StudioLive RM32Ai and RM16Ai Mixers & UC Surface with QMix Ai
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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.

  • Color coding the channels would help a ton.
  • Hide channels. We have several channels that aren't in use (whether that be physically unplugged, or just not part of today's worship set). It would be awesome to hide those to maximize my view. This should be a part of a scene's settings too. (Recalling a scene should restore the visible/hidden channels in that scene)
  • Option to boot the system muted. I'd prefer if the system was muted until a control device connected.
  • Ability for recalling channel settings to include channel name. We have a vocal team that rotates each Sunday. I can create a channel preset for "Susan", "Jason", and "Carol" but when I recall one of those presets onto Channel X, it would be nice if it could set the name on the channel as well. This would help everyone when they're mixing their monitor sends using QMix-ai
  • The "Reset" button for a channel doesn't have a confirm screen. Accidentally bumping that would be a problem.
  • Remote mutes - Say I have three channels in a DCA group (we'll call it vocals). VOX 2 is muted. I mute the Vocals DCA, now VOX 1, 2, and 3 are muted. When I unmute the DCA I expected to have VOX 1 and 3 unmuted and 2 to still be muted. But VOX 2 was unmuted as well. In my head, if I mute a channel "locally" (on the channel itself), when I mute it "remotely" (via a DCA) it should never be able to unmute the "locally" muted channel.

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?
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by cpowell55 on Tue Apr 21, 2015 5:14 pm
When running the new UC interface on a computer with a keyboard it would be nice to be able to have a way to type in precise values for fat channel parameters and fader levels.
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by klarkkentster on Tue Apr 21, 2015 6:41 pm
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..

Kent from Bremerton, Wa.

Studio 1 Artist, Ableton Live 9 Suite, Logic Pro, MainStage, Mac Mini, MBP 2012, MBP 2014
Studio Live 16.4.2, Rm16AI, QSC k12's, Ksub, Drive Rack PX, Voice Live 3, Taylor 414, Variax GTR
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by grumpops on Fri Apr 24, 2015 12:24 am
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.

Studio One Professional
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Utrack24s for live. Record 24 while playing 24. On USB 3.
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Editing done on PC Audiolabs tower. 7th Gen i7 (7700) 16GB DDR4
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by djangob on Fri Apr 24, 2015 1:59 am
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.


RM32AII; AR12; MacBook Pro 13” retina; MacMini (late 2014); OX X 10.12.3; Firestudio Mobile. Studio One 3 Professional 3.2.1 ; Capture 2.2.3
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by SwitchBack on Fri Apr 24, 2015 2:21 am
grumpops wroteMake routing ability to have what comes from the DB25 connectors to be pre fader.
Not possible without a hardware change, including adding additional D/A converters.
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by grumpops on Sat Apr 25, 2015 6:09 pm
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
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by grumpops on Sat Apr 25, 2015 7:16 pm
djangob wroteNot 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.



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
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by SwitchBack on Sat Apr 25, 2015 8:22 pm
grumpops wroteSeriously? 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.
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).
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by grumpops on Sat Apr 25, 2015 8:55 pm
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
User avatar
by mwright137 on Sat Apr 25, 2015 10:32 pm
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.

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.

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by djangob on Sun Apr 26, 2015 3:13 am
grumpops wroteYah, 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


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 FOH and Monitor mixer - feed the RM32 main outs to two channels on their FOH and have your own sound engineer mix FOH on UC Surface
    * 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.


RM32AII; AR12; MacBook Pro 13” retina; MacMini (late 2014); OX X 10.12.3; Firestudio Mobile. Studio One 3 Professional 3.2.1 ; Capture 2.2.3
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by grumpops on Sun Apr 26, 2015 1:24 pm
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
User avatar
by SwitchBack on Sun Apr 26, 2015 2:09 pm
grumpops wrote
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)

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 :)
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by djangob on Sun Apr 26, 2015 2:19 pm
grumpops wrote
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)


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.


RM32AII; AR12; MacBook Pro 13” retina; MacMini (late 2014); OX X 10.12.3; Firestudio Mobile. Studio One 3 Professional 3.2.1 ; Capture 2.2.3
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by mwright137 on Sun Apr 26, 2015 5:49 pm
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
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by scottyltb on Tue Apr 28, 2015 7:16 pm
Dale Christenson wroteI have asked before: Make the ability to see either inputs or outputs on the levels of channels on surface. Like on the consoles.



+1
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by scottyltb on Tue Apr 28, 2015 7:22 pm
cpowell55 wroteWhen running the new UC interface on a computer with a keyboard it would be nice to be able to have a way to type in precise values for fat channel parameters and fader levels.


++1
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by robare99 on Wed Apr 29, 2015 7:51 am
gbam55 wroteHi,

I'd like to chip in with a request related to A/B swapping of fat channel settings.

I have a musician who plays 2 different instruments using the same mic. I would like to eq each one separately. I can do this fine, I would like separate instrument icons and strip descriptions for A and B.

ie. flip from A to B icon & channel name changes - otherwise how to I describe the input on the channel ?
Thanks


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.
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by Dale Christenson on Wed Apr 29, 2015 8:44 am
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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