This video library entry is a bit longer than normal. It's a walk through of a channel on the XR18. It is using X-Air Edit for control, but also has several screens for Mixing Station software also included. There was a lot of ground to cover. As always, please add any comments or questions here. :) Likes and shares always appreciated! This Behringer XR18 channel walk-through video focuses on a channel, other than initializing the console to start from a blank slate, so it doesn't veer into USB recording and overall in/out routing (other than where that stuff appears on the channel strip and could trip you up), nor things like the need for an external router if using it on wifi (I recommend the TP Link 1750 because those work for me... and I did drop an Amazon affiliate link here and in the text below the video for those). But that said, you can't really focus on the channel settings without talking about the built in FX rack, going thru FX, nor discussing monitor sends, etc... So that stuff is in there too. And then both during the video, at the end, and in the text below the video, I link to other videos that discuss different areas discussed in this video in even more depth and that will many times go beyond the settings of a single channel. There was a lot of info to cover in the video and I also tried to get some Mixing Station examples into the video as well. So while X-Air Edit is the main software in use, I added several inserts showing the topic on Mixing Station as well. And a section dedicated to setting the input gain on Mixing Station since the metering is different and not as straight forward if you're striving for accuracy as much as consistency. Videos referenced in the video: ►DCA's vs Subgroups on the XR18 / MR18: th-cam.com/video/x6TKam2F50Q/w-d-xo.html ►Behringer XR18 Monitor Setup Tutorial: th-cam.com/video/5gzsEErKdb8/w-d-xo.html ►Behringer and Midas FX Setup and Routing Explained: th-cam.com/video/dCTcbV-_ccQ/w-d-xo.html ►Sending FX to Monitors XR18/MR18/X32/M32: th-cam.com/video/e_XsfTV36vU/w-d-xo.html Not referenced but helpful to new users: ►XR18 / MR18 Top Five Frequently Asked Questions (Mixing Tips): th-cam.com/video/x9wciA2wFd0/w-d-xo.html ►XR18 / MR18 Overview. 12 Things to Know: th-cam.com/video/gTM7IdkCprk/w-d-xo.html .~~~~~~~ ►Patreon Page where Patrons have access to script files, other PDF tutorials, Behringer X32/M32/XR18/MR18 channel and scene files, and other audio production information: www.patreon.com/AlanHamiltonAudio ~~~~~~~ ►►Amazon Affiliate Links To Equip Used/Shown/Mentioned In Video- ►Behringer XR18 on Amazon: amzn.to/2LfTpmO ►TP Link AC1750 Dual Band Router on Amazon amzn.to/3uPXFhj ~~~~~ Equipment used to make this video: ►Stellar X2 (Narration Mic) on Amazon: amzn.to/3ggUWFq ►Sony ZV1 Camera on Amazon: amzn.to/3HJWd3f ►ULANZI Flexible Desk Mount Camera Arm Clamp on Amazon: amzn.to/3FKhF6M ► Neewer Camera Slider Carbon Fiber Dolly Rail on Amazon: amzn.to/3tPpypk "As an Amazon Associate I earn from qualifying purchases." ~~~~~~~ Suggested videos: ►►Popular videos: ►Five Typical Mistakes Made By Behringer X32 Users th-cam.com/video/tP7dO2Za6bw/w-d-xo.html ►Five Typical Mistakes Made By Behringer XR18 Users th-cam.com/video/EilVDp39A9g/w-d-xo.html ►►Audio Cable Information series videos: ►Connecting an MP3 Player to a Mixer: th-cam.com/video/UiauwFEFe_k/w-d-xo.html ►Cable Management For Live Audio: th-cam.com/video/nYZ9nrPGswo/w-d-xo.html ►Patch Order and Input Lists For Live Sound: th-cam.com/video/FE2KRj8vEEc/w-d-xo.html ►►Mixing series videos: ►5 Tips for Better Live Vocal Mixes: th-cam.com/video/oP4sdpkkNhY/w-d-xo.html ►Mixing Live Bass Guitar: th-cam.com/video/FNa7avcUUSM/w-d-xo.html ►How to EQ a Kick Drum: th-cam.com/video/CQg1_-ZJ4MU/w-d-xo.html ►How to EQ a Snare Drum: th-cam.com/video/J_WC68vyht4/w-d-xo.html ►How to EQ Toms: th-cam.com/video/nSLJqnlJe60/w-d-xo.html ►►Other videos: ►Building An In Ear Monitor Rig Using the Behringer XR18 or Midas MR18: th-cam.com/video/xT9gTBFxvZk/w-d-xo.html ►In Ear Monitors On A Budget: th-cam.com/video/FOon2wEZss8/w-d-xo.html ►Behringer X32 Monitor Setup Tutorial: th-cam.com/video/Vz9E6FaCatQ/w-d-xo.html ►Top 5 Frequently Asked Questions About the XR18 (and MR18): th-cam.com/video/x9wciA2wFd0/w-d-xo.html ~~~~~~~~~~~~~~~~~~~~~ ►Facebook Group: facebook.com/groups/livesoundproduction ~~~~~~~~~~~~~~~~~~~~~ #LiveSound #AlanHamiltonAudio #LiveSound #XR18 #MR18 #XAir 0:00 Intro 0:14 How to initialize the XR18 MR18 X Air 0:21 How to initialize on Mixing Station App 0:28 Channel start 0:32 What Are USB and Analog Inputs 0:50 How to Set Phantom Power 1:09 What is the Polarity (Phase) button for 1:41 What is Stereo Linking 1:56 Gain structure discussion 2:50 How to set gain on Mixing Station 3:48 Signal Flow discussion 4:31 Input Tab Discussion 4:46 EQ explained 7:38 XR18 FX Rack 8:32 Bus Sends 9:25 Bus Sends as Monitor Sends 10:44 Bus Send Tap Point Chart 10:59 How to use FX Sends 11:55 Main tab. How to Pan channels 12:09 How to assign or un-assign channels to Mains 12:35 How to assign DCAs 13:35 Comps and Gates/ Pt 1 How to use Comps 14:43 Pt 2 How to use Gates
@@butchgiusto9294 I'm using X-Air Edit on the PC in the video for the PC version. The Mixing Station app I'm using in the video was the original free version and the default layout for Android. But my paid version is very similar. I've not upgraded my Mixing Station in a while so I'm not sure if there's been any major changes there, but I'm sure it's roughly still the same, but maybe an extra click here or there. There's also a PC version of Mixing Station... and that one I have is very new and it's also really close to the Mixing Station app. Are you sure you're using Mixing Station and not the Behringer built version app?
I am so grateful for you and your videos Alan. I've got my new MR18 up and running. This is my first mixing console ever. The info from your channel has been huge in teaching me the basics. I can't image how frustrated I would be without your videos. And I haven't even scratched the surface of your content yet. Awesome. Thank you!
Hi Alan, as former AV consultant/designer and owner of an XR-18 mixer, I always enjoy and appreciate your XR-18 videos. I am not sure if you are familiar with Midas IEQ Pro (App for tablet). This program allows users to auto equalize the main “house EQ” with pink noise and a measuring mic. It would be great to have you review and explain this product in your typical clear manner. Best regards, Christian
With spring/summer gigs right around the corner, this was a great refresher on the x-air. Clear, concise, and well scripted - thanks for putting in the effort. Extremely helpful channel.
This is a great beginner tutorial for those, like me, who've never used X Air! I particularly like the clear, even diction. So many tutors stress important points by going quieter or changing their speech pattern momentarily and that's distracting. Thank You!
Thanks! After struggling with mixing for a couple years now, I just learned in 20 minutes more than I've accumulated in all of those years and other you-tubes combined! Super thanks!! clear and doesn't make assumptions!
You do a great job on this. I spent five full time years with rack gear and reading the Yamaha Sound Reinforcement Handbook and listening to the results in order to learn dynamics processing and effects for FOH. It's amazing now with the mixer tech and TH-cam how much information people have that are new to the business. I think I had over $3k in rack gear for only four complete channels worth that I used to drag around with me. Now you have more control than I had on every single channel on mixers that are less money than I had in just insert patched chains for four channels. The shift in 25 years has been pretty incredible.
Thanks! Things have definitely changed from the days of lugging around 1, 2, sometimes even more racks of processing. All needing patched in. And even if you multi-pinned the racks, depending on circumstances you still could find yourself repatching processing to different channels, looking for broken wiring, and mispatches.
@@AlanHamiltonAudio Back in the day, I hand soldered my whole TRS patch snake. Man, today, all the Amphenol and Neutrik connectors alone would be a couple hundred bucks.
Well thought out presentation Alan. It makes a huge difference from tubers who make it up as they go along. Much power to your elbow and giant thanks from Pete, Auchtermuchty, Scotland.
Your videos are the best out there. I've been Djing and running karaoke for a about 10years and have started helping out some bands and doing sound for them and your videos have made learning so much easier.
This mixer is perfect for gigging and love recording on a budget if you know what you are doing. Here are my recommendations based on using this mixer for about 3 years 1. ALWAYS set gain first exactly like he explains it at -18db. This will give you an clean even rough mix to work from. 2. Do not use the internal wifi. Use a standard router with extra Ethernet ports to connect a interface and other add ons. You will be stuck without it. I'm not sure why behringer didn't put in a good built wifi but it's unreliable even if you are on stage. 3. Use the graphic EQ to ring out the house and monitors but don't over do it because you will end up trying to over compensate the EQ and end up with feedback. Know your maximum volume and refuse to go any higher. Just turn down the music in monitors if people say they can't hear themselves. 4. Save presets for gain adjustments based on specific mics and instruments. It provides a foundation for every set up and saves time otherwise just start from scratch. 5. When live recording, none of the gain settings transfers to your daw so you will have to repeat the gain structure separately first before mixing and mastering. If you need a feed for love streaming use an aux with the main routed to it to stream your main mix. 6. The gate feature is what sets apart from a standard mixer. Make sure you use it on the mics to minimize any unwanted background noise. The sound should go completely silent when nothing is playing or when people aren't speaking. 7. Invest in an ipad to be able to be on stage to mix monitors. There also are apps to allow performers to mix their own monitors once they are connected to your wifi router. 8. I use the dbx driverack as a cross over for subs only because of my old setup and convenience but the console really doesn't need any add-ons. Just put the subs on an aux channel. EQ that aux main to take out the unwanted frequencies and on the channels you need bass put it halfway on the aux channel fader then set it to post fader so that the subs will be in sequence with your main fader volume. 9. Once you record a live set you can reroute the inputs to usb. I use this to work on mixing and gain structure without the band being present which is another plus. Set the keyboards and line instruments to near max volume to set an accurate gain structure. For $500 or less this is by far the best mixer for live sound and even multi track recording or as a studio interface. I've even used it to use autotune live through usb and for incorporating daw effects live. The latency is delayed only by milliseconds and isn't recognizable. When I do love sets I record just for the heck of it and most of my clients end up paying for the recording as well. This is a must have for anyone in the business of live sound or multi track recording and can provide the same result as a high dollar console. The only limitation would be the number of channels but I run 6 mics, 4 line instruments(2 stereo keys or 4 mono inputs) and 4 drum mics very comfortably. Including a xtouch interface, 4 phones connected to wifi for monitor mixes, and 2 in ears. I literally was able to supplement all of my analog hardware for one box.
This is a great video. I have the xr18 for my band’s monitor mix. I’m new to mixing anything in general so your clear explanations are very helpful. Thanks 👍🏽
Thanks! If you haven't already watched it, I have a video about setting up the XR18 as a dedicated monitor console. It's focusing on IEMs, but the general information is the same whether wedges or IEMs. th-cam.com/video/Zf83kolgVzk/w-d-xo.html
Holly crap where to start. Man that was a boat ton of information packed into that video. I remeber when the X Air 18 came out and video's were hard to come by. This was a great over view of an entire channel. I have been thinking about buying the Soundcraft 24UIr and giving that interface a whirl but I don't think there are many videos like this for that model.
Pretty good overview for those that are somewhat familiar with the " X " series of mixers, hopefully people will check out your other video's, because they are much more in-depth and you go a little slower.
Yes, there was a lot of info to cover. I tried to add the relevant links either in video or under the video for those that need to go deeper and/or look beyond the channel on any section of the video. I wanted to keep this video moving because it was getting long as it was. Plus I figure people will would want to get to each new section versus lingering too long on a part they are already solid on.
Thanks for more content on the XAIR18 and help finding the Signal Tap points for the monitors. Can you at some point provide a tutorial on Stereo Delay settings and practical use for live and studio applications? Low Cut/Hi Cut, Feed levels etc. and how Delay sits in the mix depending on how you use or misuse it. Also different types of delay both long and short. Tape slap effect etc.
I did a video about the guitar and bass amp sim that is built into the XR18. FWIW, for the demo I didn't spend a bunch of time trying to create the greatest tone machine I could create. I just threw together some basic patches to explain what the settings do (they are NOT intuitively named IMO). The point being that a user could mess around with it and save some settings for a gig emergency, or for scratch tracks when recording, or not be totally stumped at what the settings do in a pinch or when experimenting with it. Plus it's all subjective anyway, even if I had spent a few days creating sounds, I'm sure there would be people not liking the sounds. I known that was a long caveat before I post the link, but several people commented and thought the point of the video was me trying to demo the quality (or lack thereof) of the sound. And that wasn't the overall point at all. The point was demonstrating how to use it to create your own settings and to understand what the 'knobs' do. That video is here: th-cam.com/video/Hhsf0PMgjb4/w-d-xo.html
Alan, great video as always! Question.. is there a way to reset all settings for a specific channel, or even a group of channels, back to default settings?
You can always initialize the console, but that resets every channel and output. IF you have an unused channel in your scene, you can save that channel. Just call it "baseline" or "blank" or something easily recognized. Then for any channel you want to reset, you can just load that 'blank' channel preset and it will reset the channel that way. I guess technically, as long as you've saved your scene(s), you can even initialize the console, and save a blank channel preset, then reload your scene that you'd saved, and now you have a channel preset you can load into any channel you want to start from scratch.
Alan you are awesome. I have learned so much from your videos. I have a question regarding the Channel input on the XR18. You went over Phantom power, polarity, stereolink, but you didn't talk about FX. Do I need to select that to add FX to the channel?
Probably don't need to select it for what you're wanting to do. I go over the FX settings in another video- th-cam.com/video/TV5ClH_MWrU/w-d-xo.html The gist of it is that you'd only select that if you were INSERTING something. And on the XR18, you're not likely to insert a reverb or other time-based effect (as explained in the video I linked above) but could want to insert a vintage comp or De-esser. But in any case, that setting that you are looking at is a bit redundant. When you watch the video I linked about FX, and follow those steps in the XR FX Rack, then THAT section will set that button for you. IOW, you can do everything you need to do for INSERTING an Effect in the FX Rack when you're setting things up there, and it will automatically then carry that over to the FX button you're looking at on the channel strip. But for reverb, chorus, delay... time-based FX, you're not likely to want to insert those anyway (on the XR18 or even X32) so that button is fine being greyed out.
@@AlanHamiltonAudio what if I want to insert the Wave effects to a drum. The effects only give you 2 spots to insert to two channels, so would this be another option to inset that effect to another drum?
@@edwinrivera3118 No, each FX slot limits you to 2 channels. They don't have to be consecutive channels... It could be inserted on channel 1 and channel 5 just as easily as channel 1 and channel 2, but it doesn't let you add a 3rd channel. As soon as you select the channels (or busses) that you want the Effect inserted on inside the FX Rack, the channel insert(s) automatically populates with that selection on the channel tab. You COULD change it at the channel instead of inside the FX Rack, but it would just move the setting in the FX rack too. For example, let's say you originally chose to insert the Wave Designer on channels 1 (kick) and channel 5 (Floor tom). Then you decided you'd rather have it on the snare (channel 2) instead of the floor tom. You can go to channel 2 tab and select the Wave Designer slot there, but you'll get a warning (at least in X-Air Edit) telling you that it's already in use and asking to "Overwrite?". So you tell it "yes" (or "OK") and now it moves the insert point from the original channel 5 to channel 2 in the FX Rack.
