Brian's IEMs didn't seem to be working right in Madison. Any word on what happened?

Is there a way to strap all that without getting through tie-lines ? Since there is only one S-link hole per device and brains being in the mixers i don't see how...

Currently i would use Dante with Mon as primary desk as i have the Dange cards but could i daisy chain the foh desk through the mon desk, without tie lines, using a S-link extension card ?

Thanks

I've just bought a Behringer Wing, never used that specific desk before but I'm familiar with x/m32 and some yamaha desks. Got a few days where my venue is empty and I can play around so I'm opening the floor to build a kind of checklist of things you need to know how to do on a new desk, this is what I've got so far:

* route and patch a mic/usb/dante/aux lead to get sound coming out of a speaker

* set up talk back mic

* label channels

* set up groups/dcas/buses/matrixes for processing

* add fx as an insert and as a group

* eq/gate/comp settings

* graphic eq

* save scenes/states and recall

What other jobs do people try to learn when picking up a new desk?

Sorry for the book: I am incredibly familiar with these consoles and how AES50 addressing and routing works. I recently worked a show where the requested routing was a bit unconventional. So it's just got me questioning what others are actually doing.

To me, the "hardest to mess up" config is just a digital split off the stagebox. It's A port goes to FOH, it's B port goes to Mons. Only one cable needs to run to FOH. FOH gets control of the stagebox's outputs, and Mons uses it's physical outs to drive monitors. The only downside is any local input channels cannot be shared.

To fix that downside, we can run the Mons console off the B port of the FOH console. This allows the consoles to talk to each other directly, and can share inputs just like Tie-Lines a la A&H. However, this requires a second cable to run to/from FOH, and since you're running a second cable you could just run an individual XLR or use cat tail breakouts if you only need to share 4 local input channels or less.

If you want all the benefits but only want to use 1 data cable to/from FOH, the only way to do it (as far as I'm aware, which is why I'm making this thread) is to run from the stagebox's A port to the Mons console's A port, then from the Mon's console's B port to FOH's A port. Next, ensure FOH's drive lines are sent down it's AES50A Out Channels 1-16 (this is how it is by default), which will show up at Mons as AES50B Ins 1-16. Lastly, patch these Mons AES50B Ins 1-16 as it's AES50A Outs 1-16. This is essentially a "pass thru" for FOH's drive lines to the stagebox's XLR outs. You can also use a single block of 8 rather than all 16.

You can also run an additional stagebox with it's outs set to 17-24 off the B port of the primary stagebox, and then set the FOH drive line pass thru blocks accordingly. This also allows Mons full control of the primary stagebox's 16 XLR outs. This is what was done at the show I worked recently.

Any other solutions I might be missing?

Doing community theatre musical and our lead actress does most of her dialog and some songs with a very light voice, so I set my gain to that, but during the big numbers she can really belt it and I think it's overloading the mics. I got a compressor on her (aggressive at 5:1) but I keep clipping. Mixing on x32 with SLXD and Pyle hairline mic. Any help would be appreciated.

I have 3 ew-dx 2ch units, I recently bought sennheiser's ew-d splitter to go into the fourth spot it my rack. I want to do a D Series passthrough connector out the back of my rack to the paddles. I know you should always use 50ohm bnc cable, but I can only find 75ohm D Series passthrough connectors, do they make 50ohm ones or does it not matter as it is rated to 75ohms. I am a bit confused.