When I first set up the Behringer X32, one of my first thoughts was, “What the heck is a matrix?”. Coming from a simple analog setup, the only Matrix I knew of was a movie released in 1999.
These outputs will mirror the 16 analog outs on the X32, configured from the “analog out” tab of the ROUTING menu. The P16 signal is carried over AES50 outputs 32-48 by default to the ULTRANET port on the S16. 32 x 16 plus 16 channels for P-16 Personal Monitoring, over a SINGLE ETHERNET CABLE! TRANSFER: You may not rent, lease, lend, sell, redistribute, sublicense or provide commercial hosting services with the Software. You may, however, make a one-time permanent transfer of all of your license rights to the Software to another end user in connection with the transfer of ownership of your Product, provided that: (i) the transfer must include your Product and all of the Software.
Laugh as you may, but I would venture to say that matrix mixes are misunderstood and underused in most churches. Good news is, once you know their application, matrix mixes are easy to understand.
What is an audio matrix?
An audio matrix allows you to create slight variations of your main mix to use for different purposes, like routing sound to the foyer or producing a more balanced audio recording.
You can also use a matrix to combine bus sends to create a custom mix. Let’s go over a few real-life applications for churches.
Use a matrix mix to route sound to your foyer, restrooms or nursery.
When routing your main mix to the foyer, restrooms or nursery, there are a few things to keep in mind:
- Sound Delay – If you can hear sound bleed from the sanctuary, you will need to compensate for the delay so it is not frustrating to the listener.
- Balance Between Music & Speaking – The balance can be off between the music and pastor speaking when it comes to routing sound to another room.
You can fix both of these problems with a matrix mix.
Use a matrix mix to produce better recordings.
When you listen to a recording of your main mix, you have probably noticed it sounds nothing like the live sound.
The main reason this happens is because you have all kinds of noise in addition to your main mix: stage monitors, guitar amps, live drums, audience noise and the natural reverb of the room. All of this is heard in a live setting but does not exist in the recording.
As a result, the drums may be more than loud enough during a service but completely lost in the recording. Or, the recording may lack energy because you cannot hear the congregation singing. All of this can be fixed with a matrix mix.
![Behringer Behringer](https://i.ytimg.com/vi/l984i1KyJV4/maxresdefault.jpg)
Use a matrix as a crossover.
If your speakers or amps don’t have built-in crossovers, or you simply want to program it all from your mixer, an audio matrix is a great solution. Learn how in this post: How to Use a Matrix as a Crossover
How to Set Up a Matrix Mix on the Behringer X32
- Assign the matrix mix to an output. Navigate to the routing screen and select the out 1-16 tab. Select an unused analog output. Select ‘Matrix 1’ for the Output Signal. Now, connect your speakers to the correlating XLR output on the back of your mixer (or digital snake).
- Activate delay, if needed. If you can hear sound bleed from the auditorium, activate the delay by pressing the knob under the ‘Delay’ setting (activated = yellow) and use the same knob to set the approximate distance the room where the matrix mix will be heard is from the speakers in the auditorium.
- Route the main mix to the matrix. Navigate to the HOME screen. Press the ‘SELECT’ button above the MAIN mix fader. Navigate to the ‘sends’ tab and bring the level up for #1 (Matrix 1) to 0dB.
- Use buses to create a custom mix. There are many ways you can do this (don’t be afraid to get creative), but the most simple would be to use one bus for everything that needs to be louder in your matrix mix than the auditorium (i.e. the pastor’s microphone). To do this, SELECT an unused bus, navigate to the ‘config’ tab and set the Preconfiguration to ‘Post Fader’. Navigate to the sends tab and bring the level up for #1 (Matrix 1) to 0dB. Under the ‘MAIN BUS’ section of your mixer, make sure the MONO BUS and STEREO BUS are not selected (otherwise this bus will also go to your main mix). Finally, press the ‘SENDS ON FADER’ button and then use the channel faders to create your custom mix (i.e. increase the level of the pastor’s mic or the drum mics). Keep in mind, this is sending additional signal to the matrix mix for each channel you turn up (considering the main mix is already going to the matrix). So, be sure to keep an eye on your matrix’s level meter to make sure you are not sending a peaking signal.