Great videos. Thanks for putting these out. Question. Is it possible to create a talkback mic for a live situation with the XR18 so the engineer can talk to the stage without it coming through the main pa?
Assuming you have the XR18 onstage and a tablet out front, the simple way is to use an open channel and an RF mic. It doesn't need to be super-nice since it's just talkback. Something like one of the AKG mini's could work. Then, just set the gain and turn up the monitor sends you want the TB mic going to. Just don't bring up the channel fader... and if you want to be extra safe from accidentally bringing up that channel- Unassign it from LR. Now, even with the fader up, it can't get to FOH (unless you accidentally send it to a subgroup assigned to FOH)
Always liking your channel very helpful. Just one ask…do you a video for MAIN L/R, eq, compressor, limited setup and the FOH speaker volume setup. Thanks in advance 👌
Alan, you discuss 'surgical cuts" for problematic frequencies that may be causing feedback. With the RTA turn on, what does a feedbacking frequency look like? How can it be identified?
Check out this video on ringing out mons/FOH... It shows examples of feedback on the RTA and what to look for. th-cam.com/video/pu0xjl0rpMU/w-d-xo.html If you're using the 'waterfall' display, the principle is the same but you'll see the feedback as a red signal area and generally a lasting one. The 'waterfall' shows the frequency range of the signal over time.
I'm glad I found and subscribed to this channel! I've had my Xr18 for several years now and barely scratched the surface. In my application, I use it in my studio to record my band, i.e. vox, guitars,drums in the Xair inputs, through to my PC via USB. I also route them (mainly vocals and guitar) back out through the outputs to my PA mixer,(Behringer 1580} so the band can hear themselves play. I have two questions. 1) what gain should I be setting my channels to, to ensure unity gain on the outputs (i.e. when I plug my mic's into the pa mixer minus the xair, they should sound the same on the PA) 2) We often want to replay our recordings back through the main outs through additional input channels on our PA mixer. This signal comes from the USB on the PC. We record using Reaper. how would I route this signal in the Xair? I can see the signal in the meter panel, but dont know,how to route it to the main outs. Sidenotes: We don't use the Xair for live shows, only as a recording interface and a signal passthrough, and for replaying recordings and youtube videos etc. from our DAW PC. I use a small separate dedicated PC for Xair app.
I'm not sure I understand your first question, but I think for the second question it's answered in the XR18 to Reaper video. There are a couple of ways you can do it, and the video shows how it works in both Reaper and the XR18. th-cam.com/video/xYmJGyroVe0/w-d-xo.html
@@AlanHamiltonAudio Thanks Alan, yeah my first question was perhaps a bit confusing! I just want to use the XR18 as a 1:1 pass through (while still recording through USB). I want to retain the same settings on my PA when we play live gigs minus the XR18.
Perhaps i can simplify. What DBFs would equate to unity gain? I want the signal coming out of the aux outputs to be the identical level of the signals coming in to the corresponding analog input, but I still need to pick the signal off post eq as i want to compenste for my studio room acoustics. I decided I wanted to learn more about my XR18 and I bought the Mark Baker book, but since I found your channel, i've barely opened it! Thank You!
I've seen them asking for Beta testers on social media. So, there must be some movement (I assume you mean updated software to fix the broken software that happens when an iPad is updated to the latest OS). Mixing Station App does work on the newest iPad OS. Hopefully, the official Behringer updated App is getting close.
Off the top of my head, the most simple way would be to save an unused channel as a preset. Or initialize the console so every channel is definitely at factory defaults and then save a channel as a channel preset. Just name it something obvious like Baseline Channel or Clean Channel or Init Channel... Something you can remember. You can reload that channel anywhere, at any time... IOW, save channel 16 today... a month from now you can load that channel preset into channel 1... or channel 10... or.... I probably should do a video on channel presets and saving them. You can save individual channels like kick, snare, toms, vocals, etc... with their names and color schemes already in place... Plus your baseline settings for those instruments (like your gates already assigned, comps assigned, HPF assigned, and ballpark settings in place). You'd still tweak them however you want, but having starting points that far along really speeds up the process. Just having the names and color scheme you like that easy to call up and roll with is a timesaver.
Plus you can save channel presets from your own scenes when you start locking into solid baselines, or if you ever download a scene, you can save the channels individually to your channel library as well. And before someone says "You can't mix a band with presets"... The idea is to have baselines in place. Starting points with your workflow and basic things in place. You're still likely to need to tweak things. But things like the TYPE of filters you use on individual drums for your gates, your HPF settings, will all start out much closer than starting from scratch. And channel names, colors... etc... that stuff will just be exactly what you want with just a couple of clicks instead of typing them each time.
I want to get set up for home recording, and also might potentially want to do some small live sound reinforcement gigs in the future, like karaoke hosting for example. I really like the idea of being able to mix remotely/wirelessly in the room in a live situation. What are your thoughts on purchasing an XR18 and using that for an audio interface in the home studio, basically killing two birds? Or would you buy a dedicated audio interface to start, and then invest in something like the XR18 later on if the live gig thing materializes? Some say that I would get much better A/D conversion out of a dedicated interface, but is that really true? I would probably be looking at a Focusrite interface if I went the dedicated route.
The XR18 definitely can kill two birds with one stone. And you won't hurt yourself having the XR18 (or MR18) as your interface, especially since it has 18 USB I/O points. Even if the live gigs don't materialize, the XR18 would give you a lot of channels for your studio over a conventional 2 channel USB Pre. The only caveat I think I'd add, is there are some pretty good budget USB pres these days, with 1 or two mic preamp channels, so it's not a huge financial setback to get one of those first even if later you invest in the XR18 now. But if you have the budget for it, I'd just get the XR18 now so I had all those channels for recording purposes... and if the live gigs materialize, you're good to go. And if not, you still have 16 mic pres and 2 line ins to use as your recording interface with the XR18.
@@AlanHamiltonAudio Thanks. I also have a Pearl kit here that I may want to use in the studio, as noisy and sound challenging as it will probably be. There may be better options for me on that front as well, but I have always envisioned having this kit mic'd up and sounding great as part of the plan. The kit has been in my closet ever since I bought it 15+ years ago, just waiting for the studio to get set up. Thanks again for your feedback.
@@AlanHamiltonAudio And I assume the MIDI interface on it will help me as well? So I could trigger OmniSphere or some other software based synth package in my daw via a MIDI connected controller keyboard. Not sure if that's true. I also wonder if latency would be an issue with the XR18 vs a dedicated interface. Latency seems to be a hugely important factor in digital recording.
@@AlanHamiltonAudio Do you have a video showing how the signal chain flows when using the X-Air 18 as an Audio Interface (say to Cubase) and to front of house if I was to record a live performance.... (I'm new to this mixing thing and need a better mental model for those signal flows). Will the sound signals be connected (I.e. a change in Cubase will affect front of house? Maybe it has to do with where the signal tap occurs? This video was excellent... thanks
Hi Alan, thank you for sharing these tips!! I recently started using the XR18 for synths and drum machines in my home studio. If I give any of the channels my USB returns feed, I notice the sounds from Windows are hollow (with and without stereo link). The only solution that worked was applying polarity to one of the channels, which brought back the thickness and center information. Could you explain why this is so? Does it mean I have to block one pair of input channels 1-16 having polarity exclusively for my USB returns? Is there any way I can the FX tracks for USB returns instead of hogging the input channels 1-18? Many thanks!
I'm not sure without some more details. Anytime polarity rears its head with a stereo connection I do have to wonder about the issue of stereo unbalanced and mono-balanced connections being intertwined somehow. But I'm not sure if that would apply in this case or not because I'm not 100% sure you're connecting this. I know this video is talking about an MP3 player connection first and foremost, but it goes on into more detail to talk about other related things when making stereo connections and the difference in mono balanced and stereo unbalanced. But it might be worth checking out to see if something here could be where the issue is being caused. th-cam.com/video/UiauwFEFe_k/w-d-xo.html
@@AlanHamiltonAudio Thanks for your response. I'm not sure if this is the problem here. I'm using XLR M to XLR F to run the speakers from Main LR from the XR18. And the audio tested was from USB returns, not through any of the Analog Ins/Aux In.
@@adavidalex212 Have you tried headphones connected to the XR18 to see if you hear the same problem in the headphones (when listening to L-R in the phones)? That would be a clue as to whether the problem is COMING to the the XR18 or a possible inverted cable or miswired speaker. I suppose trying a different laptop/computer might also be worth checking to make sure there's not some internal computer glitch happening that is outside of your control. You're sure the tracks you're playing back are actually recorded correctly in the first place? They didn't get recorded (or sent thru) the computer with an inverted cable or a DAW track with flipped polarity?
I've got a question about setting gain structure. I've tried to follow the guideline to set the initial gain setting to average -18dBFS. In a practice setting (in multiple locations using both passive and active PA monitors) and in performance settings (again, both active and passive PA monitors), this has resulted in hot mics and feedback before getting the faders anywhere near performance levels. Our solution was to set the initial gain to around -35dBFS. Are there other considerations that would cause hot mics when setting the initial gain to -18dBFS?
Setting the gain to average -18dBFS on the input meters is definitely the proper amount of gain. It's hard to say without know more about the rig, or seeing you scene file, where things are going off the rails... but the input gain is one place you can easily know you have that setting correct (due to the first point in the signal chain at the console AND a meter to guide you). So it's a question of following the signal path and seeing where it is wrong. Assuming the problem is somewhere within the console settings, and not amp/powered speakers/DSP settings... And assuming you're starting with the EQ flat and not super boosted... then I'd look at compression on the channels. Is the compression makeup gain cranked up? I think X-Air Edit just calls it 'gain' on the compression page. That is somewhere you could be dialing in level after your channel input gain, and before your channel fader (and sends). Also, you could have compression on the busses or main outs... and could have the makeup gain cranked in those places If you've inserted anything into the channels... or the any of the buss outs or main outs... then there's potential that whatever you've inserted has it's own level cranked which would make everything before suddenly louder at that point in the chain. That's off the top of my head... Something is set wrong if you cannot get a decent level out of the console without it turning into screaming feedback at -18dBFs on the input meters. It COULD be in the console somewhere... or it could be after the console in the system drive, DSP, amps.... Anytime you set the gain properly at the input and can't get a channel fader anywhere near unity without the PA devolving into massive feedback is a clear symptom of improper gain structure somewhere in the chain.. or multiple points in the chain. You KNOW you have the input gain correct... dialing it back is not a proper fix... because the real problem is lurking and can bite in other ways if not sorted out.
@@AlanHamiltonAudio Thank you for the detailed response. I will certainly go through each channel with a fine tooth comb to see if there is any unaccounted gain or something else causing that feedback. I have learned quite a bit about sound from your videos, but putting that into practical use is hard. Every set up seems to be different. I've only set up a few times, once I get a few hundred under my belt, it might get a bit easier...I hope.
@@AlanHamiltonAudio Was still fighting the feedback issue. I still don't have the expertise to know where it is occurring but, at a recent practice, I initialized the XR18 and started from scratch. I didn't mic up any cabinets, was running my bass DI and vocals through the PA. I only eq'd one vocal mic (3 singers). Had the gain staging set for -18dbfs, power amp maxed, vocal mics set at unity and maxed out the main faders....and got zero noise. No hiss, hum or feedback. One of the guitarists was getting some feedback between his guitar and amp. Progress!
@@louisaguns4318 RE: Feedback- Have you watched the video about ringing out mons and house? Pay attention to what it says about not overdoing it... 2, 3, maybe 4 points is usually about it. Anything beyond that and you're into the point of diminishing returns and making the problem worse instead of better. th-cam.com/video/pu0xjl0rpMU/w-d-xo.html
I find that I need to use the noise gate on my vocalist microphone channel to help alleviate her feedback without the gate on I really struggle to get enough signal and avoid feedback
@@AlanHamiltonAudio 100%. I always carry a a couple small personal mixers and in-ears on standby for that reason. Living on the edge of feedback is misery for everyone involved.
Alan, thank you very much for the great and detailed content you put out. I have one question. I am trying to set the gain on the Behringer XR18 using X-Air iPad app. In your great example in this vid you are using the Channel tab which allows you to clearly see the Meter level number, and set the gain at the same time. On the iPad app there is no Channel tab, but there is an Input tab which allows you to set the gain, but does not include the meter. So you can't see when your at -18. How does one properly set the gain using the iPad app?
I don't own an iPad to test with so I don't know what scale or 'landmarks' you can judge by. If nothing else, you can connect an MP3 player, have a laptop or Mac running X-Air connected to the XR18, bring the gain up and use X-Air Edit to see an accurate meter reading to a known scale. Then compare that to the iPad (that would also be connected) and get a reference for what the comparison would be between the obvious -18dBFS point on X-Air Edit, and whatever point that puts the iPad app meter.
Can i use the XR18 as a mixer for a live performance and capture the channels in a DAW and record the live show simultaneously? I selected the USB in returns for all the channels, things worked in the DAW but weren't playing through the PA.
@AlanHamiltonAudio, thanks again for your great videos!! They are truly very helpful. I have a Shure SM58 (that is prob 20+ years old, maybe the newer ones are better for mic handling noise) and I find when I set the gain to the -18 area I get a lot of mic handling noise. The smallest movement of my hand on the mic will create -30 to -40 of signal on the channel when the gain is at -18, is that normal?. Also the mic is super sensitive at that level. We have a drummer that plays an electronic kit and I am over the other side of the room but the mic picks up all his drum clacks, (we are all wearing headphones feed of the XR18 buses, and recording our jam sessions), when at gain -18, and they end up on the vocal track. What am I doing wrong here?
Assuming you mean you set the gain so that the input meter registers -18dBFS on average (and peaks higher), then there shouldn't be excessive handling noise with an SM58. It could be overall gain structure... IOW... You have it correct at the input, but then something (or multiple things) wrong downstream. Example: Input gain is normal but compressor makeup gain is cranked. Or excessive EQ and/or HPF setting not used or too low. For there to be a handling noise issue, I wouldn't expect the lack of a HPF, or setting it too low, to be the main issue. BUT that and/or excessive EQ (especially low EQ) could be the problem. Or part of it. You could also have the mic double assigned to the mains and so you're getting multiple paths sending the same signal to the outputs. Like the channel going to the L-R outputs AND to a subgroup and then to the L-R outs from there. Or multiple subgroups. Also, possibly assigned to a monitor bus where the master monitor output is accidentally assigned to the mains as well as the monitors. A DCA assigned to the channel, and then the DCA cranked could cause the problem. Especially if you don't even realize the DCA is in use. Handling noise is usually low, rumbling type sounds (from mics with poor handling noise). If you're hearing a buzzing, clicking, clanking, rattling, or hissing, then that could be something else. Even something broken/loose inside the mic. I'd try a different mic and cable to see if something else in its place behaves. Even if it's a cheaper mic. In general, an SM58 should be perfectly acceptable for handling noise, but it's possible you have a broken one.
@@AlanHamiltonAudio Thanks for taking the time to give such a detailed response. I am happy to say I have fixed the issue. I did a re-initialize of the XR18 to reset everything and then only added the mic, and routed the USB for reaper. It works great, nice strong signal without all the mic noise. So now I will take screen shots of my other config and bring things in one at a time to see what breaks it. Thanks again for your support on this mate.
Alan thanks so much for these videos.. I'm learning a lot. Please can someone tell me if its possible to control the XR18 audio etc whilst also running and controlling stop/ start/ track select etc on a playlist within a laptop or MacBook / iPad connected to the XR18 via usb.. Can I control all this wirelessly from my iPhone or iPad whilst performing live etc.? I think I dropped an error when buying this unit thinking it had the same usb in/out as the smaller Behringer units and many of the other manufacturers units... All I want is to be wireless and in control of everything.
Mixer control can only be done on the network (ethernet/wifi) and not USB. Meanwhile, audio can only be transferred over USB and not the ethernet connection on the XR18. I know some people use the Apple Airport (not sure which versions or all versions) to stream tracks. I assume (IOW, just guessing) that it has a USB port that can be connected to the XR18... but I suppose it could just have an audio out instead and work that way somehow. So, I'm not really sure on that, but researching that (streaming music through the Airport router) is probably something for you to look into. Sorry I can't be more specific but I don't have any Apple products to have direct experience with this. Maybe someone reading along can chime in and add something more concrete to this. Or maybe know of other options or better ways.
