Used the RM32ai on it's first event today (church service) and I have few thoughts.
Some of these have been mentioned before, and I think some are possibly in the up and coming 1.3 release. First of all, it worked great. The only issues we had were minor, and largely due to starting with a "blank slate" and just not having all our EQs and compressors set yet.
On the iPad app specifically, it would be great if it could keep the screen on. I know I can change the system setting to do that, but it would be nice if this app had the option built-in. And a question: Is there a way to copy channel settings from one RM32ai to another? While we only have one today, we're really happy with it and will likely purchase another for one of the other rooms. Is there a way to copy a channel setting (Gate, Compressor, EQ, etc) from one RM32ai to another? |
Not sure if this was mentioned.....
BUT... it would b nice to have the ability to save an option to all the quick scenes. Instead of opening up each one...make the change..re-save...etc.. |
Make routing ability to have what comes from the DB25 connectors to be pre fader.
THis way, we can still have the RM on stage to control our in ears but still send all channels to the FOH mixer. There's no need to have the outputs from the AUX's mirrored in the DB25s. Most people are going to use it the way I just described. The Aux mixes are for monitoring and the DB25s go to front of house. The X32 is junk as far as how it's constructed, but it does have some advantages over the RM 32. Mainly, routing options a Separate monitor panel from the AUX outs, which are actually direct outs, one per channel. and 1\4 inch inputs for non XLR devices.
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Not completely following your DB25 feature request. Can you describe in more details?
Our primary use for our RM32AI is a monitor rack system and remote recording system and the mirrored DB25 aux mix outputs mean a cleaner rack and cable route for the IEMs connections (which will all be mostly stereo) plus an ISO splitter snake for the FOH system is used. This seems to be pretty standard use case that many new RM owners are building. Are you proposing with software routing the DB25s be something different? It seems to me with AVB, eventually a lot of options could be available over the AVB out port, but the DB25s would stay the same. |
Seriously? That can't be a software change?
The DB25s on the back of the AI console are pre fader from each channel. Well, they're pre insert which is still pre fader.
Studio One Professional
44 VSL audio Box for live. Utrack24s for live. Record 24 while playing 24. On USB 3. PC Audiolabs RokBox. Laptop. (Always have a second backup onstage...lol) Same as Tower for home. Editing done on PC Audiolabs tower. 7th Gen i7 (7700) 16GB DDR4 250GB SSD holds operating system and such. 500GB SSD for files and the few programs onboard 1972 Les Paul Custom PRS CE 24 (NOT SE...CE made in Stevensville Md...) PRS Violet Custom 24 Taylor 515CE Axe Effects Ultra MK II XL guitar processing/modeling system |
djangob wroteNot completely following your DB25 feature request. Can you describe in more details? Example. About 60% of the venues we play have house sound (well, probably closer to 70%). But we've developed our sound, via our mix, to sound like we want it to sound. So even when we're playing a venue with house sound, we still mix our own in ears and with the pair of X32s, had 16 direct outs to send to FOH. The direct outs on the X32 are not monitor outputs or aux outputs. The Aux outputs on that mixer are separate. In the routing menu, you can software direct any input to any output in the device. What we need is the ability to send directs to FOH while still using the, in this case, RM32 to do our monitors. But, if our monitors are coming from the 16 Aux Outs on the RM32, then I still need to be able to send direct to FOH so they can mix whats in the mains. One option, I supppose, is giving the control surface to the Sound Tech...great idea if he's ever used one before...lol...not so great if he hasn't. Seems to me that except for recording use, there's not really a viable reason to have the pair of DB25s in the back mirror what's on the Aux Outputs when it would make far more sense to have them mirror pre fader, what's on the inputs.
Studio One Professional
44 VSL audio Box for live. Utrack24s for live. Record 24 while playing 24. On USB 3. PC Audiolabs RokBox. Laptop. (Always have a second backup onstage...lol) Same as Tower for home. Editing done on PC Audiolabs tower. 7th Gen i7 (7700) 16GB DDR4 250GB SSD holds operating system and such. 500GB SSD for files and the few programs onboard 1972 Les Paul Custom PRS CE 24 (NOT SE...CE made in Stevensville Md...) PRS Violet Custom 24 Taylor 515CE Axe Effects Ultra MK II XL guitar processing/modeling system |
grumpops wroteSeriously? That can't be a software change?The DB25s on the SL mixers have the mixer inputs on them (from right after the preamps, before the A/D converters) The DB25s on the RMs have the Aux outputs on them (same signal as the XLRs on the front, so from after the D/A converters). |
Yah, shame. That's probably going to stop me from purchasing it.
The idea is make a smaller footprint with less cable. Adding a splitter snake to the gear train is just more crap to carry, more stuff to set up, and more time to get it done. Going the wrong way if I upgrade to the RM32. It's so hard to believe that Behringer makes a better product. Because Behringer sucks...lol
Studio One Professional
44 VSL audio Box for live. Utrack24s for live. Record 24 while playing 24. On USB 3. PC Audiolabs RokBox. Laptop. (Always have a second backup onstage...lol) Same as Tower for home. Editing done on PC Audiolabs tower. 7th Gen i7 (7700) 16GB DDR4 250GB SSD holds operating system and such. 500GB SSD for files and the few programs onboard 1972 Les Paul Custom PRS CE 24 (NOT SE...CE made in Stevensville Md...) PRS Violet Custom 24 Taylor 515CE Axe Effects Ultra MK II XL guitar processing/modeling system |
The reason the DB25s mirror the auxes is so you can mount the RM in the same rack with your IEMs and make all your connections from the back of the RM to the back of the IEMs all inside the rack.
