Studiolive 32Ai, 24Ai and 16Ai Consoles with Universal Control Ai, SL Remote Ai, and QMix Ai
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I have an RM16 at home; and the band uses a StudioLive console. I always struggle with the differences in UC between the two devices. I'd just like to clarify something please. The setup I run live is that FX outputs 1-4 are routed to Subs 1-4. I set the FOH FX levels by using the FX Mix buttons; and the channel multi-function knobs. Adding each FX the same way, to the channels. I control the master FOH FX level using the Sub Group faders. As I understand it, the method of controlling the level of FX being sent to the Aux groups is to double tap the mix button for the selected Aux group and use multi function knobs 5 - 8 to set the overall send of FX to Aux. In other words; there is no way to select a channel and individually set an FX level to the Aux group. Therefore; for the sake of clarity - you cannot have FX in the Aux mix; unless you have it sending in the Main Mix - it's an overall level so your Aux FX level is directly tied to the Main mix level. Is this correct? Thanks for your time, it's much appreciated.
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by wahlerstudios on Tue Sep 05, 2017 11:13 am
FX sends and returns are always buses/sums, which can be routed in various ways. I have also always used the subgroup faders of my SL boards as FX returns, but as stereo buses (reverb returns on subgroup 1+2, delay returns on subgroup 3+4). The RM mixers do not have this routing feature, but the access to the sends and returns faders is easier. All FX returns are available on Main and all aux mixes (in UC Surface located after the last input channel and labeled "FX RET A to FX Ret D"). The sends are grouped under "Mix Masters".

You have to understand that whatever you "send" in FX A, it "returns" as sum in Main, Mono and Auxes. There is no way to create individual FX mixes. If you want to bring reverb to the stage monitors, you will always hear the "summing" of processed channels, which might be disturbing ("Why do I hear the other singers in my monitor...?"). What you need to do is to reserve FX B for reverb on stage/In-Ear and select only a few events (like vocals and snare) for reverb processing. In this case I would also change the send from "post" to one of the "pre" settings, in order to keep the signals steady.

Remember that in "post" settings you need to raise the channel faders in order to hear any FX anywhere. Sometimes this can be really confusing... ;-)

Hope this helps.
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by paulkneipp on Wed Sep 06, 2017 1:08 am
That reply was very clear and I want to thank you sincerely for it - very cool. I must ask - how do you set up stereo FX to the buses? I love stereo because I have two ears!
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by wahlerstudios on Wed Sep 06, 2017 7:31 am
FX returns are always stereo. If you route an stereo FX return to a mono subgroup (SL classic & AI mixers), the result is a mono signal. Therefore you have to link subgroup 1+2 and 3+4 and use both faders, to add FX in stereo to the main bus. The four FX sends itself seem to be mono, but I am not quite sure. My ears tell me something different. FX returns on RM/RML mixers are also always stereo and because of the fixed routing to all buses there is no way to switch them to mono. The panorama section of all returns are greyed out in UC Surface.

When it comes to in-ear monitoring you need to use linked auxes (1+2, 3+4 etc.) to be able to hear FX returns in stereo. If you use mono in-ear, you will hear the FX returns in mono... This is the same for all SL classic/SL AI and RM boards.

It makes sense to separate FX for PA and monitoring. I use FX A postfade for PA sound and FX B (Pre 1 or Pre 2) for in-ear monitoring. As FX sends are buses, you have to be selective in what you "send" to FX, because this goes to everybody. Anyway you don't really want to hear "reverb", but "space" or "room". Adding two ambience microphones can also reduce the need for FX in in-ear mixes.

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