Great videos but I can't keep up after about 5 or 6 minutes. I don't have the patience for this so I just want to sell my XR18 and never think about mixing live sound ever again. Buying this mixer and being in charge of the sound has taken all the enjoyment out of playing music.
Is this your first foray into mixing? I hadn't really thought about it until I read your post, but I bet the XR18 is pretty hard for someone getting into mixing for the first time. The only thing I can think that might compare a bit would be mixing in the box on a DAW in a home studio environment. But even that has differences, and these days there are plugins that are actual channel strip emulations. I've thought about people coming to the XR18 (or X32) from an analog console, and present a lot of info from that angle. And there are things to navigate there, but it's more just figuring out where things are at the apples to apples level and expanding from there. But with no previous live mixing experience (or maybe coming from something like a simple analog box-mixer), the XR18 might even be harder than the X32, because there is no surface. So everything is layers and tabs... That leaves me wondering if there's a way for me to do a video for people who don't just need to figure out the XR18 coming from analog, but need to START their mixing journey on the XR18...
@AlanHamiltonAudio Thank you for the lengthy reply. Yes, it's my first time ever mixing. I play in a rock cover band and until recently we used an analog mixer that wasn't mine, so I didn't ever have anything to do with it. I bought the XR18 on a recommendation and by default, since it and the speakers are mine, it falls on me to figure it out. I'm not gonna throw in the towel yet, but it's definitely a challenge. I'll continue to follow your videos, as they contain a wealth of knowledge. Thanks again for the detailed personal reply.
Do you have any information on the group assignment section you talked about in this video. Not really understanding the x and y. I am the worship leader at our church and normally do nothing with the sound system. I am on a single transmitter wireless mic and pack while the rest of the team are on a twin transmitter. Should we all be on X or does this even matter? Some of the songs have me at x or y while the rest of the vocalist are at Y. Thank you for any feedback.
For singing, you really shouldn't be using the automix function at all. So just turn it off in that case. You want to use the automix function for something like a roundtable conference where you have a moderator and a panel discussion. Or possibly a play/skit where there are actors randomly speaking. As for speaking, such as it the pulpit, if it's just you on one mic, then you wouldn't need it on then either. If you use a pulpit mic AND a lav/earset, then you could engage it for both of those mics, each on the same group, for speaking. That might work to keep things balanced, even when you leave the pulpit to walk around and speak, and then come back to the pulpit. But that's only if you use both at the same time for some reason. If you bring someone to the platform to speak with you, you could definitely have it on between your mic and theirs. Also, if there's a stage mic for someone speaking onstage and an audience Q and A mic, you could leave the Q and A mic open but with both of those mics on the same automix group. Or even multiple Q and A mics. But generally, for singing/vocals, you don't want to engage automix. It's not really for blending voices so much as giving priority to speaking voices and ducking unused mics while keeping overall level even. Which is not something you want for singing.
Do you think its best to use the post fader when using Aux out to a subwoofer? That way I can control my sub with an individual fader right ? Also for playing music during my DJ gigs while using the Aux out to my sub I still use Post fader?
Thanks for the video. I was wondering if you’re able to use a combination analog and USB inputs modes. For example can channel 1 be taking an analog source (a mic) while channel 2 is taking a USB source (a backing track from a PC)? I thought I understood from the video that all inputs were either all analog or all USB and no combination of the two. Would love clarification on that. Thanks again
Yes, you can set each channel individually to be either analog or USB. You can set it on the channel itself in the software... or on the grid in the routing section of the software. There is the X-Air Edit preset (In the In/Out routing section) that automatically changes an entire group of channels over, but you can make your own patching preset and save that there (look at the upper right corner of that routing window on the USB returns tab and you'll see an I/O patching section with disk/folder icon for saving/recalling). I'm talking about X-Air Edit software but I'm sure Mixing Station would have something similar. Not sure about the iPad App software though... unless you're using Mixing Station on the iPad.
@@richardcifuentes6031 If you're looking to use it for studio stuff, then you might check out this older channel video about connecting Reaper to the XR18. It runs thru a lot of the recording configurations for the XR18 plus talk about routing issues. So it might show you some stuff, even if recording is not what you're looking for and instead playing with trax or something like that. th-cam.com/video/xYmJGyroVe0/w-d-xo.html
The larger screen is the the PC version of X-Air Edit (downloaded from Behringer). The smaller screens are Mixing Station with (what was at the time) the default GUI on Android.
Thanks for your videos. I just started watching them. my question is what should the gain on th e loudspeaker be? should i set this up at half then turn on the mixer then to get that -18db you were saying? sorry probably a dumb question but I have to start somewhere. thanks again in advance
This one is hard to answer because it's a situational answer. It's easy to set the XR18/X32 gain because our meters tell us where we need to be. But with powered speakers, we also have the venue size, genre, efficiency, needed volume, and still always headroom to consider. The simple part is to make sure the speakers are set for line input or you're using the line in inputs. If the level control gives you a +/- range then likely best to start at 0dB. Mainly, you first want to make sure you don't clip your speakers. A clip light flicker might be OK, but solid clip nor audible clipping is not. So, if the console is outputting a clean signal, your console gain structure is correct (inputs and outputs... you don't want the console output meter clipping either), your master fader is in a normal range around unity, then you can reduce the powered speaker's level to get it out of clip. IF it has no way to reduce it, fixed input, then you should reduce you console master until the speaker is out of clip. And make a mental note of where your meters are on the console when you're reaching that clip point on the speakers. In these two scenarios, it doesn't matter if the rig is loud enough or not... because once you're into clip on the amp/speakers, it's all you have (and beyond). But hopefully, that's not the case. Hopefully, you have headroom to work with. Realistically, the input level on the speakers doesn't need to be any higher than to allow you to run your console at normal signal levels, and reach the max level you want in the room. So if setting the speaker inputs are at 0dB or 'full' means that the signal leaving the console is way too loud for the master to ever ride around unity on the console, then you easily know you can reduce the speaker level. OTOH, if it's the opposite, then you know to go to the + side on the speakers if that is an option. BUT always with the caveat, once you're into clip, you've crossed over into the "all she's got, captain! She's breaking up!!" scenario. Technically, while you don't want to be clipping, it is nice if all system meters are working in tandem. IOW, when the board hits the clip light on the output, the powered speaker or amp also hits the clip light. But that assumes the amps/powered speakers have useful metering and not just a signal and clip light for example. If your speakers do at least have a signal-0dB-clip light, then you can put some music or a test tone/noise thru the console and set it so that it's hitting -18dBFS on the console's master output meter. We can roughly assume -18dBFS = 0dbVu on those analog meters of the amps/speakers. So, with the console outputting a steady -18dBFS, you can bring the speaker up to hit 0dBVu. That should put you in a ballpark of the speakers and mixer meters roughly being aligned. But if that's way too loud, you can either address it at the master fader of the console (which means your meters on both ends stay roughly aligned) or lower it on the speaker end because the amps don't need to be amplifying things any louder than they need to be amplifying things. So any hiss picked up in circuit will be reduced. If it's not loud enough using that method (meaning when you mix the band, your mains CAN be hitting much harder than -18dBFS, but not clipping the console...). So if the speakers aren't starting to flash the clip light... yet it's still not loud enough), then this gets more in the weeds... Because you need to know where the speakers clip. If the powered speakers have +18dB of headroom, then you're basically aligned with the console and that is that. If the speakers have +24dB of headroom, then you have 6 more dB in reserve where you can have the speakers hotter than the console (or console meter that we just guesstimated -18dBFS gave your -18dB of headroom on the speakers). All of this has just been guesstimating things, so if the mixer master meter is really running hot at the show, and you have to bring the master fader up to even get close to the volume you want, yet the speakers are not clipping, then essentially, just bring the speakers up some more. Do it in balance and reduce that master fader if you had pushed it and were running it above unity to get it back to the unity area and give the console outputs headroom. You don't want the board clipping before the speakers... nor the speakers clipping before the board... You just don't want clipping. And with digital, you don't really want to hear that digital clip at all. So ideally, things are set so that the console meter tells you if you are close to clipping there... then you're also close to clipping the speakers/amps. You can kind of combine all the above to fit your situation and get there with some trial and error. Just don't overdo it on the error part. ;) Work your way up slowly.
@@AlanHamiltonAudio Thank you so much Alan for answering my question in detailed. I am trying to improve our worship system to start using this xr18 digital mixer but the guys who used to use it all left so now we are left with the system that no one knows how to use that is why i been watching your videos and have found them very helpful. We have the presonus 12" speaker and it has the 0db on it so that is where I will start and go from there. Are you also familiar with the powerplay ha4700 headphone distrubutor amplifier? because I have this and we want to try to use this as well for the in ear monitors.
@@JoelManrique I've not used the HA4700. Keep in mind the 6 XLR aux outs on the XR18 are balanced MONO outputs. It takes two outputs if you want stereo. And stereo linking them to get a pan control for the stereo auxes. I'm not sure what the inputs are on the HA4700. It should definitely work, but make sure you are using the right cables and/or adapters and setup on the XR18 (and headphone amp). Even though the main focus of this video is off-topic, parts of it about about balanced mono versus unbalanced stereo might be useful: th-cam.com/video/UiauwFEFe_k/w-d-xo.html There are a couple of different videos about using the XR18 for mons. The more recent is talking about configuring it for a dedicated monitor console and there's an older one more geared to using it for mons from FOH. Both of those videos have relevant information about the outputs and routing for mons. And, I'm working on a video covering the outputs, something along the lines of this channel walk-thru video. But not sure when I'll get that finished.
What happens when you are in a scene you've been using for your band etc, and you initialize the mixer via XAir software on the Mac, so you can make a new scene fro another band etc? Do you lose the saved setting info? Is it easier to do a "save as", re-name the scene and then initialize? I use the XR18 at home with a Mac, but will also use it live with just my iPad. Maybe I have to create new scenes from the iPad, or just make a new scene on the home computer and use the iPad live. Any suggestions?
Scenes are saved on the computer or tablet that you are on when you save the scene. The scene is not saved directly inside the XR18. OTOH... Snippets ARE saved on the XR18. You can also drag/copy the scenes you've saved on your computer to a USB stick so you can have access to it, and it makes for a backup copy as well. But, the important thing to remember, the XR18 only remembers 1 show. The last one. When you erase it, that is gone... from the XR18. But as long as you have the tablet or computer it was saved on (or a USB stick with the scene saved on it), you can reload it from there. As long as you saved it in the first place. BUT... Snippets ARE saved inside the XR18, so anything you saved as a SNIPPET is saved inside the XR18 and can be recalled with any computer/tablet/app you happen to be using at the time.
Great video, Alan. Your videos have been helping me a lot, but I have become a bit stuck recently. I’m using Mixing Station with a Behringer XR18. I created a small and simple custom layout for an acoustic duo i’m in and I saved the layouts, etc, but when I opened Mixing Station this morning, theres a completely different layout with other peoples names on the channel strips, etc, and my layouts have disappeared. I’m only using it at home with the internal router. Could someone have hacked into it?
That's weird. I suppose anything is possible but I doubt anyone would hack into MS... The weird part is your layout changing. I suppose it's possible someone had an XR18 really close to you and you accidentally connected with it instead of yours... thus loading an entirely different scene into your tablet. But I don't think that would explain the layout change. Maybe someone that uses custom layouts could speak to that question better than me though. I normally just use the default layout.
I am looking to adjust my vocals on a channel using the compressor. I can't find the compressor section on my iPad connection to the XR18. I don't have the same screen shown in your video. Is there a plug-in I need to download? Thanks.
I'm using X-Air Edit (with is available for PC and Mac). That is what has the compressor presets. Otherwise, I'm using Mixing Station which is available for Android and iPad. So that is the other software that you're seeing.
@@AlanHamiltonAudio Okay. Currently, I'm connecting my iPad via an Access Point. I have a laptop I can use. Once I download the X-Air Edit plugin, where do I connect my Cat 5 to the XR18, Ultra-Net or Remote? Thanks.
@@jm4videoable Remote (or you can use wifi). If it's at home/rehearsal, you can connect via the internal wifi instead. For gigs, and wifi, I'd buy a dual band router. Doesn't need to be overly expensive but the built in XR18 wifi is not very... ummmm... robust.
Hi there, if you could help with that it would mean so many things!!! I figured out how to send each track to the right auxiliary exit for monitoring while recording but I am unable to feed to those exits the stuff that I have recorded on my daw (on Cubase or so). I can send to the main out of the interface I can send to headphones but not to the 6 aux exits. Can you help me configuring that? What's the parameter that I am missing? A. I get to record and monitor that on my headphones on the auxiliary outs and the main outs B. I get to listen the recording on the headphones and the main outs C. But I can't figure out to listen what is played(not live but just played) on the auxiliary outs. It's like I feel that it's missing a main out channel in order to root it and send the signals accordingly. Please if anyone could help. I keep reading the manual and watching the vids but with not a good outcome!!! Again to anyone who read all that, thank you for your time and patience!!!
I think the answer probably lies in these two videos. The first is about the outputs and might help with some clarity: th-cam.com/video/UNO-dACc7YY/w-d-xo.html The second one is talking about connecting to Reaper, but the concepts are the same and importantly the settings you need in the X-Air to talk to any DAW will be the same as these described in the Reaper video: th-cam.com/video/xYmJGyroVe0/w-d-xo.html
Is it the Mixing Station or Mixing Station X Air app that I need? I see there are both in the Google Play store. There's also Mixing Station X Air Pro. Not sure which one I need to control an XR18 with an Android tablet.
I think there's now a Mixing Station that covers all platforms, or maybe that's on the paid version, but if there's an option for versions still there, it's safe to use the X-Air app.
Man, I need help with something. If I think of maybe replacing my audio interface with the xr18... or any other mixer... how does it work especially with DAW? All i want i get a way to get the "master bus" of my DAW to get sound (unaltered, as it is) outta my headphones so I can mix, and outta studio monitors. Is it okay to replace the audio interface, or should I keep it?
We just got the Behringer XR 18.. How can we play to a click track and sequence in our in ear monitors without the click track coming out of the house speakers, but with the sequence coming out the house speakers?
I'm assuming you have a 2 track recording... one side music and one side click... In that case, you'll have to come into 2 channels (any two channels except 17-18) and on the channel that is the click, just make sure that you unassign that channel from L-R (Main). That way, there's no route for that channel to get to the mains, even if you accidentally bring the fader up. Then just adjust your monitor settings normally. If you do it like that and click is still getting to the mains, then odds are you have one or more of your master aux outputs assigned to L-R (which you should not do for monitors). That won't happen from a newly initialized console since the default setting is not that way, but it can happen if someone is either experimenting with settings or accidentally clicks that assignment button in the software. It can also happen if you ever have a bus set up as a subgroup, then change it back, but forget to reset the aux master/bus side of things for that particular bus or busses. It's explained in the FAQ video since it's a common mistake/problem: th-cam.com/video/x9wciA2wFd0/w-d-xo.html
The reason you can't use ch 17-18 (Aux in channels/Stereo inputs) is because those channels can only be stereo... or ONE mono channel. So you have no way to unassign (for example) the Right side from the house L-R while leaving the Left side assigned to the house L-R. Nor any way to send the right side to the monitors without or differently than the left side. They both have to be sent equally because the mixer expects that to be a true stereo signal that you want coming into the console (like an MP3 player/CD/Bluetooth, etc...).
@@AlanHamiltonAudio I have multiple tracks for the sequence, should I bounce it all down to one mp3, then create a click track, bounce that and unassigne it? We may be using an Alesis drum pad to play the sequence from, if so where do we plug into the Behringer? Or we may use a MacBook Pro or iPad, how or where would we plug in for that?
I have a question: is it possible to apply two effects to one vocal? I would like to use deesser and reverb at the same time so that the signal that goes to the reverb comes after the desser.