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Studio One 2 Pro 3.3.x (64 bit). MacBook Pro 13". OS X Sierra version 10.12.3. RM16AI and CS18AI connected in Stagebox mode via MOTU AVB Switch. StudioLive 328AI (x2); AudioBox 22 VSL; BlueTube DP V2; FaderPort; Monitor Station; RC 500; Temblor T10. To add your software and hardware specs to your signature to make it easier for us to help you, click HERE. My Website |
grumpops wroteYah, shame. That's probably going to stop me from purchasing it. I am not seeing how adding a splitter snake is more ‘gear’ to carry and setup. It’s seems very similar to your description of wanting to use a single mixer as the software ‘splitter’ with Aux mix outputs for your IEMs and the individual channel direct outputs sent to FOH. You still need to carry your own stage box and snake to feed your monitor mixer inputs and from your mixer a channel fanout tail to the FOH mixing desk. With a splitter snake you are using a similar stage box and snake, and using a fanout tail to their stage snake for the FOH mixer, only its signal path is ‘pre’ input to the RM32. With a transformer iso split (though a bit more money), you still would have the same signal path, but have a better chance to eliminate any potential ground loops. For our band at 50 shows a year, 100% of the venues have installed FOH systems, (privates we are bringing in a system), with their mains and subs tuned and EQ’ed for their room. Even with some of the larger venues we play with a front of house mixing desk and a dedicated monitor desk, we plan to bring in the RM32 with a spitter snake, and provide a split fanout tail to the venue stage snake and not use their monitor deck. The options are:
* Use the RM32 as a monitor mixer and connect the split from your snake to their stage snake for FOH mixing on their mixing desk. This is a smaller footprint with less cable... we will use the DB25 aux outputs for the IEMs and have the connections in the back of the rack and we plan to have a few MASS connected subsnakes so one can use shorter XLR cables on stage and have a faster setup. |
mwright137 wroteThe reason the DB25s mirror the auxes is so you can mount the RM in the same rack with your IEMs and make all your connections from the back of the RM to the back of the IEMs all inside the rack. This makes no sense whatsoever. The Aux outputs are right there already. A 2 foot XLR connects Aux 1 to IEM 1 and the cables never have to be removed. The DB25s don't make that simpler or easier, in fact, the reverse is true because the DB25 is going to have 8 pigtails on it and therefore, they have to either dangle around inside the rack box, or be plugged into something even though not used. I was hoping for streamlined...guess I'm lugging the 24.4.2AI around again cuz the DB25s on it, are direct outs I can send straight from the input to the FOH snake, pre fader (well, pre insert which is pre fader)
Studio One Professional
44 VSL audio Box for live. Utrack24s for live. Record 24 while playing 24. On USB 3. PC Audiolabs RokBox. Laptop. (Always have a second backup onstage...lol) Same as Tower for home. Editing done on PC Audiolabs tower. 7th Gen i7 (7700) 16GB DDR4 250GB SSD holds operating system and such. 500GB SSD for files and the few programs onboard 1972 Les Paul Custom PRS CE 24 (NOT SE...CE made in Stevensville Md...) PRS Violet Custom 24 Taylor 515CE Axe Effects Ultra MK II XL guitar processing/modeling system |
grumpops wrotemwright137 wroteThe reason the DB25s mirror the auxes is so you can mount the RM in the same rack with your IEMs and make all your connections from the back of the RM to the back of the IEMs all inside the rack. Different philosophies: Old school is to bring all (analog) inputs to the FOH mixing position, mix them there, and then return 2 or 3 channels back to the stacks near the stage. When monitors are not mixed from FOH but from a separate mixer then splitting the inputs is the way to go. New school is to bring only the controls to the FOH position and leave all things audio(processing) near the stage. The RM falls into this category. The mixer stays near the stage and there's no need for a splitter, only for a second controller. So those are the choices more or less: Stay old school, and bring the hardware to split the channels. Or go new school and simply hand over a controller for mixing FOH from FOH |
grumpops wrotemwright137 wroteThe reason the DB25s mirror the auxes is so you can mount the RM in the same rack with your IEMs and make all your connections from the back of the RM to the back of the IEMs all inside the rack. Well, to each his own.... I see a 2’ DB25 to fan XLR Aux outputs feeding sets of stereo IEMs an efficient and permanent cable run inside a rack...nothing dangling. I don’t disagree that if we also had DB25 inputs mirroring for the snake tail or even better, a MASS connect panel installed connected to the DB25 inputs would make an even cleaner rack system. |
Whichever choice they make it won't make sense to somebody, I guess...
I am Sir Melvis Bacon, Knight of BaconHam Palace.
Studio One 2 Pro 3.3.x (64 bit). MacBook Pro 13". OS X Sierra version 10.12.3. RM16AI and CS18AI connected in Stagebox mode via MOTU AVB Switch. StudioLive 328AI (x2); AudioBox 22 VSL; BlueTube DP V2; FaderPort; Monitor Station; RC 500; Temblor T10. To add your software and hardware specs to your signature to make it easier for us to help you, click HERE. My Website |
gbam55 wroteHi, This. It would be great to have the ability to do a quick change between A/B, for things like a harmonica on a vocal mic. The person is singing lead and then jumps on the harp In between. Harp is usually loud as F in comparisons to vocals and I like to EQ it differently. Also this feature. In the iPad permissions, the ability to make it so FOH has access to faders only. There's this one guy who I would like to mix us more. The problem is he always adds way too much low end to vocals which does little more than introduce low end feedback. I try to tell him that voices just don't go that low so all he is doing is introducing low end feedback. Giving him the iPad, where he can only mix with the faders would be ideal. Bump up solos etc. Leave everything else alone. Maybe access to effects as well. |
How about the best of both worlds? Use the RM for mains, monitors, and send to a broadcast truck, recorder, or send to FOH and RM records.
split snake rack mounted.
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