- Bring the matrix fader up to 0dB. Press the ‘MATRIX 1-6’ button and bring up the fader for Mtx1 to 0dB. If your matrix is close to peaking, you can use the matrix’s fader to bring it down to an acceptable level.
- If needed, add EQ and compression to the matrix. Use the Dynamics and Equalizer controls to solve any dynamics or EQ problems for your matrix mix. For example, you may want to apply a low cut filter so you are not sending super-low frequencies to ceiling-mounted speakers.
Bonus:Download the X32 Matrix Setup Guide
How to Record a Matrix Mix on the X32
To send a matrix mix to the X32’s USB recorder, press the VIEW button within the USB RECORDER section. Navigate to config tab and set the signal source to your desired matrix.
If you are recording mono, be sure to also set the Right signal source to the same matrix. If recording stereo, you will need to link two matrix channels together and then set the Left signal source to one and the Right signal source to the other.
Monitor/Talkback Screens:
The monitor/talkback screen contains the following separate tabs:
Monitor: This screen controls various solo options, dimming, speaker delay, and sources for the control room output.
Talkback A: This screen controls various adjustments for the talkback A path of console.
Talkback B: This screen controls various adjustments for the talkback B path of console.
Oscillator: This screen offers various controls for the onboard oscillator and how it is routed throughout the console.
Monitor/Talkback Screen: Monitor Tab:
The monitor tab controls various console options related to the solo bus, as well as the console’s control room outputs. These options include various solo settings, speaker dimming, speaker delay, and selection of sources for the control room output.
To adjust the various settings on the monitor tab, perform the following steps:
1. Adjust the 1st encoder to change the gain of the monitor signal. This digital gain stage occurs as a first preliminary level control, before the top panel’s analog-based monitor level control. A display above the encoder shows the currently set gain value in dB.
- A multi-segment level meter is displayed on the color screen to allow for proper gain staging of the monitor signal.
2. Adjust the 2nd encoder to scroll through the various solo methods available to the console when audio is routed to the solo bus. Available options include:
- Exclusive (Last): In this mode, pressing another solo button disengages the previous solo.
- Solo Follows Select: When this method is selected, the audio of the currently selected channel will automatically be sent to the solo bus. Since a user will often select a channel to adjust its dedicated DSP controls, this method is useful because the audio of the channel will now already be feeding the solo bus where it can be monitored with headphones in a live sound environment.
- Select Follows Solo: When this method is selected, any channel that is soloed will automatically become the currently selected channel.
- Channel Solo AFL: With this method, the channel and select button do not have any correlation to each other. When a channel’s solo button is pressed, its audio is sent to the solo bus in “after-fader listen” mode, reflecting the current level of the channel fader and any channel DSP that has been applied.
- Mix Bus AFL/PFL: This toggles the AFL/PFL setting for the mix buses when they are soloed (as opposed to the soloing of a single input channel).
- DCA Group AFL: This puts the contents of a soloed DCA group into after-fader listen mode when the solo button is pressed on a DCA channel.
- Use Master Fader: This allows the Main Fader/mute button to control the solo/mon output.
3. Tap the 2nd encoder to select and assign the currently chosen solo option.
4. Adjust the 3rd encoder to adjust the amount of digital delay that is applied to the control room signal path. The display on the screen will show the current amount of delay in feet, meters, and milliseconds.
5. Tap the 3rd encoder to toggle the delay function on/off.
TIP: The delay function is useful for aligning the sound of audio monitored through headphones or speakers used at the Front-of-House position with audio that is coming from the stage location.
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By delaying the control room audio, it can be brought into alignment with the slightly delayed audio that has to travel from the stage to the Front of House position.
6. Adjust the 4th encoder to set the amount of volume reduction that occurs when the control room bus has its “dim” function enabled. The amount of volume reduction ranges from -40 dB to 0 dB (no change).