I believe the insert point on the XR18 is pre-EQ. So, you'd have to use one FX rack slot for the De-esser, and insert one side of it on the vocal. And that would be a pre-EQ insertion point. The vocal reverb will be a send and return FX (not an insert) and a channel FX bus is normally post fader (though that can be changed... but normally you'd want the channel FX send to be post fader. So.... the reverb would be capturing the signal AFTER the De-esser... and also after the EQ as well... since it's a post-fader tap. Which sounds like what you want it to do. This video about the FX Rack probably will help you visualize all of that. There's a couple of other videos about FX and tap points on the channel... but this one is probably the one I'd point you to look at first: th-cam.com/video/TV5ClH_MWrU/w-d-xo.html
@@AlanHamiltonAudio Yes, this is exactly what I meant and what I figured . I’ve seen some people do this with faders not all the way down which seems odd to me. Thanks man for the reply!
Do you have any information on setting up for in ear monitors and stage monitors. I am trying to figure out if each output can be custom tuned to each iem like say singer want to hear mostly her voice and drummer wants to hear mostly drums. would you use channel sends to output for each channel and adjust the volumes for that output. or am I needing additional hardware? I am new to didgital mixers. Its 2 iem for vacalists and 1 for the drummer. Everyone else are are old school and will be using stage monitors
You'd connect each person's IEM to one of the 6 XLR Aux outputs. Then set up your channel sends to be monitor sends (tap them at some point that is PRE FADER... you don't want to set them as POST FADER nor a Subgroup). You can then create individual mixes from those sends. Each bus output has EQ, though for the ears you might only want a HPF... but for the wedges you might want to use their EQ to notch a couple of feedback points. There are a few channel videos that probably would help. This one is about the Outputs: th-cam.com/video/UNO-dACc7YY/w-d-xo.html This one is talking about setting up the console for monitors (older video so there's some overlap with the above video but things to be gleaned still): th-cam.com/video/5gzsEErKdb8/w-d-xo.html Even though this video is about creating a dedicated monitor rig and using the XR as a monitor console, it does talk about some things as far as connecting things that might click with you. Especially after watching one or both of the linked videos above: th-cam.com/video/xT9gTBFxvZk/w-d-xo.html
I'm having issues getting more than 2 channels to be seen by my DAW when I'm trying to record multitrack. Not sure what I'm doing wrong... any guesses? or suggestions?
Which DAW? In the XR18 if you go to SETUP- Audio/MIDI there is a USB Interface line that has the option of 18/18ch and 2/2ch. Is 18/18ch checked? If not click it so 18/18ch is enabled. If you're using Reaper I have this video for connecting the XR18 to Reaper: th-cam.com/video/xYmJGyroVe0/w-d-xo.html
The console remembers the last state it was in when turned off, so if everything is how you want it, then you don't need to connect anything to control/change it. Caveat being, there is a "mute at power cycle" option in the SETUP menu. If that is enabled then if you use it without a controller, everything will be muted (I think it mutes all the outputs IIRC). So, if you plan to use it in standalone mode without any control type connected, make sure that option is turned off or else you'll always need a controller to unmute things.
@@AlanHamiltonAudio Thank you so much.. Ive been using these for 5 years and every once in a while i come across questions when i want to redo things in a different way
How do you change the presets in the compressor to acoustic vs the kick snare bass and vocal presets, so far the only way I can do that is to copy a strip with acoustic and move that to a location I want to use. PITA
In X-Air Edit you can create or load a channel that has your baseline compression setting in it (let's say acoustic guitar for this example). Then choose the COMPRESSOR tab. Click "Save" and it'll offer you the option to save a compressor setting/preset. So from that point on you'll have an acoustic compressor setting you can load into any channel. It will save it by the channel name plus 'COMP.chn'. Then when you load it, it's only loading those compressor settings. Is that what you mean? I'm sure Mixing Station is similar but I don't exactly recall off the top of my head how you do this from there.
Yes. Technically, you need USB for the audio to transfer back and forth from the DAW, and Ethernet to send and receive control signals (using either a PC, Mac, or Android tablet or iPad. I run my DAW and X-Air Edit on the same computer (PC in my case) usually. So you don't need two devices... one for audio (USB)/DAW and one for the control software. Although, sometimes it's easier if you have two devices. This video is using Reaper for the DAW, but the principles will basically be the same for whatever PC/Mac DAW you might be using. th-cam.com/video/xYmJGyroVe0/w-d-xo.html
0:39 Not exactly. Activating the USB button doesn't disable the analog inputs. The console allows you to send and receive signals via USB, such as to a computer for processing. This button specifically controls the return of the USB signal to this channel, so you can, for example, send the analog input signal to be processed by VST plugins and receive it back, or route playback from the computer into the console.
I think what I said in the video, for all intents and purposes stands. Enabling the USB input on any channel disconnects the mic preamps from the mixer channel. That is true. I think the full context of what I said follows with something like with USB enabled the channel is taking it's signal from the USB input instead of the mic preamps. Which circles back around to the point you're making. Except without confusing anyone. Certainly the preamps are still there, but they have no path to the channel strip. What you're saying would be to create a new path to the channel strip via USB outs and inputs. For anyone trying to learn the basics of the console and just get a live mix going, that's just going to be confusing. And yet, I still made the point that a user can connect the channel to USB instead of to the preamp. But to take it further is putting the cart before the horse.
@@AlanHamiltonAudio I understand your point, but there seems to be a small misunderstanding. Enabling the USB input on the channel does not deactivate the mic preamps. The preamps continue to process the analog input signal. The USB button specifically controls the return of the USB signal to the channel. This means one can send an analog input signal to be processed outside and then return the processed signal back to the channel via USB. Alternatively, one can route some playback from a computer/player into the console. So, rather than disconnecting the preamps, the USB button manages the routing of the returned signal via USB. I noticed that in your video, the analog inputs were crossed out, which might suggest they are inactive, but that’s not the case. Overall, it’s an excellent and informative video that I really enjoyed. I just wanted to clarify that the USB button does not work on an "either/or" principle as it might seem.
@@DmytroZaitsev No, I understand what you're saying. I never said that they deactivate the mic preamps nor did I mean they deactivate them. They simply unassign, or de-route them from the channel strip. If USB is enabled then the mic pre's are not being sent to the channel strip. That is all the video is saying. Hence, the reason I also mentioned that USB routes the incoming USB to that channel. Yes, the mic pre's are still there and working. But they aren't routed to the channel strip if the strip is assigned to USB. But yes, if you route any of them to external processing via USB, and route that USB back to the channel, then the preamp can still get to the channel. Albeit with whatever latency that is induced in the extended path from preamp to DAW back to console and finally to the channel. I don't think the video is confusing in how the info is presented. I just think what you're talking about would be better served in its own video where someone already is grasping the basics of signal flow and curious about more advanced routing possibilities and implementing some Waves plugin for example. 0:00:30.640,0:00:34.559 since we reset the mixer it should 0:00:32.559,0:00:36.960 automatically be connected to the analog 0:00:34.559,0:00:39.280 inputs on the front of the console. if 0:00:36.960,0:00:40.960 this usb button was enabled and not 0:00:39.280,0:00:42.960 grayed out then that would mean the 0:00:40.960,0:00:44.640 front panel inputs are off and the 0:00:42.960,0:00:47.520 console is taking its signal from the 0:00:44.640,0:00:49.600 usb inputs. I could've said unassigned instead of off, but I think in the general context, the same point is made either way. But I guess it's in how you look at it. As far as the channel strip is concerned, the preamps are off if the input is set to USB is how I look at it. Of course they still exist and aren't physically turned off though. But either way, it's too late to change it now. ;)
The Mixing Station app lets you create custom layers, so you can hide and rearrange your channels however you want. AFAIK, X-Air Edit doesn't allow that nor does the official iPad app. I could be wrong about the iPad app since I don't have an iPad to test.
I have a question, we recently acquired this mixer and when turned on without anything connected some channels appear saturated, did I get a faulty unit or is this normal until I plug something in?
Channels 1 and 2, with nothing connected, and the gain turned up on the input, and the channel fader up, can be a little noisier than the other channels. But should clear when you connect something to them. Those are the channels with the HiZ inputs. And if you have nothing connected to them, there's no reason to bring the faders up... So if that is the issue, it's not really a problem. If the noise remains when the faders are down, or when something is connected the channels still remain just as noisy, or if it's another noise you're hearing, or somewhere other than channel 1 or 2, then it sounds like it could be a hardware fault.
@@Slinks34 Is the gain turned up on the inputs really high? Have you initialized the console to see if it clears? I've never noticed any noise from the Aux 17-18 inputs, but I've never had the gain very high on those inputs either. But at normal levels for my MP3 player, it's not noisy.
@@AlanHamiltonAudio I've reset the unit twice, per the instructions but it's still showing up very saturated. Gain is not high. As if something were plugged in. Weird.
The -18 dBFS isn’t necessarily the right way. Behringer, on their channel says to raise it to a point where you get a strong signal without clipping on the loudest parts. -18 actually causes output to be too low when going to ultranet, -6 works much better overall and there is really no downside.
-6dBFS would be WAY WAY too high for average level. I could see potentially allowing peaks to reach -6dBFS. Assuming I know I'm really seeing what would be peaks and someone/something won't get louder and remove that margin of error. To average -6dBFS would only allow 6dB of headroom. Not NEARLY enough for peaks. -18dBFS, as an average signal (not the average peak signal) is a safe setting that basically aligns with 0dBVu on an analog console. Hence the quote in the video that said "You can and should peak above (-18dBFS)". It's essentially the normal headroom you'd have when mixing on an analog console if you were trying to avoid clipping. Even what you're saying is pretty much the same thing. You can't have your signal averaging -6dBFS, and then not peak into the red (0dBFS) where you fill that digital bucket up. Not with any type of dynamic music. Obviously, you can send a constant signal from a tone generator and set it at -6dBFS and it'll stay clean all day long. But that is different than live music with not only regular dynamics, but musicians that turn up, hit harder, and sing louder (and yell) as the adrenaline flows and the show really starts rocking. Again, the key word is "averaging". Meaning your signal is constantly right there at -18dBFS during normal performance levels. Since this is at the input stage, we don't have the luxury of putting a limiter on the signal to squash that dynamic range before the preamp. We can definitely limit dynamic range AFTER the preamp, and with what is fed to the L-R bus and then also to the mains. But if you leave yourself too little headroom at the preamp, then you're going to be on the edge of distortion, or into distortion for the show. And that means you need to start readjusting gain during the show. Which the video explains why that is a bad idea. You can set the level by peak versus average, but in one form it's still the same basic endgame either way. Assuming you get it right. But that assumption is where the problem comes in. For example, if I was to set my gain until the musicians and vocalists all hit 6dBFS peaks at soundcheck... and then I find out when they show starts that I was sandbagged: Mickey Mouse becomes Rob Halford, the shy drummer turns into Animal, the guitar player hits the boost pedal that he failed to mention he even had and leaves it on... Suddenly that -6dBFS peak isn't the headroom I thought I was going to have. And meanwhile, I didn't need to be that aggressive with the gain in the first place. I could've set the gain to average -18dBFS, or -15dBFS if I wanted to be a little more aggressive, and I would've mostly seen peaks at -12, -10, with some margin for error that could ultimately take a few peaks to -8 or -6dBFS. And still room to absorb some turning up, or an excite band taking things up a notch, yet me still not hit 0dBFS on the meter. This all still roughly aligns with analog signals... the difference being that in the analog realm you could theoretically soft-clip if you did get uber-aggressive with the preamps... But in the digital realm, that digital clip is anything but soft. Again, the point needs to be reinforced: -18dBFS is a rough AVERAGE level for the signal to normally reside... Not where to set it for PEAKs (at -18dBFS). That would be way too low. It should peak higher, but if it's averaging -18dBFS normally, then there's plenty of room for peaks under 0dBFS without staring digital clip in the face. So it's accounting for dynamics. And it's accounting for a consistent baseline.
Assuming you have an open XLR out, just make sure and assign the subgroup to that output and feed it directly into an XLR input on the other XR18. Or if you need stereo, your subgroup will need to be stereo and you'll need TWO outputs and inputs between the two consoles. Technically, on the INPUT of the receiving XR18 you'll want to set the actual gain knob (talking knob position) on 0dB. This is the POSITION, not the meter reading. Then adjust the output of the sending console so that the meter of the RECEIVING console is seeing an average of -18dbFS on its meter. You can tweak the gain control on the receiving console at this point, but technically it should be close to that 0dB SETTING on the console and the feed into it should be adjusted to balance out the level to get the input meter reading 18dBFS on average (but peaking higher).
You can, but it's not usually a good idea. Usually stage volume and vocal dynamics leads to chattering. Some people use the EXPander option versus the gate (which is in the gate section). And if you try the default Vocal Gate settings in X-Air Edit, it defaults to the 2-1 Exp setting.
![[MV] A leap of faith...ความเชื่อใจครั้งสุดท้าย (From "Petrichor the series")](http://i.ytimg.com/vi/U1piZH2CNXA/mqdefault.jpg)
This video library entry is a bit longer than normal. It's a walk through of a channel on the XR18. It is using X-Air Edit for control, but also has several screens for Mixing Station software also included. There was a lot of ground to cover.
As always, please add any comments or questions here. :)
Likes and shares always appreciated!
This Behringer XR18 channel walk-through video focuses on a channel, other than initializing the console to start from a blank slate, so it doesn't veer into USB recording and overall in/out routing (other than where that stuff appears on the channel strip and could trip you up), nor things like the need for an external router if using it on wifi (I recommend the TP Link 1750 because those work for me... and I did drop an Amazon affiliate link here and in the text below the video for those).
But that said, you can't really focus on the channel settings without talking about the built in FX rack, going thru FX, nor discussing monitor sends, etc... So that stuff is in there too.
And then both during the video, at the end, and in the text below the video, I link to other videos that discuss different areas discussed in this video in even more depth and that will many times go beyond the settings of a single channel.
There was a lot of info to cover in the video and I also tried to get some Mixing Station examples into the video as well. So while X-Air Edit is the main software in use, I added several inserts showing the topic on Mixing Station as well.
And a section dedicated to setting the input gain on Mixing Station since the metering is different and not as straight forward if you're striving for accuracy as much as consistency.
Videos referenced in the video:
►DCA's vs Subgroups on the XR18 / MR18:
th-cam.com/video/x6TKam2F50Q/w-d-xo.html
►Behringer XR18 Monitor Setup Tutorial:
th-cam.com/video/5gzsEErKdb8/w-d-xo.html
►Behringer and Midas FX Setup and Routing Explained:
th-cam.com/video/dCTcbV-_ccQ/w-d-xo.html
►Sending FX to Monitors XR18/MR18/X32/M32:
th-cam.com/video/e_XsfTV36vU/w-d-xo.html
Not referenced but helpful to new users:
►XR18 / MR18 Top Five Frequently Asked Questions (Mixing Tips):
th-cam.com/video/x9wciA2wFd0/w-d-xo.html
►XR18 / MR18 Overview. 12 Things to Know:
th-cam.com/video/gTM7IdkCprk/w-d-xo.html
.~~~~~~~
►Patreon Page where Patrons have access to script files, other PDF tutorials, Behringer X32/M32/XR18/MR18 channel and scene files, and other audio production information:
www.patreon.com/AlanHamiltonAudio
~~~~~~~
►►Amazon Affiliate Links To Equip Used/Shown/Mentioned In Video-
►Behringer XR18 on Amazon:
amzn.to/2LfTpmO
►TP Link AC1750 Dual Band Router on Amazon
amzn.to/3uPXFhj
~~~~~
Equipment used to make this video:
►Stellar X2 (Narration Mic) on Amazon:
amzn.to/3ggUWFq
►Sony ZV1 Camera on Amazon:
amzn.to/3HJWd3f
►ULANZI Flexible Desk Mount Camera Arm Clamp on Amazon:
amzn.to/3FKhF6M
► Neewer Camera Slider Carbon Fiber Dolly Rail on Amazon:
amzn.to/3tPpypk
"As an Amazon Associate I earn from qualifying purchases."
