Crossover Component question

[dlv]

I'm late to the discussion here but regarding having to set the limiter on every scene they use, you don't. You can recall safe the mix bus gate/comp parameters so they are never affected by scene recall. So whatever it's set at, it stays across all scenes.

Example:

X32 Edit screen shot

That example safes the gate/comp on all the mix buses so alternatively you could channel safe the specific bus(es) being used for monitor mixes. (right side of that screen) That safes all parameters for the selected bus(es) but this might be ok for a monitor bus where things like EQ, output routing etc. are not likely not changing between scenes anyway. Your monitor mix (channel sends to the bus) are still recalled by the scene etc.

Scene safes can be a bit difficult to wrap your head around the way they implemented them in these Behringer consoles but they can be useful.

I don't disagree putting a real limiter on the amps is the best answer but just thought you might want to pass this along to whoever is running this rig if they go with bus output limiters on the console.

[Bruce Weldy]

I'm late to the discussion here but regarding having to set the limiter on every scene they use, you don't. You can recall safe the mix bus gate/comp parameters so they are never affected by scene recall. So whatever it's set at, it stays across all scenes.

Example:

X32_scene_safes.jpg

That example safes the gate/comp on all the mix buses so alternatively you could channel safe the specific bus(es) being used for monitor mixes. (right side of that screen) That safes all parameters for the selected bus(es) but this might be ok for a monitor bus where things like EQ, output routing etc. are not likely not changing between scenes anyway. Your monitor mix (channel sends to the bus) are still recalled by the scene etc.

Scene safes can be a bit difficult to wrap your head around the way they implemented them in these Behringer consoles but they can be useful.

I don't disagree putting a real limiter on the amps is the best answer but just thought you might want to pass this along to whoever is running this rig if they go with bus output limiters on the console.

Thanks!

That's not a bad solution. I'd leave the EQ alone, since it does have to be adjusted occassionally, but locking up the comp/limiter section would be good. Does it stay in place even if someone goes to a "Zero Out" scene and starts from scratch?

Good info.

[dlv]

Does it stay in place even if someone goes to a "Zero Out" scene and starts from scratch?

Hmm. Not 100% sure about that one. If doing a complete reset on the console that is going to return all settings to some factory configuration so ya you'd loose your limiters and anything else. Honestly I almost never do a reset like that.

In fixed install venues I've set this console up (churches) I've created a base scene with just the fundamental things that do not (should not) change. I name it "base". Then I coach the operators that every show scene is built off of that. In that base I do have output limiters, house EQ etc. I set when I created it (if they don't have DSP down stream, common for a lot of churches). I also advise them to make USB backups, often. If someone ever blows up that base scene there's a way to get it back.

If the venue is often doing changes that require resetting the actual console configuration (things like bus configuration that do not get loaded in a scene) or have guest engineers that just demand starting from a factory config then this approach may not work well.

[Bruce Weldy]

Does it stay in place even if someone goes to a "Zero Out" scene and starts from scratch?

Hmm. Not 100% sure about that one. If doing a complete reset on the console that is going to return all settings to some factory configuration so ya you'd loose your limiters and anything else. Honestly I almost never do a reset like that.

In fixed install venues I've set this console up (churches) I've created a base scene with just the fundamental things that do not (should not) change. I name it "base". Then I coach the operators that every show scene is built off of that. In that base I do have output limiters, house EQ etc. I set when I created it (if they don't have DSP down stream, common for a lot of churches). I also advise them to make USB backups, often. If someone ever blows up that base scene there's a way to get it back.

If the venue is often doing changes that require resetting the actual console configuration (things like bus configuration that do not get loaded in a scene) or have guest engineers that just demand starting from a factory config then this approach may not work well.

Thanks. I wasn't talking about a factory reset. In the Presonus world (where I'm very versed), there's a Zero Out scene that is just a clean slate. All the global settings are in place, it just let's you start with a fresh scene. Didn't remember if the X platform had that.

I do the same as your BASE, I just call it Master. Then, I save the Master again, way down as close to the end of the scenes as I can in case someone messes up the "working" Master - we can always go back to the "buried" Master.

I confirmed that they still have the dbx 166xl units, so if the owner wants me to set those up for limiters, I'll do that.

[dlv]

Oh yeah X32/M32 also has a console reset. Probably similar to your "zero out scene" as it also leaves global console configuration alone, keeps your scene & library stuff but does clear all channel and bus settings (inc comp/limiter). I've never actually confirmed this but pretty sure scene safes on those parameters do not preserve them in either type of reset. Just across scene recalls.