7. Tap the 4th encoder to toggle the dim function on/off.
8. Adjust the 5th encoder to adjust the volume trim for the source currently feeding the control room bus, allowing it to be level/matched with other sources. The amount of trim can be adjusted from -20 dB to +20 dB.
9. Tap the 5th encoder to toggle the control room between mono and stereo operation. This is very useful in a studio context for checking how a mix sounds when played back on a mono speaker such as a clock radio.
10. Adjust the 6th encoder to select what specific signal source to monitor in the control room bus. Choices include:
- Off (No source)
- LR Bus
- LR + C/M
- LR PFL (pre-fader listen solo bus)
- LR AFL (after-fader listen solo bus)
- Auxiliary returns 5/6
- Auxiliary returns 7/8
11. Tap the 6th encoder to activate the signal source that has been chosen.
Monitor/Talkback Screen: Talkback Tabs
The talkback tabs offer various adjustments for the talkback paths of the console, such as destination of the talkback signal and more.
To adjust the various settings on the Talkback A tab, perform the following steps:
1. The screen displays a multi-segment level meter showing the signal strength of the talkback signal as it has currently been set. It also displays a multi-segment gain reduction meter, showing the user how much compression has been automatically applied to the talkback signal to keep its level even to the recipient.
2. Tap the 1st encoder to enable the talkback circuit. The talkback microphone will now transmit audio to the Talkback A path’s assigned destination.
3. Adjust the 3rd encoder to set the gain of the talkback A signal. This is an additional gain stage that follows the initial gain stage set by the top panel Talk Level knob.
4. Tap the 3rd encoder to toggle on/off the talkback circuit’s “auto-dim” function. This function is useful in a studio setting, and will automatically dim the control room outputs when the talkback circuit is active. This prevents a feedback loop from occurring between the talkback microphone and the nearby studio monitors.
5. Adjust the 4th encoder to scroll through the various talkback destinations, which include:
- Mix Bus 1-16
- LR Bus
- Center/Mono Bus
6. Tap the 4th encoder to activate any talkback destination when it is currently selected. Multiple talkback destinations can be selected, allowing the talkback signal to reach many destinations at the same time.
7. Tap the 5th encoder to toggle the dedicated top-panel talkback buttons between latching and non-latching operation.
8. Adjust the 6th encoder to adjust the brightness of the lamp that is connected to the console’s top-panel lamp connector.
9. Tap the 6th encoder to toggle the attached lamp on/off. Office 2011 for mac dmg.
All controls for the talkback B tab work as described above, but pertain to the talkback B signal path.
Monitor/Talkback Screen: Oscillator Tab
The oscillator tab offers controls for the console’s onboard oscillator, a very handy tool that can be used for setting up PA systems and testing various signal flow paths without the need for a live source feeding a microphone. Settings include oscillator type, frequency, volume, and routing destinations.
To adjust the various settings on the Oscillator tab, perform the following steps:
1. Adjust the 1st encoder to set the level of the onboard oscillator.
2. Tap the 1st encoder to toggle the onboard oscillator on/off.
- The color screen displays a multi-segment level meter that show the current level of the oscillator.
3. Adjust the 2nd encoder to set the frequency of the primary onboard oscillator.
4. Adjust the 3rd encoder to set the frequency of the alternate onboard oscillator.
5. Tap the 3rd encoder to alternate between the 2 onboard oscillators.
6. Adjust the 4th encoder to select the type of oscillator to be used. Choices include:
- Sine Wave
- Pink Noise
- White Noise
7. Tap the 4th encoder to engage the selected oscillator type.
8. Adjust the 6th encoder to select a destination for the onboard oscillator. Choices include:
- Mix Bus 1-16
- Main L Bus
- Main R Bus
- Main L+R Bus
- Main Center/Mono
- Matrix Outputs 1-6
Behringer X32 Producer Output Routing
9. Tap the 6th encoder to assign the selected oscillator destination.
Behringer X32 Usb Output Routing
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