~~~~~~~
Suggested videos:
►►Popular videos:
►Five Typical Mistakes Made By Behringer X32 Users
th-cam.com/video/tP7dO2Za6bw/w-d-xo.html
►Five Typical Mistakes Made By Behringer XR18 Users
th-cam.com/video/EilVDp39A9g/w-d-xo.html
►►Audio Cable Information series videos:
►Connecting an MP3 Player to a Mixer:
th-cam.com/video/UiauwFEFe_k/w-d-xo.html
►Cable Management For Live Audio:
th-cam.com/video/nYZ9nrPGswo/w-d-xo.html
►Patch Order and Input Lists For Live Sound:
th-cam.com/video/FE2KRj8vEEc/w-d-xo.html
►►Mixing series videos:
►5 Tips for Better Live Vocal Mixes:
th-cam.com/video/oP4sdpkkNhY/w-d-xo.html
►Mixing Live Bass Guitar:
th-cam.com/video/FNa7avcUUSM/w-d-xo.html
►How to EQ a Kick Drum:
th-cam.com/video/CQg1_-ZJ4MU/w-d-xo.html
►How to EQ a Snare Drum:
th-cam.com/video/J_WC68vyht4/w-d-xo.html
►How to EQ Toms:
th-cam.com/video/nSLJqnlJe60/w-d-xo.html
►►Other videos:
►Building An In Ear Monitor Rig Using the Behringer XR18 or Midas MR18:
th-cam.com/video/xT9gTBFxvZk/w-d-xo.html
►In Ear Monitors On A Budget:
th-cam.com/video/FOon2wEZss8/w-d-xo.html
►Behringer X32 Monitor Setup Tutorial:
th-cam.com/video/Vz9E6FaCatQ/w-d-xo.html
►Top 5 Frequently Asked Questions About the XR18 (and MR18):
th-cam.com/video/x9wciA2wFd0/w-d-xo.html
~~~~~~~~~~~~~~~~~~~~~
►Facebook Group:
facebook.com/groups/livesoundproduction
~~~~~~~~~~~~~~~~~~~~~
#LiveSound
#AlanHamiltonAudio
#LiveSound
#XR18
#MR18
#XAir
0:00 Intro
0:14 How to initialize the XR18 MR18 X Air
0:21 How to initialize on Mixing Station App
0:28 Channel start
0:32 What Are USB and Analog Inputs
0:50 How to Set Phantom Power
1:09 What is the Polarity (Phase) button for
1:41 What is Stereo Linking
1:56 Gain structure discussion
2:50 How to set gain on Mixing Station
3:48 Signal Flow discussion
4:31 Input Tab Discussion
4:46 EQ explained
7:38 XR18 FX Rack
8:32 Bus Sends
9:25 Bus Sends as Monitor Sends
10:44 Bus Send Tap Point Chart
10:59 How to use FX Sends
11:55 Main tab. How to Pan channels
12:09 How to assign or un-assign channels to Mains
12:35 How to assign DCAs
13:35 Comps and Gates/ Pt 1 How to use Comps
14:43 Pt 2 How to use Gates
Lopkl
Great info, but I just bought the unit and the downloaded XR18 app has a different layout of the screens than your tutorial, same for Mixing Station.
@@butchgiusto9294 I'm using X-Air Edit on the PC in the video for the PC version. The Mixing Station app I'm using in the video was the original free version and the default layout for Android. But my paid version is very similar. I've not upgraded my Mixing Station in a while so I'm not sure if there's been any major changes there, but I'm sure it's roughly still the same, but maybe an extra click here or there.
There's also a PC version of Mixing Station... and that one I have is very new and it's also really close to the Mixing Station app. Are you sure you're using Mixing Station and not the Behringer built version app?
I am so grateful for you and your videos Alan. I've got my new MR18 up and running. This is my first mixing console ever. The info from your channel has been huge in teaching me the basics. I can't image how frustrated I would be without your videos. And I haven't even scratched the surface of your content yet. Awesome. Thank you!
Cool! Glad they help! :)
Hi Alan, as former AV consultant/designer and owner of an XR-18 mixer, I always enjoy and appreciate your XR-18 videos. I am not sure if you are familiar with Midas IEQ Pro (App for tablet). This program allows users to auto equalize the main “house EQ” with pink noise and a measuring mic. It would be great to have you review and explain this product in your typical clear manner. Best regards, Christian
With spring/summer gigs right around the corner, this was a great refresher on the x-air. Clear, concise, and well scripted - thanks for putting in the effort. Extremely helpful channel.
Glad it was helpful!
This is a great beginner tutorial for those, like me, who've never used X Air! I particularly like the clear, even diction. So many tutors stress important points by going quieter or changing their speech pattern momentarily and that's distracting. Thank You!
Glad it was helpful!
Thanks! After struggling with mixing for a couple years now, I just learned in 20 minutes more than I've accumulated in all of those years and other you-tubes combined! Super thanks!! clear and doesn't make assumptions!
Thank you!!!
Your videos are so great. You do such a great job explaining things. This channel is a MUST subscribe for every single XR18 owner.
Thanks!!
You do a great job on this. I spent five full time years with rack gear and reading the Yamaha Sound Reinforcement Handbook and listening to the results in order to learn dynamics processing and effects for FOH. It's amazing now with the mixer tech and TH-cam how much information people have that are new to the business.
I think I had over $3k in rack gear for only four complete channels worth that I used to drag around with me. Now you have more control than I had on every single channel on mixers that are less money than I had in just insert patched chains for four channels. The shift in 25 years has been pretty incredible.
Thanks! Things have definitely changed from the days of lugging around 1, 2, sometimes even more racks of processing. All needing patched in. And even if you multi-pinned the racks, depending on circumstances you still could find yourself repatching processing to different channels, looking for broken wiring, and mispatches.
@@AlanHamiltonAudio Back in the day, I hand soldered my whole TRS patch snake. Man, today, all the Amphenol and Neutrik connectors alone would be a couple hundred bucks.
I use the XR18 for years now and did not expect a video this new to pop up. Thanks!
No problem! Glad you found it useful. :)
Well thought out presentation Alan. It makes a huge difference from tubers who make it up as they go along. Much power to your elbow and giant thanks from Pete, Auchtermuchty, Scotland.
Thanks 👍
Your videos are the best out there. I've been Djing and running karaoke for a about 10years and have started helping out some bands and doing sound for them and your videos have made learning so much easier.
Great to hear!
im gonna have to revisit this video at least 75 times...... also.... thank you
This mixer is perfect for gigging and love recording on a budget if you know what you are doing. Here are my recommendations based on using this mixer for about 3 years
1. ALWAYS set gain first exactly like he explains it at -18db. This will give you an clean even rough mix to work from.
2. Do not use the internal wifi. Use a standard router with extra Ethernet ports to connect a interface and other add ons. You will be stuck without it. I'm not sure why behringer didn't put in a good built wifi but it's unreliable even if you are on stage.
3. Use the graphic EQ to ring out the house and monitors but don't over do it because you will end up trying to over compensate the EQ and end up with feedback. Know your maximum volume and refuse to go any higher. Just turn down the music in monitors if people say they can't hear themselves.
4. Save presets for gain adjustments based on specific mics and instruments. It provides a foundation for every set up and saves time otherwise just start from scratch.
5. When live recording, none of the gain settings transfers to your daw so you will have to repeat the gain structure separately first before mixing and mastering. If you need a feed for love streaming use an aux with the main routed to it to stream your main mix.
6. The gate feature is what sets apart from a standard mixer. Make sure you use it on the mics to minimize any unwanted background noise. The sound should go completely silent when nothing is playing or when people aren't speaking.
7. Invest in an ipad to be able to be on stage to mix monitors. There also are apps to allow performers to mix their own monitors once they are connected to your wifi router.
8. I use the dbx driverack as a cross over for subs only because of my old setup and convenience but the console really doesn't need any add-ons. Just put the subs on an aux channel. EQ that aux main to take out the unwanted frequencies and on the channels you need bass put it halfway on the aux channel fader then set it to post fader so that the subs will be in sequence with your main fader volume.
9. Once you record a live set you can reroute the inputs to usb. I use this to work on mixing and gain structure without the band being present which is another plus. Set the keyboards and line instruments to near max volume to set an accurate gain structure.
For $500 or less this is by far the best mixer for live sound and even multi track recording or as a studio interface. I've even used it to use autotune live through usb and for incorporating daw effects live. The latency is delayed only by milliseconds and isn't recognizable. When I do love sets I record just for the heck of it and most of my clients end up paying for the recording as well. This is a must have for anyone in the business of live sound or multi track recording and can provide the same result as a high dollar console. The only limitation would be the number of channels but I run 6 mics, 4 line instruments(2 stereo keys or 4 mono inputs) and 4 drum mics very comfortably. Including a xtouch interface, 4 phones connected to wifi for monitor mixes, and 2 in ears. I literally was able to supplement all of my analog hardware for one box.
This is a great video. I have the xr18 for my band’s monitor mix. I’m new to mixing anything in general so your clear explanations are very helpful. Thanks 👍🏽
Thanks! If you haven't already watched it, I have a video about setting up the XR18 as a dedicated monitor console. It's focusing on IEMs, but the general information is the same whether wedges or IEMs.
th-cam.com/video/Zf83kolgVzk/w-d-xo.html
Very good and informative, had my xr18 on the shelf since buying it and finding this useful before I even dust it off 👍
Me too
I have problems with my iPad Pro connecting to the xr18
Glad I subscribed. You explain mixing made easy. I been mixing over 30 years and still need to learn something new. Thanks, and awesome video.
Awesome, thank you!
Dude...your videos are THE best out there on this Behringer mixer..Thanks for sharing such awesome content
Holly crap where to start. Man that was a boat ton of information packed into that video. I remeber when the X Air 18 came out and video's were hard to come by. This was a great over view of an entire channel. I have been thinking about buying the Soundcraft 24UIr and giving that interface a whirl but I don't think there are many videos like this for that model.
Thanks! This video definitely took a lot of time to create. I appreciate the comment!
Pretty good overview for those that are somewhat familiar with the " X " series of mixers, hopefully people will check out your other video's, because they are much more in-depth and you go a little slower.
Yes, there was a lot of info to cover. I tried to add the relevant links either in video or under the video for those that need to go deeper and/or look beyond the channel on any section of the video. I wanted to keep this video moving because it was getting long as it was. Plus I figure people will would want to get to each new section versus lingering too long on a part they are already solid on.
Great orientation and clear explanation for this newbie.
Thank you!
Thanks for all the content. Just recorded our first session on the XAir!!!
Rock on!
I learned a lot from u Mr. Hamilton , thank u so much, I owned a Midas MR18.
Great to hear!
Would Love to see this video for the X32 Rack (X32 Mix and Mixing Station) - This video is priceless. Thank you.
Thanks Alan. Really appreciate your excellent and clear guidance. It's been soooo helpful. Cheers!
You're very welcome!
This tutorial is freakin' AWESOME. Thanks so much. I am now subscribed. Great job and so helpful.
Thanks for the sub!
Thanks for more content on the XAIR18 and help finding the Signal Tap points for the monitors. Can you at some point provide a tutorial on Stereo Delay settings and practical use for live and studio applications? Low Cut/Hi Cut, Feed levels etc. and how Delay sits in the mix depending on how you use or misuse it. Also different types of delay both long and short. Tape slap effect etc.
That would be a good video topic. Thanks!
Nice video, it's was explained in an understandable manner.
Thank you!
Thank you, if you are using an electric guitar, have you got the option of a ‘guitar amp’ as an insert ?
I did a video about the guitar and bass amp sim that is built into the XR18. FWIW, for the demo I didn't spend a bunch of time trying to create the greatest tone machine I could create. I just threw together some basic patches to explain what the settings do (they are NOT intuitively named IMO). The point being that a user could mess around with it and save some settings for a gig emergency, or for scratch tracks when recording, or not be totally stumped at what the settings do in a pinch or when experimenting with it.
Plus it's all subjective anyway, even if I had spent a few days creating sounds, I'm sure there would be people not liking the sounds.
I known that was a long caveat before I post the link, but several people commented and thought the point of the video was me trying to demo the quality (or lack thereof) of the sound. And that wasn't the overall point at all. The point was demonstrating how to use it to create your own settings and to understand what the 'knobs' do.
That video is here:
th-cam.com/video/Hhsf0PMgjb4/w-d-xo.html
Excellent video ! clear and to the point. Thanks
Glad you enjoyed it!
Great content and very insightful!
Much appreciated!
Really well done and so helpful
Thank you!
Now thats a lot of information!!!
Thanks!
Alan, great video as always! Question.. is there a way to reset all settings for a specific channel, or even a group of channels, back to default settings?
You can always initialize the console, but that resets every channel and output. IF you have an unused channel in your scene, you can save that channel. Just call it "baseline" or "blank" or something easily recognized. Then for any channel you want to reset, you can just load that 'blank' channel preset and it will reset the channel that way.
I guess technically, as long as you've saved your scene(s), you can even initialize the console, and save a blank channel preset, then reload your scene that you'd saved, and now you have a channel preset you can load into any channel you want to start from scratch.
@@AlanHamiltonAudio That’s a great idea. I’ll probably initialize and save a blank channel. Thanks man!
Alan you are awesome. I have learned so much from your videos. I have a question regarding the Channel input on the XR18. You went over Phantom power, polarity, stereolink, but you didn't talk about FX. Do I need to select that to add FX to the channel?
Probably don't need to select it for what you're wanting to do. I go over the FX settings in another video- th-cam.com/video/TV5ClH_MWrU/w-d-xo.html
The gist of it is that you'd only select that if you were INSERTING something. And on the XR18, you're not likely to insert a reverb or other time-based effect (as explained in the video I linked above) but could want to insert a vintage comp or De-esser.
But in any case, that setting that you are looking at is a bit redundant. When you watch the video I linked about FX, and follow those steps in the XR FX Rack, then THAT section will set that button for you.
IOW, you can do everything you need to do for INSERTING an Effect in the FX Rack when you're setting things up there, and it will automatically then carry that over to the FX button you're looking at on the channel strip.
But for reverb, chorus, delay... time-based FX, you're not likely to want to insert those anyway (on the XR18 or even X32) so that button is fine being greyed out.
@@AlanHamiltonAudio what if I want to insert the Wave effects to a drum. The effects only give you 2 spots to insert to two channels, so would this be another option to inset that effect to another drum?
@@edwinrivera3118 No, each FX slot limits you to 2 channels. They don't have to be consecutive channels... It could be inserted on channel 1 and channel 5 just as easily as channel 1 and channel 2, but it doesn't let you add a 3rd channel.
As soon as you select the channels (or busses) that you want the Effect inserted on inside the FX Rack, the channel insert(s) automatically populates with that selection on the channel tab.
You COULD change it at the channel instead of inside the FX Rack, but it would just move the setting in the FX rack too. For example, let's say you originally chose to insert the Wave Designer on channels 1 (kick) and channel 5 (Floor tom). Then you decided you'd rather have it on the snare (channel 2) instead of the floor tom. You can go to channel 2 tab and select the Wave Designer slot there, but you'll get a warning (at least in X-Air Edit) telling you that it's already in use and asking to "Overwrite?". So you tell it "yes" (or "OK") and now it moves the insert point from the original channel 5 to channel 2 in the FX Rack.
Great videos. Thanks for putting these out. Question. Is it possible to create a talkback mic for a live situation with the XR18 so the engineer can talk to the stage without it coming through the main pa?
Assuming you have the XR18 onstage and a tablet out front, the simple way is to use an open channel and an RF mic. It doesn't need to be super-nice since it's just talkback. Something like one of the AKG mini's could work.
Then, just set the gain and turn up the monitor sends you want the TB mic going to. Just don't bring up the channel fader... and if you want to be extra safe from accidentally bringing up that channel- Unassign it from LR. Now, even with the fader up, it can't get to FOH (unless you accidentally send it to a subgroup assigned to FOH)
@@AlanHamiltonAudio makes sense. Thanks for the reply!
another solid video
Much appreciated
Always liking your channel very helpful. Just one ask…do you a video for MAIN L/R, eq, compressor, limited setup and the FOH speaker volume setup. Thanks in advance 👌
Great suggestion!
