was just a matter of pluggin cables back into mics and stage box. We managed a change over of under 15 minutes, which I thought was pretty decent.

Thanks for the kind words! Interpretations can be tricky, as theres always the challenge of respecting the original tunes, yet also offering some of your own bands character into it. :)

@@Damo_Drummer I always liked the slow-intro version by Tina but I would rock it out like Jow Walsh LOL. Keep rocking, east coast, Newcastle.

Thanks for watching!

Hi OndJP! The SE215 and 425's are fundamentally very different earpieces by design. I wont go into too much detail about the advantages/disadvantages, but the SE215s are a dynamic driver design, whereas the 425s use an 'armature driver' design - two completely different concepts for generating sound. Dynamic drivers tend to have stronger bass response, but the articulation - particualrly in the high-mids and highs - tends to be more accurate with armature drivers. This may be why you felt they sounded 'weak' in their bass response. At the time of making this video, SE215's were a clear standout for price vs performance, but (in my opinion) the lower end Shure stuff has trouble holding up to the rigors of the road. The plastic sheathing they use around their in-ear cables tends to go brittle over time - especially when sweat upon night after night - and the connections eventually give out. You can buy replacement cables for most of the Shure IEM's now, but other brands are competing hard nowadays and offering similar priced IEMs with even better reliability.

@@Damo_Drummer Thanks for the quick response. Do you use Shure SE215's and if not are you OK to share what you use currently ? cheers

I have used them in the past but found that the Shure SE series never really held up well on stage. Cable would go brittle from sweat and eventually break. They did sound great but I eventually upgraded to UE18PROs a few years back. They’re expensive but have been great.

@ thanks for the response.

I believe I have mine set to "Share ETH". The X32 plugs into the WR902AC, which then uses wi-fi to share the X32's info across the network to other devices. Rename the WR902's network to something youll recognize and update the password. Page 20 from the manual (static.tp-link.com/upload/manual/2023/202306/20230601/1910013420_TL-WR902AC%204.0_UG_REV4.0.0.pdf) should help with this.

She sure does!

You're very welcome! Thanks for watching.

It can indeed!

You're welcome, @vangelis.gavalakis! Glad you found it useful.

Yep, great question @willischwope9249! Right now, if we have to take splits at a show, we're going to be limited to splitting using the two Art S8's.. so the 16 channels into the X32 can be split. We COULD use the S16 to passthrough additional signals as well, but then we lose outputs which are currently being used to run IEM mixes for the band. It is very rare that we would need, nor want more than 16 channels sent to us for our in ear mix, but if it does start to happen more often, all we would need to do is add two more S8's to the rig. The extra mics would pass through these new splitters and into the front of the S16. Keep in mind also that on larger production stages its quite common for the stage setup to include its own splits/boxes onstage. In situations like this, you wouldnt need to split anything, but instead just bring either a 32 channel loom (or a single AES50 cable, where available) and take your feeds into the X32/S16 directly from the stage gear rather than using your S8's. Hope this helps!

​@@Damo_Drummer Thank you very much for the detailed answer :) It definitely helped. The question arose because we need 24 Channels and I just wanted to know if there is a way to skimp on an extra xlr splitter. So thanks again :)

Yep - Absolutely. We included the patchbay, so that we can: a) Keep the outputs at the front of the rig b) Avoid having to carry a 16 channel snake inside the rig or have to reconnect it each time we do a show.

Thanks @Raziel1990nerd for the kind comments!

Absolutely correct!

Thanks for the kind words, Julian. In Reaper Preferences, do you have ASIO set as the Audio System? I'm not a Mac user, but Behringer's site does appear to list an updater for the Mac version of X-USB. www.behringer.com/product.html?modelCode=0606-ABV - Look under the 'software' tab on the right of the page for 'X-USB updater Mac Version 10'. Also remember to have the mixer ON before loading any software. By default, any program that uses the X32 will load up looking for the device and its associated drivers, which may not be loaded if the X32 is off. I'm also seeing some people saying that the X-USB driver isn't required for Mac. I'm not well informed in the Mac space, so my recommendation is to download the Updater file anyway and install it. Aee what happens. Let me know how it goes!