Input Routing for Various Scenarios

Given the physical inputs that are attached, the following are recommended routing setups for various common scenarios. These routes are configured on the ROUTING > home screen.

  • Normal Mode
    This is the nominal mode of operation with the wireless mics and a small selection of stage mic inputs available.

    • Inputs 1-8 = Local 25-32 (this puts the wireless mics on channels 1-8)
    • Inputs 9-16 = AES50 A9-16 (this puts 4 inputs from each of the Stage Right and Stage Left snakes on the first layer)
    • Inputs 17-24 = AES50 A1-8 (this puts the rest of the Stage Right snake on channels 17-24)
    • Inputs 25-32 = AES50 A17-24 (this puts the rest of the Stage Left snake on channels 25-32)
    • Aux In Remap = Aux Ins (the leaves the CD player and 1/8″ jack in the normal position)
  • Stage (Wide) with Wireless Emcee
    This sets up 24 stage inputs and enables the wireless mics.

    • Inputs 1-8 = AES50 A1-8 (Stage Right 1-8)
    • Inputs 9-16 = AES50 A9-16 (Stage Right 9-12 + Stage Left 9-12)
    • Inputs 17-24 = AES50 A17-24 (Stage Left 1-8)
    • Inputs 25-32 = Local 25-32 (Wireless 1-8)
    • Aux In Remap = Aux Ins
  • Stage (Spread Out) with Wireless Emcee
    Still has 24 stage inputs, but here we use 8 from each snake head plus the wireless mics.

    • Inputs 1-8 = AES50 A1-8 (Stage Right 1-8)
    • Inputs 9-16 = AES50 A17-24 (Stage Left 1-8)
    • Inputs 17-24 = AES50 A25-32 (Stage Center 1-8)
    • Inputs 25-32 = Local 25-32 (Wireless 1-8)
    • Aux In Remap = Aux Ins
  • All Stage
    This uses all 32 stage inputs.

    • Inputs 1-8 = AES50 A1-8 (Stage Right 1-8)
    • Inputs 9-16 = AES50 A17-24 (Stage Left 1-8)
    • Inputs 17-24 = AES50 A9-16 (Stage Right 9-12 + Stage Left 9-12)
    • Inputs 25-32 = AES50 A25-32 (Stage Center 1-8)
    • Aux In Remap = Aux Ins
      • NOTE: If you must have some wireless mics, you can set AES50 A Outputs 1-8 to be sourced from Local 25-32. You can then manually patch at the S32 in the amp room. Alternatively, you can wire in to the analog snake that is routed from the mix position to a snake head underneath the stage outside the amp room door.
  • Board Relay Through
    This setup is useful when an external mixer is brought in and you wish to use the existing PA.

    • Inputs 1-8 = Local 25-32 (Wireless 1-8)
    • Inputs 9-16 = Local 1-8 (Stereo, sub, monitor feeds)
    • Inputs 17-24 = Local 9-16 (not used, but extra monitor feeds)
    • Inputs 25-32 = Local 17-24 (not used)
    • Aux In Remap = Aux Ins
  • Movie with Surround Sound
    If the movie is just a stereo track, you’ll likely just use the Normal Mode setup above. If, however, you have discrete surround outputs, you can use this input arrangement.

    • Inputs 1-8 = Local 25-32 (Wireless 1-8)
    • Inputs 9-16 = Local 1-8 (Surround channels)
    • Inputs 17-24 = Local 9-16 (not used)
    • Inputs 25-32 = Local 17-24 (not used)
    • Aux In Remap = Aux Ins

Behringer X32 Physical Input and Output Connections

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Behringer S32 Physical Input and Output Connections

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Input Routing for Various Scenarios

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Output Routing for Various Scenarios

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How-To’s

In order to help various operators with using the equipment at MPAC, here's a series of How-To pages that should give you guidance on how to accomplish the specific task or fix the specific problem.

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Behringer X32 Digital Mixing Console

Beginning in March 2016, the theater will utilize a Behringer X32 digital mixing console for all audio reinforcement tasks. The system is flexible enough to handle the majority of what occurs in the theater and should provide a lasting base for the next few years. While I won't go into full details of how the...

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Wireless Microphones in the Theater

The main performance theater at MPAC has a set of eight Shure ULX-series wireless microphone sets with each receiver supporting either a handheld mic with an SM87 capsule or a bodypack that can connect to any mini-XLR source. All systems are, unfortunately, a bit dated, and are in the ULK-J1 frequency range. The initial configuration...

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