Love your videos!
Thank you!
Alan, you discuss 'surgical cuts" for problematic frequencies that may be causing feedback. With the RTA turn on, what does a feedbacking frequency look like? How can it be identified?
Check out this video on ringing out mons/FOH... It shows examples of feedback on the RTA and what to look for. th-cam.com/video/pu0xjl0rpMU/w-d-xo.html
If you're using the 'waterfall' display, the principle is the same but you'll see the feedback as a red signal area and generally a lasting one. The 'waterfall' shows the frequency range of the signal over time.
@@AlanHamiltonAudio Thank you so much! I watched. Very helpful!
I'm glad I found and subscribed to this channel! I've had my Xr18 for several years now and barely scratched the surface. In my application, I use it in my studio to record my band, i.e. vox, guitars,drums in the Xair inputs, through to my PC via USB. I also route them (mainly vocals and guitar) back out through the outputs to my PA mixer,(Behringer 1580} so the band can hear themselves play. I have two questions.
1) what gain should I be setting my channels to, to ensure unity gain on the outputs (i.e. when I plug my mic's into the pa mixer minus the xair, they should sound the same on the PA)
2) We often want to replay our recordings back through the main outs through additional input channels on our PA mixer. This signal comes from the USB on the PC. We record using Reaper. how would I route this signal in the Xair? I can see the signal in the meter panel, but dont know,how to route it to the main outs.
Sidenotes: We don't use the Xair for live shows, only as a recording interface and a signal passthrough, and for replaying recordings and youtube videos etc. from our DAW PC. I use a small separate dedicated PC for Xair app.
I'm not sure I understand your first question, but I think for the second question it's answered in the XR18 to Reaper video. There are a couple of ways you can do it, and the video shows how it works in both Reaper and the XR18.
th-cam.com/video/xYmJGyroVe0/w-d-xo.html
@@AlanHamiltonAudio Thanks Alan, yeah my first question was perhaps a bit confusing! I just want to use the XR18 as a 1:1 pass through (while still recording through USB). I want to retain the same settings on my PA when we play live gigs minus the XR18.
Perhaps i can simplify. What DBFs would equate to unity gain? I want the signal coming out of the aux outputs to be the identical level of the signals coming in to the corresponding analog input, but I still need to pick the signal off post eq as i want to compenste for my studio room acoustics. I decided I wanted to learn more about my XR18 and I bought the Mark Baker book, but since I found your channel, i've barely opened it! Thank You!
Have you heard anything about updated software for the XR series from Barringer?
I've seen them asking for Beta testers on social media. So, there must be some movement (I assume you mean updated software to fix the broken software that happens when an iPad is updated to the latest OS).
Mixing Station App does work on the newest iPad OS. Hopefully, the official Behringer updated App is getting close.
Great video! I'm new to the MR18 - is there a way to reset just a single channel to the default configuration?
Off the top of my head, the most simple way would be to save an unused channel as a preset. Or initialize the console so every channel is definitely at factory defaults and then save a channel as a channel preset. Just name it something obvious like Baseline Channel or Clean Channel or Init Channel... Something you can remember.
You can reload that channel anywhere, at any time...
IOW, save channel 16 today... a month from now you can load that channel preset into channel 1... or channel 10... or....
I probably should do a video on channel presets and saving them. You can save individual channels like kick, snare, toms, vocals, etc... with their names and color schemes already in place... Plus your baseline settings for those instruments (like your gates already assigned, comps assigned, HPF assigned, and ballpark settings in place). You'd still tweak them however you want, but having starting points that far along really speeds up the process. Just having the names and color scheme you like that easy to call up and roll with is a timesaver.
Plus you can save channel presets from your own scenes when you start locking into solid baselines, or if you ever download a scene, you can save the channels individually to your channel library as well.
And before someone says "You can't mix a band with presets"... The idea is to have baselines in place. Starting points with your workflow and basic things in place. You're still likely to need to tweak things. But things like the TYPE of filters you use on individual drums for your gates, your HPF settings, will all start out much closer than starting from scratch.
And channel names, colors... etc... that stuff will just be exactly what you want with just a couple of clicks instead of typing them each time.
@@AlanHamiltonAudio awesome, thank you so much! Never knew about channel presents until now. I appreciate your videos.
I want to get set up for home recording, and also might potentially want to do some small live sound reinforcement gigs in the future, like karaoke hosting for example. I really like the idea of being able to mix remotely/wirelessly in the room in a live situation. What are your thoughts on purchasing an XR18 and using that for an audio interface in the home studio, basically killing two birds? Or would you buy a dedicated audio interface to start, and then invest in something like the XR18 later on if the live gig thing materializes? Some say that I would get much better A/D conversion out of a dedicated interface, but is that really true? I would probably be looking at a Focusrite interface if I went the dedicated route.
The XR18 definitely can kill two birds with one stone. And you won't hurt yourself having the XR18 (or MR18) as your interface, especially since it has 18 USB I/O points. Even if the live gigs don't materialize, the XR18 would give you a lot of channels for your studio over a conventional 2 channel USB Pre.
The only caveat I think I'd add, is there are some pretty good budget USB pres these days, with 1 or two mic preamp channels, so it's not a huge financial setback to get one of those first even if later you invest in the XR18 now. But if you have the budget for it, I'd just get the XR18 now so I had all those channels for recording purposes... and if the live gigs materialize, you're good to go. And if not, you still have 16 mic pres and 2 line ins to use as your recording interface with the XR18.
@@AlanHamiltonAudio Thanks. I also have a Pearl kit here that I may want to use in the studio, as noisy and sound challenging as it will probably be. There may be better options for me on that front as well, but I have always envisioned having this kit mic'd up and sounding great as part of the plan. The kit has been in my closet ever since I bought it 15+ years ago, just waiting for the studio to get set up.
Thanks again for your feedback.
@@AlanHamiltonAudio And I assume the MIDI interface on it will help me as well? So I could trigger OmniSphere or some other software based synth package in my daw via a MIDI connected controller keyboard. Not sure if that's true. I also wonder if latency would be an issue with the XR18 vs a dedicated interface. Latency seems to be a hugely important factor in digital recording.
@@AlanHamiltonAudio Do you have a video showing how the signal chain flows when using the X-Air 18 as an Audio Interface (say to Cubase) and to front of house if I was to record a live performance.... (I'm new to this mixing thing and need a better mental model for those signal flows). Will the sound signals be connected (I.e. a change in Cubase will affect front of house? Maybe it has to do with where the signal tap occurs? This video was excellent... thanks
Hi Alan, thank you for sharing these tips!!
I recently started using the XR18 for synths and drum machines in my home studio. If I give any of the channels my USB returns feed, I notice the sounds from Windows are hollow (with and without stereo link). The only solution that worked was applying polarity to one of the channels, which brought back the thickness and center information. Could you explain why this is so? Does it mean I have to block one pair of input channels 1-16 having polarity exclusively for my USB returns? Is there any way I can the FX tracks for USB returns instead of hogging the input channels 1-18? Many thanks!
I'm not sure without some more details. Anytime polarity rears its head with a stereo connection I do have to wonder about the issue of stereo unbalanced and mono-balanced connections being intertwined somehow. But I'm not sure if that would apply in this case or not because I'm not 100% sure you're connecting this.
I know this video is talking about an MP3 player connection first and foremost, but it goes on into more detail to talk about other related things when making stereo connections and the difference in mono balanced and stereo unbalanced. But it might be worth checking out to see if something here could be where the issue is being caused.
th-cam.com/video/UiauwFEFe_k/w-d-xo.html
@@AlanHamiltonAudio Thanks for your response. I'm not sure if this is the problem here. I'm using XLR M to XLR F to run the speakers from Main LR from the XR18. And the audio tested was from USB returns, not through any of the Analog Ins/Aux In.
@@adavidalex212 Have you tried headphones connected to the XR18 to see if you hear the same problem in the headphones (when listening to L-R in the phones)?
That would be a clue as to whether the problem is COMING to the the XR18 or a possible inverted cable or miswired speaker.
I suppose trying a different laptop/computer might also be worth checking to make sure there's not some internal computer glitch happening that is outside of your control.
You're sure the tracks you're playing back are actually recorded correctly in the first place? They didn't get recorded (or sent thru) the computer with an inverted cable or a DAW track with flipped polarity?
I've got a question about setting gain structure. I've tried to follow the guideline to set the initial gain setting to average -18dBFS. In a practice setting (in multiple locations using both passive and active PA monitors) and in performance settings (again, both active and passive PA monitors), this has resulted in hot mics and feedback before getting the faders anywhere near performance levels. Our solution was to set the initial gain to around -35dBFS. Are there other considerations that would cause hot mics when setting the initial gain to -18dBFS?
Setting the gain to average -18dBFS on the input meters is definitely the proper amount of gain. It's hard to say without know more about the rig, or seeing you scene file, where things are going off the rails... but the input gain is one place you can easily know you have that setting correct (due to the first point in the signal chain at the console AND a meter to guide you). So it's a question of following the signal path and seeing where it is wrong. Assuming the problem is somewhere within the console settings, and not amp/powered speakers/DSP settings... And assuming you're starting with the EQ flat and not super boosted... then I'd look at compression on the channels. Is the compression makeup gain cranked up? I think X-Air Edit just calls it 'gain' on the compression page. That is somewhere you could be dialing in level after your channel input gain, and before your channel fader (and sends).
Also, you could have compression on the busses or main outs... and could have the makeup gain cranked in those places
If you've inserted anything into the channels... or the any of the buss outs or main outs... then there's potential that whatever you've inserted has it's own level cranked which would make everything before suddenly louder at that point in the chain.
That's off the top of my head... Something is set wrong if you cannot get a decent level out of the console without it turning into screaming feedback at -18dBFs on the input meters. It COULD be in the console somewhere... or it could be after the console in the system drive, DSP, amps....
Anytime you set the gain properly at the input and can't get a channel fader anywhere near unity without the PA devolving into massive feedback is a clear symptom of improper gain structure somewhere in the chain.. or multiple points in the chain. You KNOW you have the input gain correct... dialing it back is not a proper fix... because the real problem is lurking and can bite in other ways if not sorted out.
@@AlanHamiltonAudio Thank you for the detailed response. I will certainly go through each channel with a fine tooth comb to see if there is any unaccounted gain or something else causing that feedback. I have learned quite a bit about sound from your videos, but putting that into practical use is hard. Every set up seems to be different. I've only set up a few times, once I get a few hundred under my belt, it might get a bit easier...I hope.
@@AlanHamiltonAudio Was still fighting the feedback issue. I still don't have the expertise to know where it is occurring but, at a recent practice, I initialized the XR18 and started from scratch. I didn't mic up any cabinets, was running my bass DI and vocals through the PA. I only eq'd one vocal mic (3 singers). Had the gain staging set for -18dbfs, power amp maxed, vocal mics set at unity and maxed out the main faders....and got zero noise. No hiss, hum or feedback. One of the guitarists was getting some feedback between his guitar and amp. Progress!
@@louisaguns4318 RE: Feedback- Have you watched the video about ringing out mons and house? Pay attention to what it says about not overdoing it... 2, 3, maybe 4 points is usually about it. Anything beyond that and you're into the point of diminishing returns and making the problem worse instead of better.
th-cam.com/video/pu0xjl0rpMU/w-d-xo.html
appreciate much this video thanks a lot.
Glad it was helpful!
I find that I need to use the noise gate on my vocalist microphone channel to help alleviate her feedback without the gate on I really struggle to get enough signal and avoid feedback
They definitely can be helpful in certain situations. But sometimes people expect miracles on small stages with quiet singers and loud musicians... 😉
@@AlanHamiltonAudio 100%. I always carry a a couple small personal mixers and in-ears on standby for that reason. Living on the edge of feedback is misery for everyone involved.
Alan, thank you very much for the great and detailed content you put out. I have one question. I am trying to set the gain on the Behringer XR18 using X-Air iPad app. In your great example in this vid you are using the Channel tab which allows you to clearly see the Meter level number, and set the gain at the same time. On the iPad app there is no Channel tab, but there is an Input tab which allows you to set the gain, but does not include the meter. So you can't see when your at -18. How does one properly set the gain using the iPad app?
I don't own an iPad to test with so I don't know what scale or 'landmarks' you can judge by.
If nothing else, you can connect an MP3 player, have a laptop or Mac running X-Air connected to the XR18, bring the gain up and use X-Air Edit to see an accurate meter reading to a known scale. Then compare that to the iPad (that would also be connected) and get a reference for what the comparison would be between the obvious -18dBFS point on X-Air Edit, and whatever point that puts the iPad app meter.
Can i use the XR18 as a mixer for a live performance and capture the channels in a DAW and record the live show simultaneously? I selected the USB in returns for all the channels, things worked in the DAW but weren't playing through the PA.
@AlanHamiltonAudio, thanks again for your great videos!! They are truly very helpful. I have a Shure SM58 (that is prob 20+ years old, maybe the newer ones are better for mic handling noise) and I find when I set the gain to the -18 area I get a lot of mic handling noise. The smallest movement of my hand on the mic will create -30 to -40 of signal on the channel when the gain is at -18, is that normal?. Also the mic is super sensitive at that level. We have a drummer that plays an electronic kit and I am over the other side of the room but the mic picks up all his drum clacks, (we are all wearing headphones feed of the XR18 buses, and recording our jam sessions), when at gain -18, and they end up on the vocal track. What am I doing wrong here?
Assuming you mean you set the gain so that the input meter registers -18dBFS on average (and peaks higher), then there shouldn't be excessive handling noise with an SM58.
It could be overall gain structure... IOW... You have it correct at the input, but then something (or multiple things) wrong downstream.
Example: Input gain is normal but compressor makeup gain is cranked.
Or excessive EQ and/or HPF setting not used or too low. For there to be a handling noise issue, I wouldn't expect the lack of a HPF, or setting it too low, to be the main issue. BUT that and/or excessive EQ (especially low EQ) could be the problem. Or part of it.
You could also have the mic double assigned to the mains and so you're getting multiple paths sending the same signal to the outputs. Like the channel going to the L-R outputs AND to a subgroup and then to the L-R outs from there. Or multiple subgroups. Also, possibly assigned to a monitor bus where the master monitor output is accidentally assigned to the mains as well as the monitors.
A DCA assigned to the channel, and then the DCA cranked could cause the problem. Especially if you don't even realize the DCA is in use.
Handling noise is usually low, rumbling type sounds (from mics with poor handling noise). If you're hearing a buzzing, clicking, clanking, rattling, or hissing, then that could be something else. Even something broken/loose inside the mic.
I'd try a different mic and cable to see if something else in its place behaves. Even if it's a cheaper mic. In general, an SM58 should be perfectly acceptable for handling noise, but it's possible you have a broken one.
@@AlanHamiltonAudio Thanks for taking the time to give such a detailed response. I am happy to say I have fixed the issue. I did a re-initialize of the XR18 to reset everything and then only added the mic, and routed the USB for reaper. It works great, nice strong signal without all the mic noise. So now I will take screen shots of my other config and bring things in one at a time to see what breaks it. Thanks again for your support on this mate.
Alan thanks so much for these videos.. I'm learning a lot.
Please can someone tell me if its possible to control the XR18 audio etc whilst also running and controlling stop/ start/ track select etc on a playlist within a laptop or MacBook / iPad connected to the XR18 via usb.. Can I control all this wirelessly from my iPhone or iPad whilst performing live etc.? I think I dropped an error when buying this unit thinking it had the same usb in/out as the smaller Behringer units and many of the other manufacturers units... All I want is to be wireless and in control of everything.
Mixer control can only be done on the network (ethernet/wifi) and not USB. Meanwhile, audio can only be transferred over USB and not the ethernet connection on the XR18.
I know some people use the Apple Airport (not sure which versions or all versions) to stream tracks. I assume (IOW, just guessing) that it has a USB port that can be connected to the XR18... but I suppose it could just have an audio out instead and work that way somehow. So, I'm not really sure on that, but researching that (streaming music through the Airport router) is probably something for you to look into.
