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Our Old singer used to use this on his voice to get that "Lennon Across the Universe vocal effect"

0:20 I've learned to stop using "FX" busses and use "Aux" busses instead for FX sends. This has several benefits. First, it removes the restrictions on what FX racks you can assign the audio to. If you use FX sends, you can only assign those sends to the first X FX racks (where X is the same number of the FX sends). So in your example, with only three FX sends, you will only be able to assign them to the first three FX slots. If you use auxes instead, you can assign them to any of the 12 FX slots. (This makes it much easier to add another buss fed FX at some later point in time without having to reassign all of your FX racks). Second, it provides all of the normal aux processing like filters, EQ, compression, etc. I doubt you'll need all of that for an FX send, but the actual FX sends allow little to no processing which can be limiting at times.

I like the fast paced approach.

Everyone who plays a Tele loves an AC30. They are a match made in heaven.

blue a little more mids and high

Love this! Could we have more of your live mixing videos?

love it.

Demo yg sangat buruk

The 3 inch coil on the tweeter here is the secret! That's why the mids/highs are so clear!

Watched part of this and now I know even less ...

Pedal off sounds better to me

Great video sir!

Very nice tone. Thanks.

Great demo and very cool playing ! Is the absence of an fx loop a handicap when playing with amp gain? I play a lot with delays and I'm afraid the result will be muddy.

excellent no nonsense demo (and some great playing too!) got one of these on the way now 😅

Do you like the 932as? I was thinking about getting a set instead of QSC k12.2 for live acoustic gigs and my band that plays small/medium sized bars. Probably wouldn’t be running any subs.

Awesome demo. Thank you

If this thing had stereo out it could basically be a poor man’s deco.

The UK made AC30/6 tb and tbx amps are definitely some of the best sounding Vox amps made since the 60's. Great demo.

The EHX demo video was useless. Thanks for explaining it

Just received my AC15 HW and learned one can jump the channels to blend the Normal and TopBoost Channels. Getting every shade of Vox character. Master Tone is quite musical. Also learned to daisy chain to my VoxAC4HW for effects.

Beautiful demonstration. I own a Vox AC4HW and love it! Can get rock to rich jazz tones. What are your thoughts on the normal channel? Have you ever jumpered the channels? My AC4 has a Greenback. Do you think it’s beneficial to get the Blue not only for tone but not duplicate the AC4 too much? Thank you kindly for your time.

Silly question which will provide actual justification for the insults and the name-calling (“incel” seems especially in vogue at the moment), etc from the desperate, weirdly-bitter trolls which plague anything music gear-related, but I wonder whether this would turn a Crate solid state amp into a Fender Blues Deluxe killer..? Or at least turn it into an 81% solid state/19% tube amp? 😛 Btw this demo highlighted things about this efx box which I didn’t know; id everest, it “emulates analog” severely enough to use as an overdrive box? D’Eye, yigh, yuhh, I didn’t know that. Also that it incorporates a bit of delay? Deeuhh..(planet Mars)…uhhh, deeYAIYYY, yuhh, had no idea. Y’learn somethin new every day; Grandmaw was right.

Would have been good to know what kind of amp and other pedals if any were being used here.

Would you do a "proffesional recording" on the M32, like doing better produced demos or even albums?

The x32 and m32 are just not worth the money anymore. The overall sound quality especially of the x32 is poor and even worse when it comes to processing. The Wing is a much better platform for processing performance. The sound quality of the sq series is much better than the behringer stuff and the routing is so much easier and intuitive. Also the lack of touch screens and the routing of the x/m32’s is painfully annoying in this day and age.

somehow i completely forgot about matrices and the aux outs: in addition to the 16 configurable XLR sockets, the console can also send an additional 6 mixes through the 1/4 aux outs on the back of the console the console has 25 mixes it can process at one time: 16 buses, 6 matrices, the L, the R, and the MC so a clever way to utilize the consoles full mix out potential, is to: assign 12 buses for monitoring, 1 mono bus for front fills, then the L, R, and MC to the XLR sockets (Out 1-16 to the digital snake) then assign matrices to the local 1/4 Aux Outs like for broadcast, balcony speakers, control room feeds, etc… you could even run your L R/MC and other FOH drive lines from the local 1/4 Aux Outs, and use the XLR Out 1-16 for more buses or other outputs as needed

Sold me man. Hard to beat hand wired and an Alnico blue.

i hate the amount of talking in music channels, subbed

not what i need for black metal but damn it sounds good

so where do i put this in my chain? im confused lmao

At the last church I volunteered at, they had 2 X32s with two S32 stage boxes. We used the two consoles as one 64-channel console, and no, they didn’t have a monitor console. All audio was processed at FOH. They finally upgraded to a Dlive due to the lack of channels, and the church was moving into a larger space where a tour-grade console was better suited.