Sorry I can't be more specific but I don't have any Apple products to have direct experience with this. Maybe someone reading along can chime in and add something more concrete to this. Or maybe know of other options or better ways.
@@AlanHamiltonAudio Thanks Alan. If I was to say Use a PC instead and an android pad would that make any difference ?
Perfeito cara! Obrigado...
Great videos but I can't keep up after about 5 or 6 minutes. I don't have the patience for this so I just want to sell my XR18 and never think about mixing live sound ever again. Buying this mixer and being in charge of the sound has taken all the enjoyment out of playing music.
Is this your first foray into mixing? I hadn't really thought about it until I read your post, but I bet the XR18 is pretty hard for someone getting into mixing for the first time. The only thing I can think that might compare a bit would be mixing in the box on a DAW in a home studio environment. But even that has differences, and these days there are plugins that are actual channel strip emulations.
I've thought about people coming to the XR18 (or X32) from an analog console, and present a lot of info from that angle. And there are things to navigate there, but it's more just figuring out where things are at the apples to apples level and expanding from there. But with no previous live mixing experience (or maybe coming from something like a simple analog box-mixer), the XR18 might even be harder than the X32, because there is no surface. So everything is layers and tabs...
That leaves me wondering if there's a way for me to do a video for people who don't just need to figure out the XR18 coming from analog, but need to START their mixing journey on the XR18...
@AlanHamiltonAudio Thank you for the lengthy reply. Yes, it's my first time ever mixing. I play in a rock cover band and until recently we used an analog mixer that wasn't mine, so I didn't ever have anything to do with it. I bought the XR18 on a recommendation and by default, since it and the speakers are mine, it falls on me to figure it out. I'm not gonna throw in the towel yet, but it's definitely a challenge. I'll continue to follow your videos, as they contain a wealth of knowledge. Thanks again for the detailed personal reply.
can 7 member baNd connect with their in-ear monitors to that? or could they do as well with XR16?
Do you have any information on the group assignment section you talked about in this video. Not really understanding the x and y. I am the worship leader at our church and normally do nothing with the sound system. I am on a single transmitter wireless mic and pack while the rest of the team are on a twin transmitter. Should we all be on X or does this even matter? Some of the songs have me at x or y while the rest of the vocalist are at Y. Thank you for any feedback.
For singing, you really shouldn't be using the automix function at all. So just turn it off in that case. You want to use the automix function for something like a roundtable conference where you have a moderator and a panel discussion. Or possibly a play/skit where there are actors randomly speaking.
As for speaking, such as it the pulpit, if it's just you on one mic, then you wouldn't need it on then either.
If you use a pulpit mic AND a lav/earset, then you could engage it for both of those mics, each on the same group, for speaking. That might work to keep things balanced, even when you leave the pulpit to walk around and speak, and then come back to the pulpit. But that's only if you use both at the same time for some reason.
If you bring someone to the platform to speak with you, you could definitely have it on between your mic and theirs.
Also, if there's a stage mic for someone speaking onstage and an audience Q and A mic, you could leave the Q and A mic open but with both of those mics on the same automix group. Or even multiple Q and A mics.
But generally, for singing/vocals, you don't want to engage automix. It's not really for blending voices so much as giving priority to speaking voices and ducking unused mics while keeping overall level even. Which is not something you want for singing.
Do you think its best to use the post fader when using Aux out to a subwoofer? That way I can control my sub with an individual fader right ? Also for playing music during my DJ gigs while using the Aux out to my sub I still use Post fader?
Yes, post fader is the way to go.
Very educative
Thank you!
Thank you so much master
You are very welcome
Very cool Man THX
Thank you!! :)
Thanks for the video. I was wondering if you’re able to use a combination analog and USB inputs modes. For example can channel 1 be taking an analog source (a mic) while channel 2 is taking a USB source (a backing track from a PC)? I thought I understood from the video that all inputs were either all analog or all USB and no combination of the two. Would love clarification on that. Thanks again
Yes, you can set each channel individually to be either analog or USB. You can set it on the channel itself in the software... or on the grid in the routing section of the software. There is the X-Air Edit preset (In the In/Out routing section) that automatically changes an entire group of channels over, but you can make your own patching preset and save that there (look at the upper right corner of that routing window on the USB returns tab and you'll see an I/O patching section with disk/folder icon for saving/recalling). I'm talking about X-Air Edit software but I'm sure Mixing Station would have something similar. Not sure about the iPad App software though... unless you're using Mixing Station on the iPad.
@@AlanHamiltonAudio perfect. Just the answer I was hoping for. Sounds like it should suit my needs…
@@richardcifuentes6031 If you're looking to use it for studio stuff, then you might check out this older channel video about connecting Reaper to the XR18. It runs thru a lot of the recording configurations for the XR18 plus talk about routing issues. So it might show you some stuff, even if recording is not what you're looking for and instead playing with trax or something like that.
th-cam.com/video/xYmJGyroVe0/w-d-xo.html
Why does your screen look different than X Air screen I have. Is that what X-Air Edit screen is? Thanks love your video.
The larger screen is the the PC version of X-Air Edit (downloaded from Behringer). The smaller screens are Mixing Station with (what was at the time) the default GUI on Android.
Thanks for your videos. I just started watching them. my question is what should the gain on th e loudspeaker be? should i set this up at half then turn on the mixer then to get that -18db you were saying? sorry probably a dumb question but I have to start somewhere. thanks again in advance
This one is hard to answer because it's a situational answer. It's easy to set the XR18/X32 gain because our meters tell us where we need to be.
But with powered speakers, we also have the venue size, genre, efficiency, needed volume, and still
always headroom to consider.
The simple part is to make sure the speakers are set for line input or you're using the line in inputs.
If the level control gives you a +/- range then likely best to start at 0dB.
Mainly, you first want to make sure you don't clip your speakers. A clip light flicker might be OK, but solid clip nor audible clipping is not.
So, if the console is outputting a clean signal, your console gain structure is correct (inputs and outputs... you don't want the console output meter clipping either), your master fader is in a normal range around unity, then you can reduce the powered speaker's level to get it out of clip.
IF it has no way to reduce it, fixed input, then you should reduce you console master until the speaker is out of clip. And make a mental note of where your meters are on the console when you're reaching that clip point on the speakers.
In these two scenarios, it doesn't matter if the rig is loud enough or not... because once you're into clip on the amp/speakers, it's all you have (and beyond).
But hopefully, that's not the case. Hopefully, you have headroom to work with.
Realistically, the input level on the speakers doesn't need to be any higher than to allow you to run your console at normal signal levels, and reach the max level you want in the room.
So if setting the speaker inputs are at 0dB or 'full' means that the signal leaving the console is way too loud for the master to ever ride around unity on the console, then you easily know you can reduce the speaker level.
OTOH, if it's the opposite, then you know to go to the + side on the speakers if that is an option. BUT always with the caveat, once you're into clip, you've crossed over into the "all she's got, captain! She's breaking up!!" scenario.
Technically, while you don't want to be clipping, it is nice if all system meters are working in tandem. IOW, when the board hits the clip light on the output, the powered speaker or amp also hits the clip light.
But that assumes the amps/powered speakers have useful metering and not just a signal and clip light for example.
If your speakers do at least have a signal-0dB-clip light, then you can put some music or a test tone/noise thru the console and set it so that it's hitting -18dBFS on the console's master output meter. We can roughly assume -18dBFS = 0dbVu on those analog meters of the amps/speakers. So, with the console outputting a steady -18dBFS, you can bring the speaker up to hit 0dBVu.
That should put you in a ballpark of the speakers and mixer meters roughly being aligned.
But if that's way too loud, you can either address it at the master fader of the console (which means your meters on both ends stay roughly aligned) or lower it on the speaker end because the amps don't need to be amplifying things any louder than they need to be amplifying things. So any hiss picked up in circuit will be reduced.
If it's not loud enough using that method (meaning when you mix the band, your mains CAN be hitting much harder than -18dBFS, but not clipping the console...). So if the speakers aren't starting to flash the clip light... yet it's still not loud enough), then this gets more in the weeds... Because you need to know where the speakers clip. If the powered speakers have +18dB of headroom, then you're basically aligned with the console and that is that. If the speakers have +24dB of headroom, then you have 6 more dB in reserve where you can have the speakers hotter than the console (or console meter that we just guesstimated -18dBFS gave your -18dB of headroom on the speakers).
All of this has just been guesstimating things, so if the mixer master meter is really running hot at the show, and you have to bring the master fader up to even get close to the volume you want, yet the speakers are not clipping, then essentially, just bring the speakers up some more. Do it in balance and reduce that master fader if you had pushed it and were running it above unity to get it back to the unity area and give the console outputs headroom.
You don't want the board clipping before the speakers... nor the speakers clipping before the board... You just don't want clipping.
And with digital, you don't really want to hear that digital clip at all.
So ideally, things are set so that the console meter tells you if you are close to clipping there... then you're also close to clipping the speakers/amps.
You can kind of combine all the above to fit your situation and get there with some trial and error. Just don't overdo it on the error part. ;)
Work your way up slowly.
@@AlanHamiltonAudio Thank you so much Alan for answering my question in detailed. I am trying to improve our worship system to start using this xr18 digital mixer but the guys who used to use it all left so now we are left with the system that no one knows how to use that is why i been watching your videos and have found them very helpful. We have the presonus 12" speaker and it has the 0db on it so that is where I will start and go from there. Are you also familiar with the powerplay ha4700 headphone distrubutor amplifier? because I have this and we want to try to use this as well for the in ear monitors.
@@JoelManrique I've not used the HA4700. Keep in mind the 6 XLR aux outs on the XR18 are balanced MONO outputs. It takes two outputs if you want stereo. And stereo linking them to get a pan control for the stereo auxes.
I'm not sure what the inputs are on the HA4700. It should definitely work, but make sure you are using the right cables and/or adapters and setup on the XR18 (and headphone amp).
Even though the main focus of this video is off-topic, parts of it about about balanced mono versus unbalanced stereo might be useful:
th-cam.com/video/UiauwFEFe_k/w-d-xo.html
There are a couple of different videos about using the XR18 for mons. The more recent is talking about configuring it for a dedicated monitor console and there's an older one more geared to using it for mons from FOH. Both of those videos have relevant information about the outputs and routing for mons.
And, I'm working on a video covering the outputs, something along the lines of this channel walk-thru video. But not sure when I'll get that finished.
What happens when you are in a scene you've been using for your band etc, and you initialize the mixer via XAir software on the Mac, so you can make a new scene fro another band etc? Do you lose the saved setting info? Is it easier to do a "save as", re-name the scene and then initialize? I use the XR18 at home with a Mac, but will also use it live with just my iPad. Maybe I have to create new scenes from the iPad, or just make a new scene on the home computer and use the iPad live. Any suggestions?
Scenes are saved on the computer or tablet that you are on when you save the scene. The scene is not saved directly inside the XR18. OTOH... Snippets ARE saved on the XR18.
You can also drag/copy the scenes you've saved on your computer to a USB stick so you can have access to it, and it makes for a backup copy as well.
But, the important thing to remember, the XR18 only remembers 1 show. The last one. When you erase it, that is gone... from the XR18. But as long as you have the tablet or computer it was saved on (or a USB stick with the scene saved on it), you can reload it from there. As long as you saved it in the first place.
BUT... Snippets ARE saved inside the XR18, so anything you saved as a SNIPPET is saved inside the XR18 and can be recalled with any computer/tablet/app you happen to be using at the time.
Great video, Alan. Your videos have been helping me a lot, but I have become a bit stuck recently. I’m using Mixing Station with a Behringer XR18. I created a small and simple custom layout for an acoustic duo i’m in and I saved the layouts, etc, but when I opened Mixing Station this morning, theres a completely different layout with other peoples names on the channel strips, etc, and my layouts have disappeared. I’m only using it at home with the internal router. Could someone have hacked into it?
That's weird. I suppose anything is possible but I doubt anyone would hack into MS... The weird part is your layout changing.
I suppose it's possible someone had an XR18 really close to you and you accidentally connected with it instead of yours... thus loading an entirely different scene into your tablet. But I don't think that would explain the layout change. Maybe someone that uses custom layouts could speak to that question better than me though. I normally just use the default layout.
Bantu Continua Uhuru Consciousness 🤟
Cant even get mine to access wi fi! Need instructions please
Thank you!
You're welcome. Thanks for watching!
I am looking to adjust my vocals on a channel using the compressor. I can't find the compressor section on my iPad connection to the XR18. I don't have the same screen shown in your video. Is there a plug-in I need to download? Thanks.
I'm using X-Air Edit (with is available for PC and Mac). That is what has the compressor presets. Otherwise, I'm using Mixing Station which is available for Android and iPad. So that is the other software that you're seeing.
@@AlanHamiltonAudio Okay. Currently, I'm connecting my iPad via an Access Point. I have a laptop I can use. Once I download the X-Air Edit plugin, where do I connect my Cat 5 to the XR18, Ultra-Net or Remote? Thanks.
@@jm4videoable Remote (or you can use wifi). If it's at home/rehearsal, you can connect via the internal wifi instead. For gigs, and wifi, I'd buy a dual band router. Doesn't need to be overly expensive but the built in XR18 wifi is not very... ummmm... robust.
Hi there, if you could help with that it would mean so many things!!!
I figured out how to send each track to the right auxiliary exit for monitoring while recording but I am unable to feed to those exits the stuff that I have recorded on my daw (on Cubase or so). I can send to the main out of the interface I can send to headphones but not to the 6 aux exits. Can you help me configuring that? What's the parameter that I am missing?
A. I get to record and monitor that on my headphones on the auxiliary outs and the main outs
B. I get to listen the recording on the headphones and the main outs
C. But I can't figure out to listen what is played(not live but just played) on the auxiliary outs. It's like I feel that it's missing a main out channel in order to root it and send the signals accordingly.
Please if anyone could help. I keep reading the manual and watching the vids but with not a good outcome!!!
Again to anyone who read all that, thank you for your time and patience!!!
I think the answer probably lies in these two videos. The first is about the outputs and might help with some clarity:
th-cam.com/video/UNO-dACc7YY/w-d-xo.html
The second one is talking about connecting to Reaper, but the concepts are the same and importantly the settings you need in the X-Air to talk to any DAW will be the same as these described in the Reaper video:
th-cam.com/video/xYmJGyroVe0/w-d-xo.html
Is it the Mixing Station or Mixing Station X Air app that I need? I see there are both in the Google Play store. There's also Mixing Station X Air Pro. Not sure which one I need to control an XR18 with an Android tablet.
I think there's now a Mixing Station that covers all platforms, or maybe that's on the paid version, but if there's an option for versions still there, it's safe to use the X-Air app.
Man, I need help with something.
If I think of maybe replacing my audio interface with the xr18... or any other mixer... how does it work especially with DAW?
All i want i get a way to get the "master bus" of my DAW to get sound (unaltered, as it is) outta my headphones so I can mix, and outta studio monitors.
Is it okay to replace the audio interface, or should I keep it?
Did you see this channel video? It's about using the XR18 with Reaper DAW.
th-cam.com/video/xYmJGyroVe0/w-d-xo.html
We just got the Behringer XR 18.. How can we play to a click track and sequence in our in ear monitors without the click track coming out of the house speakers, but with the sequence coming out the house speakers?
I'm assuming you have a 2 track recording... one side music and one side click... In that case, you'll have to come into 2 channels (any two channels except 17-18) and on the channel that is the click, just make sure that you unassign that channel from L-R (Main). That way, there's no route for that channel to get to the mains, even if you accidentally bring the fader up. Then just adjust your monitor settings normally.
If you do it like that and click is still getting to the mains, then odds are you have one or more of your master aux outputs assigned to L-R (which you should not do for monitors).
That won't happen from a newly initialized console since the default setting is not that way, but it can happen if someone is either experimenting with settings or accidentally clicks that assignment button in the software.
It can also happen if you ever have a bus set up as a subgroup, then change it back, but forget to reset the aux master/bus side of things for that particular bus or busses.
It's explained in the FAQ video since it's a common mistake/problem:
th-cam.com/video/x9wciA2wFd0/w-d-xo.html
The reason you can't use ch 17-18 (Aux in channels/Stereo inputs) is because those channels can only be stereo... or ONE mono channel. So you have no way to unassign (for example) the Right side from the house L-R while leaving the Left side assigned to the house L-R. Nor any way to send the right side to the monitors without or differently than the left side. They both have to be sent equally because the mixer expects that to be a true stereo signal that you want coming into the console (like an MP3 player/CD/Bluetooth, etc...).
@@AlanHamiltonAudio I have multiple tracks for the sequence, should I bounce it all down to one mp3, then create a click track, bounce that and unassigne it?
We may be using an Alesis drum pad to play the sequence from, if so where do we plug into the Behringer? Or we may use a MacBook Pro or iPad, how or where would we plug in for that?
I have a question: is it possible to apply two effects to one vocal? I would like to use deesser and reverb at the same time so that the signal that goes to the reverb comes after the desser.
I believe the insert point on the XR18 is pre-EQ.
So, you'd have to use one FX rack slot for the De-esser, and insert one side of it on the vocal. And that would be a pre-EQ insertion point.
The vocal reverb will be a send and return FX (not an insert) and a channel FX bus is normally post fader (though that can be changed... but normally you'd want the channel FX send to be post fader.
So.... the reverb would be capturing the signal AFTER the De-esser... and also after the EQ as well... since it's a post-fader tap. Which sounds like what you want it to do.
This video about the FX Rack probably will help you visualize all of that. There's a couple of other videos about FX and tap points on the channel... but this one is probably the one I'd point you to look at first:
th-cam.com/video/TV5ClH_MWrU/w-d-xo.html
@@AlanHamiltonAudio Thank you very much! I have been looking for information for 2 days and found nothing.
Hey Alan, would I not want to adjust the gain with my faders being set to unity (in this case, -18dBFS) or leave them all the way down?
I'm not sure I follow the question... I'd leave faders down, adjust gain, then bring faders up. Is that what you're asking?
@@AlanHamiltonAudio Yes, this is exactly what I meant and what I figured
. I’ve seen some people do this with faders not all the way down which seems odd to me. Thanks man for the reply!
Do you have any information on setting up for in ear monitors and stage monitors. I am trying to figure out if each output can be custom tuned to each iem like say singer want to hear mostly her voice and drummer wants to hear mostly drums. would you use channel sends to output for each channel and adjust the volumes for that output. or am I needing additional hardware? I am new to didgital mixers. Its 2 iem for vacalists and 1 for the drummer. Everyone else are are old school and will be using stage monitors
You'd connect each person's IEM to one of the 6 XLR Aux outputs. Then set up your channel sends to be monitor sends (tap them at some point that is PRE FADER... you don't want to set them as POST FADER nor a Subgroup). You can then create individual mixes from those sends. Each bus output has EQ, though for the ears you might only want a HPF... but for the wedges you might want to use their EQ to notch a couple of feedback points.
There are a few channel videos that probably would help. This one is about the Outputs:
th-cam.com/video/UNO-dACc7YY/w-d-xo.html
This one is talking about setting up the console for monitors (older video so there's some overlap with the above video but things to be gleaned still):
th-cam.com/video/5gzsEErKdb8/w-d-xo.html
Even though this video is about creating a dedicated monitor rig and using the XR as a monitor console, it does talk about some things as far as connecting things that might click with you. Especially after watching one or both of the linked videos above:
th-cam.com/video/xT9gTBFxvZk/w-d-xo.html
@@AlanHamiltonAudio wow, quick response. I will check those videos out. I appreciate the quick response or even the response at all. Thank you
I'm having issues getting more than 2 channels to be seen by my DAW when I'm trying to record multitrack. Not sure what I'm doing wrong... any guesses? or suggestions?
Which DAW?
In the XR18 if you go to SETUP- Audio/MIDI there is a USB Interface line that has the option of 18/18ch and 2/2ch. Is 18/18ch checked? If not click it so 18/18ch is enabled.
If you're using Reaper I have this video for connecting the XR18 to Reaper:
th-cam.com/video/xYmJGyroVe0/w-d-xo.html
Alan! Does the xr12,16 or18 have to be connected to a router source to work or will it work if you already have everything preset to your liking?
The console remembers the last state it was in when turned off, so if everything is how you want it, then you don't need to connect anything to control/change it.
Caveat being, there is a "mute at power cycle" option in the SETUP menu. If that is enabled then if you use it without a controller, everything will be muted (I think it mutes all the outputs IIRC).
So, if you plan to use it in standalone mode without any control type connected, make sure that option is turned off or else you'll always need a controller to unmute things.
@@AlanHamiltonAudio outstanding! Thank you so much!
@@AlanHamiltonAudio if i had it connected to a router at home to get it ready do i need to change it to access point or leave that setting alone?
@@christopherheadcase6886 If you're not going to connect to it, then it won't matter.
@@AlanHamiltonAudio Thank you so much.. Ive been using these for 5 years and every once in a while i come across questions when i want to redo things in a different way
How do you change the presets in the compressor to acoustic vs the kick snare bass and vocal presets, so far the only way I can do that is to copy a strip with acoustic and move that to a location I want to use. PITA
In X-Air Edit you can create or load a channel that has your baseline compression setting in it (let's say acoustic guitar for this example). Then choose the COMPRESSOR tab. Click "Save" and it'll offer you the option to save a compressor setting/preset. So from that point on you'll have an acoustic compressor setting you can load into any channel. It will save it by the channel name plus 'COMP.chn'. Then when you load it, it's only loading those compressor settings.
Is that what you mean?
I'm sure Mixing Station is similar but I don't exactly recall off the top of my head how you do this from there.
If two XR18’s are connected through the Ultranet port, will it make 36 channels?
Unfortunately, no...
I’m betting that they can make that happen with a firmware upgrade.
Do you have to have Ethernet and the software to use it as an interface for something like fl studio?
Yes. Technically, you need USB for the audio to transfer back and forth from the DAW, and Ethernet to send and receive control signals (using either a PC, Mac, or Android tablet or iPad. I run my DAW and X-Air Edit on the same computer (PC in my case) usually. So you don't need two devices... one for audio (USB)/DAW and one for the control software. Although, sometimes it's easier if you have two devices.
This video is using Reaper for the DAW, but the principles will basically be the same for whatever PC/Mac DAW you might be using. th-cam.com/video/xYmJGyroVe0/w-d-xo.html
What App are you using ?
That is behringer's x air edit... Same as m-air edit... and also showing mixing station app which is available for iPad and Android tablets
@@AlanHamiltonAudio Thanks and thank you for the excellent videos.
0:39 Not exactly. Activating the USB button doesn't disable the analog inputs. The console allows you to send and receive signals via USB, such as to a computer for processing. This button specifically controls the return of the USB signal to this channel, so you can, for example, send the analog input signal to be processed by VST plugins and receive it back, or route playback from the computer into the console.
I think what I said in the video, for all intents and purposes stands. Enabling the USB input on any channel disconnects the mic preamps from the mixer channel. That is true. I think the full context of what I said follows with something like with USB enabled the channel is taking it's signal from the USB input instead of the mic preamps.
Which circles back around to the point you're making. Except without confusing anyone.
Certainly the preamps are still there, but they have no path to the channel strip. What you're saying would be to create a new path to the channel strip via USB outs and inputs.
For anyone trying to learn the basics of the console and just get a live mix going, that's just going to be confusing. And yet, I still made the point that a user can connect the channel to USB instead of to the preamp.
But to take it further is putting the cart before the horse.
@@AlanHamiltonAudio I understand your point, but there seems to be a small misunderstanding. Enabling the USB input on the channel does not deactivate the mic preamps. The preamps continue to process the analog input signal. The USB button specifically controls the return of the USB signal to the channel.
This means one can send an analog input signal to be processed outside and then return the processed signal back to the channel via USB. Alternatively, one can route some playback from a computer/player into the console.
So, rather than disconnecting the preamps, the USB button manages the routing of the returned signal via USB. I noticed that in your video, the analog inputs were crossed out, which might suggest they are inactive, but that’s not the case.
Overall, it’s an excellent and informative video that I really enjoyed. I just wanted to clarify that the USB button does not work on an "either/or" principle as it might seem.
@@DmytroZaitsev No, I understand what you're saying. I never said that they deactivate the mic preamps nor did I mean they deactivate them. They simply unassign, or de-route them from the channel strip. If USB is enabled then the mic pre's are not being sent to the channel strip. That is all the video is saying. Hence, the reason I also mentioned that USB routes the incoming USB to that channel.
Yes, the mic pre's are still there and working. But they aren't routed to the channel strip if the strip is assigned to USB. But yes, if you route any of them to external processing via USB, and route that USB back to the channel, then the preamp can still get to the channel. Albeit with whatever latency that is induced in the extended path from preamp to DAW back to console and finally to the channel.
I don't think the video is confusing in how the info is presented. I just think what you're talking about would be better served in its own video where someone already is grasping the basics of signal flow and curious about more advanced routing possibilities and implementing some Waves plugin for example.
0:00:30.640,0:00:34.559
since we reset the mixer it should
0:00:32.559,0:00:36.960
automatically be connected to the analog
0:00:34.559,0:00:39.280
inputs on the front of the console. if
0:00:36.960,0:00:40.960
this usb button was enabled and not
0:00:39.280,0:00:42.960
grayed out then that would mean the
0:00:40.960,0:00:44.640
front panel inputs are off and the
0:00:42.960,0:00:47.520
console is taking its signal from the
0:00:44.640,0:00:49.600
usb inputs.
I could've said unassigned instead of off, but I think in the general context, the same point is made either way. But I guess it's in how you look at it. As far as the channel strip is concerned, the preamps are off if the input is set to USB is how I look at it. Of course they still exist and aren't physically turned off though. But either way, it's too late to change it now. ;)
Would love to know... how can i hide unused channels? Is there a way?
The Mixing Station app lets you create custom layers, so you can hide and rearrange your channels however you want. AFAIK, X-Air Edit doesn't allow that nor does the official iPad app. I could be wrong about the iPad app since I don't have an iPad to test.
thanx!
You're welcome!
I have a question, we recently acquired this mixer and when turned on without anything connected some channels appear saturated, did I get a faulty unit or is this normal until I plug something in?
Channels 1 and 2, with nothing connected, and the gain turned up on the input, and the channel fader up, can be a little noisier than the other channels. But should clear when you connect something to them. Those are the channels with the HiZ inputs.
And if you have nothing connected to them, there's no reason to bring the faders up... So if that is the issue, it's not really a problem. If the noise remains when the faders are down, or when something is connected the channels still remain just as noisy, or if it's another noise you're hearing, or somewhere other than channel 1 or 2, then it sounds like it could be a hardware fault.
@@AlanHamiltonAudio it's actually coming from line 17/18
@@Slinks34 Is the gain turned up on the inputs really high? Have you initialized the console to see if it clears?
I've never noticed any noise from the Aux 17-18 inputs, but I've never had the gain very high on those inputs either. But at normal levels for my MP3 player, it's not noisy.
@@AlanHamiltonAudio I've reset the unit twice, per the instructions but it's still showing up very saturated. Gain is not high. As if something were plugged in. Weird.
@@Slinks34 It sounds like you have a faulty unit :(
The -18 dBFS isn’t necessarily the right way. Behringer, on their channel says to raise it to a point where you get a strong signal without clipping on the loudest parts.
-18 actually causes output to be too low when going to ultranet, -6 works much better overall and there is really no downside.
-6dBFS would be WAY WAY too high for average level. I could see potentially allowing peaks to reach -6dBFS. Assuming I know I'm really seeing what would be peaks and someone/something won't get louder and remove that margin of error.
To average -6dBFS would only allow 6dB of headroom. Not NEARLY enough for peaks.
-18dBFS, as an average signal (not the average peak signal) is a safe setting that basically aligns with 0dBVu on an analog console. Hence the quote in the video that said "You can and should peak above (-18dBFS)". It's essentially the normal headroom you'd have when mixing on an analog console if you were trying to avoid clipping.
Even what you're saying is pretty much the same thing. You can't have your signal averaging -6dBFS, and then not peak into the red (0dBFS) where you fill that digital bucket up. Not with any type of dynamic music. Obviously, you can send a constant signal from a tone generator and set it at -6dBFS and it'll stay clean all day long. But that is different than live music with not only regular dynamics, but musicians that turn up, hit harder, and sing louder (and yell) as the adrenaline flows and the show really starts rocking.
Again, the key word is "averaging". Meaning your signal is constantly right there at -18dBFS during normal performance levels.
Since this is at the input stage, we don't have the luxury of putting a limiter on the signal to squash that dynamic range before the preamp. We can definitely limit dynamic range AFTER the preamp, and with what is fed to the L-R bus and then also to the mains. But if you leave yourself too little headroom at the preamp, then you're going to be on the edge of distortion, or into distortion for the show. And that means you need to start readjusting gain during the show. Which the video explains why that is a bad idea.
You can set the level by peak versus average, but in one form it's still the same basic endgame either way. Assuming you get it right. But that assumption is where the problem comes in. For example, if I was to set my gain until the musicians and vocalists all hit 6dBFS peaks at soundcheck... and then I find out when they show starts that I was sandbagged: Mickey Mouse becomes Rob Halford, the shy drummer turns into Animal, the guitar player hits the boost pedal that he failed to mention he even had and leaves it on... Suddenly that -6dBFS peak isn't the headroom I thought I was going to have.
And meanwhile, I didn't need to be that aggressive with the gain in the first place.
I could've set the gain to average -18dBFS, or -15dBFS if I wanted to be a little more aggressive, and I would've mostly seen peaks at -12, -10, with some margin for error that could ultimately take a few peaks to -8 or -6dBFS. And still room to absorb some turning up, or an excite band taking things up a notch, yet me still not hit 0dBFS on the meter.
This all still roughly aligns with analog signals... the difference being that in the analog realm you could theoretically soft-clip if you did get uber-aggressive with the preamps... But in the digital realm, that digital clip is anything but soft.
Again, the point needs to be reinforced: -18dBFS is a rough AVERAGE level for the signal to normally reside... Not where to set it for PEAKs (at -18dBFS). That would be way too low. It should peak higher, but if it's averaging -18dBFS normally, then there's plenty of room for peaks under 0dBFS without staring digital clip in the face. So it's accounting for dynamics. And it's accounting for a consistent baseline.
@@AlanHamiltonAudio Yeah makes sense, my peaks were -6dB , I think averaging -12 to -15.
If you have a full band and set them to -6, trust me your master will be clipping. Start with -18 average on all channels.
@@ryanshook8284 Peaking at -6dB, we cleared it up already.
I cannot find the things you’re showing on my iPad app.
I'm using X-Air Edit on PC.
I don’t have a pc. iPhone and iPad.
How can I send a sub group mix of drums to another xr18?
Assuming you have an open XLR out, just make sure and assign the subgroup to that output and feed it directly into an XLR input on the other XR18. Or if you need stereo, your subgroup will need to be stereo and you'll need TWO outputs and inputs between the two consoles.
Technically, on the INPUT of the receiving XR18 you'll want to set the actual gain knob (talking knob position) on 0dB. This is the POSITION, not the meter reading. Then adjust the output of the sending console so that the meter of the RECEIVING console is seeing an average of -18dbFS on its meter.
You can tweak the gain control on the receiving console at this point, but technically it should be close to that 0dB SETTING on the console and the feed into it should be adjusted to balance out the level to get the input meter reading 18dBFS on average (but peaking higher).
@@AlanHamiltonAudio You have addressed all my doubt. Thank you very much, I am a new follower.
Why does your layout look different that what i am seeing is there a setting so it looks just like yours
I'm using X-Air Edit on the PC... and Mixing Station (default layout) as my two examples.
👍🙏
Can I use gate on vocal mic 🎤
You can, but it's not usually a good idea. Usually stage volume and vocal dynamics leads to chattering. Some people use the EXPander option versus the gate (which is in the gate section). And if you try the default Vocal Gate settings in X-Air Edit, it defaults to the 2-1 Exp setting.
@@AlanHamiltonAudio I use xr16
@@Pujakemparai The same option should be in the X-Air Edit program connected to XR16
Lp