Not even Ehx knows what this thing does? 😂😂😅 lmao I have no time to explain you things and humiliate you front of others but mate you atleast deserve to hear a f.off 😂

If pallbearers form a union by the time your gone, there's gonna be some grievances filed. Fuck, even my ac15 is 54lbs.

I have a few criticisms on this video (I won't stone you 😁): - The AUX inputs lacks dynamics processing and are not suitable for most input types (even talkback, where a hard compressor is often needed to make sure MD voice is heard). For utility stuff like clicks, guides, ambience mics etc. it's fine, but for anything else you will be limited. This is not the case with SQ or Avantis. Also, SQ has 8 dedicated stereo FX returns, so if we were to compare as you do in the video, SQ actually has 64 channels - "You don't need two keyboards" that is 100% context dependent. And especially in a church setting where your keyboardist may not be a sound engineer, expecting a stereo line with piano, pads, synth, stabs, arps, organs and so on to be perfectly balanced is unrealistic. At the very least piano and synth separate. - "Rather than a poorly done snare top/bottom or kick in/out" why would it be poorly done? Who is this message to? If it's for audio department, why wouldn't they just do it themselves and make sure it's right? I very much prefer both of these in dual mic setup. Expecting one mic to do both tasks is often lackluster and relies on EQ to do the balance, rather than a straight volume balance with each mic tuned to do one job only. - "This console can only process 16 physical XLR outputs at a time" This is misrepresented in your video. Sure, you only have 16 physical XLRs at the back of your console. But there's not really a limit to how many you can have in a system. For just one console, the limit of a system would be 72 physical outputs (2x24 AES50 + 18 XLR + 6 TRS, or for some consoles the monitor outputs are TRS). And that's without including more unconventional solutions like the ADAT out on the S/DL16s or Ultranet outputs with the newer StageConnect boxes that can take advantage of output 33-48 on each AES50 line. And yes I'm including the monitor outputs, since they can be sourced from AUX 7/8 which again can be sourced from any bus if you're not using the USB player. If we're defining "controlled" as sending individual internal channels out, then the limit, regardless of how many physical outs you actually have, is 38 (16 regular + 6 AUX + 16 Ultranet), because all of those 38 routing points can be used for any XLR or Card output. With such a large infrastructure possible, it's laughable that Behringer made this console with only 16 buses (although Wing covers a lot of the missed potential). On SQ, the FX buses are dedicated and the AUXes can be stereo, meaning 12 stereo inears and 4 FX buses. And although their I/O is expensive (maybe even overpriced), the system can support it. - Your solution with putting IEM at 13 and FX at 14 would become a problem unless you either run your IEMs with post-fader send or your FX with pre-fader sends, both of which are highly uncommon and not preferred by audio engineers. On X32, for whatever reason that has never been explained, the bus send configuration is done in odd -> even pairs, meaning you can't send something to bus 13 pre-fader and the same thing to bus 14 post-fader. You either end up with FX that don't follow your main mix levels or you end up with a musician complaining that their monitor goes up and down when you mix. This is not a problem on SQ or Avantis, where each send to each bus is individually configurable - Not a criticism of your video per se, but just a clarification when it comes to comparing it with SQ. A big downside with X32 grouping is that unlike SQ and rest of the A&H lineup, X32 buses are not actually configured themselves to be a group or a monitor bus, but determined by each send how it's treated. Essentially what group send on X32 does is just setting it to a post-fader send at unity level. Because of this, the bus you use as a group is limited like all the other buses that it can't be sent to another bus. Which means that you can't send to neither FX nor monitor after group processing. Which also means that muting the group will not mute the sends. Which sucks 😅The workaround is of course to route the bus to an input, but on an already limited channel mixer, you don't necessarily have that type of space in your channel count. And I have absolutely no idea what that routing is doing latency wise... - Also beware parallell processing needs to be 100% wet when going through buses as input -> LR and input -> bus -> LR is not latency compensated on X32 and can lead to phasing issues. If you need paralell compression, the easiest way would be to use the dry/wet knob on the compressor itself (which is latency compensated) With all of this said, X/M32 is way more bang for the buck and cheaper to build out the ecosystem than SQ. It's bunch of compromises, but you can make do and get a lot out of it if you do smart things like a lot of what you showed in this video 🙂

The first 8 channels, you can use a simple return insert, that way you can have those 4 channels free

Not everybody needs stereo IEMs. And if you don't need any send effects like reverb, delay, you can do eight stereo IEMs plus stereo mains output plus Mono M/C, because you can send the busses beyond the 16 regular outputs via P16/Ultranet outputs which can be routed to the AES50 outputs or via aux outs which are routeable to AES50 as well. You just need enough XLR outs on the other side of the AES50 line. If you don't want to buy an additional S16 just for outputs, get a Midas DN4816-O, hook it up to the P16/Ultranet output of your stagebox and route mixes to AES50 33 to 48. It's very flexible. You just need to grasp how to do it.

I definitely agree that if you already have an x32/m32, you should use it to its full potential. Nearly all modern digital consoles are able to put down a good mix. That being said, in my opinion it’s worth the extra price to go with an SQ or other desk closer to the mid tier. Of course some gigs require a higher channel count than even 48, which is why we recently purchased an s7000 system, but that’s definitely unusual.

I think the best consol has large touchscreen, 16+1 faders, just a few knobs for eq, comp and gate, and has a small footprint. My biggest problem with the x32 is no touch screen and also the sound, in my opinion an qsc toucmix 30 pro has better sounding elements. The M32 is silghty better but steel no touch screen and has lots of areas where is nothing, no knobs or button. I know its not in the same price range but Yamaha qu1 or 5 is a much better consol beacosuse of the big touchscreen and compactness. For me x32/m32 is between analog and digital.

Nice video! What are you using for the external plugins for the 4 vocals you show? I'm using the USB connection and LiveProfessor but I'm struggling a bit with latency. Delayed the other inputs also to have the same delay as the vocals with external plugins. What you says about the outputs is true. Used the system like that a couple of times. We put the M32R in the FoH on AES A and the DL32 on stage. The (big) M32 goes on AES B and we use its 12 outputs for (in ear) monitor mixes. We still need 13 thru 16 for LRCS though. On the FoH mixer we use the buses like you do (subgroups). I'm always trying to get the most out of the console. Trying to make it more like an A&H one. 🤪

Once you use Sq or Avantis you wont look back for m32/x32. Workflow and flexibility is just on another level on AH consoles.

@jthunderbass1 - I agree & disagree simultaneously - lol. I typically have exactly 1 hour to go from empty stage to the front man / woman yelling out "Como estan, mi gente?" (How y'all doin tonight?), all by myself, and that includes top boxes, subs, all cabling, mics, directs, etc. I'm definitely not wasting time double mic-ing some random dude / dudette's kick & snare. You can easily get 80% of the way to the sound of kick in & kick out using a boundary mic inside the kick, Shure Beta 91 or Behringer BA19, I prefer the sound of the Behringer actually. You get your click, you get your boom, as long as you hit the parametrics in the right places. And for what these kind of gigs pay here, well, 80% is way more than they deserve - lol. On the other hand, for installed sound in a fixed location with a permanent drum kit, and all the time in the world to set up, well, heck, why not go all in on the kick & snare mics... as long as any guest engineers who will be running the system know what's what. And for studio recording? Well, obviously you go all in. Like most things in life, there is no one single correct answer, or absolute truth. Peace.

Great video

When doing musicals with a live band (or anything with a lot of mic'd performers), get your console onto a local network with Bitfocus Companion running on something, and set up a stream deck (or tablet) with mutes for all the performers, and give it to the director/stage manager as they will know every name of every performer and when they should and shouldn't be speaking. This will lighten your workload like you wouldn't believe, and free up your time to actually making everything sound good. I only thought of this as I was using Companion to run Macros for Livestreaming, but Companion has lots of control over some digital consoles. So I was asked if there was a way for the director to mute mics as they had an incident in the past where one of the performers was speaking back stage and it was coming through the PA (they also had the opposite, where the performer turned off their pack and forgot to turn it back on, so weren't heard or recorded during their part). I really didn't want to give them an iPad with the App to control EVERYTHING on the desk, as that could be a disaster in the making, so I used Companion to give them Limited control over the mics (basic muting and some volume control for the tracks).

Single kick and single snare? That’s where you’re way wrong. I always. Do two mics on each because it gives you the ultimate in flexibility, ultimate in tone shaping. Plus redundancy.

Promo`SM

Cool demo - thanx!

besides Tom, doing the release demo, there are no EHX Spruce Goose Demos ....that's supposed to be EHX's new flagship overdrive...i just wish i could get a few more takes on it. i mean i don't have anymore room on my pedal board, but i might be able to make room.