Behringer X32 & Midas M32

F ULL PRESET LIBRARY

Hello!
Thanks so much for downloading my Preset Library for the for the Midas M32 and
Behringer X32 series consoles. I wanted to not only provide such an easy tool for
a quick setup on your board, but also empower you with the reasoning behind the
presets and give you a why for the boosts and cuts in the EQ.

I do not view presets as a one size fits all. Every mix is going to be different and
your preferences will vary depending on the kind of sound you want. These should
be viewed as a good starting area but may need a bit of tweaking in your situation
depending on the size of instrument, mic placement and the musician. Make sure
to trust your ears!

Drew Brashler, dBB Audio

Backup of Preset Library

When loading all of my presets, you will end up needing to overwrite a few of the original presets that ship from
the factory on your console. If you would like to back those up, please follow the instructions below.
-Take a USB drive and place it into the USB slot at the top of the console.
-Press the ‘Library’ button & tab over to the ‘channel’ tab
-Press the ‘Utility’ button (it should light up green & provide a hidden menu)
-Press the 3rd rotary knob under ‘Select All’
-Press the 6th rotary knob under ‘USB Drive Export’
Instructions for Loading
The X32/M32 ship default with a preset library, so I suggest you add my presets on preset 75 and up to minimize
overwriting of the old presets. I suggest you take a look at the Backup of Preset Library to retain a backup of the
original presets and any that you have added.
-Load the uncompressed preset library (found in the ‘Preset Library’ folder) onto a USB drive
-Take that USB drive and place it into the USB slot at the top of the console.
-Press the ‘Library’ button & tab over to the ‘channel’ tab
-Press the ‘Utility’ button (it should light up green & provide a hidden menu)
-Scroll to Preset 01 if you want the presets at the top or Scroll to Preset 75 if you do not want to overwrite most of the original presets from the factory
-Press the 5th rotary knob under the ‘USB Drive Import’
-Navigate to the folder that you saved the preset library on the USB drive from step 1
-Press load
Presets Included:
01.) dBB-Kick Out B52 10.) dBB-Mid Tom 19.) dBB-Bass 2
02.) dBB-Kick In B91 11.) dBB-Floor Tom 20.) dBB-Bass LowFreq
03.) dBB-KickDrum B91 12.) dBB-Hi Hat 21.) dBB-Bass HiFreq
04.) dBB-KickDrum B52 13.) dBB-Ride 22.) dBB-MaleLessBass
05.) dBB-Snare NoTone 14.) dBB-Overheads 23.) dBB-Male Vocal
06.) dBB-Snare Easy 15.) dBB-Electric GTR 24.) dBB-Female Vocal
07.) dBB-Snare 16.) dBB-Acoustic GTR 25.) dBB—Zeroed—
08.) dBB-Snare Bottom 17.) dBB-Keyboard 26.) dBB-LoudnessCurv
09.) dBB-Hi Tom 18.) dBB-Bass 1
01.) dBB-Kick Out B52
This is a preset for the use of a Shure Beta 52A
microphone on the outside of the kick drum. The Shure
Beta 52A is a perfect kick drum mic, and I love using
this in combination with the Shure Beta 91 on the
inside of the kick. You will be able to vary the amount
of thump vs. click from the beater on the fly at the
sound board with this mic setup. The thump comes
from the Beta 52 and the click comes from the Beta 91.

I will typically have this microphone at the sound hole

on the resonance head of the drum (non beater side).
The tip of the microphone will be right at the same
depth as the head itself and pointing in-between the
beater and the rim of the kick.

Gate:
-The gate is setup in a way to only have the sound of the kick drum coming through when it is open, that way the bleed
of the rest of the drum kit is muted when the kick drum is not hit. You will need to vary the threshold to have the gate
open when the kick drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used
centering around 70Hz to only be “listening” to the area of that range.
-With an attack of 1ms, the gate will open immediately. With the hold at 224ms and the release at 361ms, the gate will
allow sufficient time for the kick drum to naturally decay before attenuating the channel.

EQ:
-Low Cut: Depending on your subwoofers, you might want to bring the Low Cut up or down in frequency. You will find
by keeping this Low Cut around the 30-40Hz range, you will end up tightening up the sound of the kick.
-Low Band: Rarely will I do a boost with EQ, but with the kick drum it is beneficial! Taylor this boost in the 50-60Hz
range to give that thud you are looking for.
-Lo Mid Band: Cutting in the 200-400Hz range is where most of the “boxiness” of a kick drum is, so cutting in this range
is a perfect way to help get the right sound.
-Hi Mid & High Band: This cut is a combination of the Hi Mid Band with the High Band High Cut to sculpt the upper
end of the click from the beater hitting the head of the kick drum. You can see that we are emphasizing the low end with
this channel setup but still keeping a little of the attack of the beater in the audio to be able to use this channel without
the adding of the inside kick mic.

Dynamics:
-I am using a 5:1 compressor with a semi fast attack and a fast release to allow for the sound of the beater hitting the
head to slightly come through, but to emphasize the low end with the fast release. You will need to adjust the threshold
to where you are getting 4dB of gain reduction on the hits.
02.) dBB-Kick In B91
This is a preset for the use of the Shure Beta 91 on the
inside of the kick drum. I use this in combination with
the Shure Beta 52A on the outside of the drum.

I will typically set this microphone on a blanket or

small pillow to keep it from rattling around inside of
the drum. Make sure when routing the mic cable to
NOT have it touch the drum head or you can loose low
end.

NOTE: This preset does NOT enable phantom power,

the Shure Beta 91 will require phantom power to work.

Delay:
-Using a 0.9ms delay, we have lined up the two microphones up in time so that they produce the kick sound at the same
moment.

Gate:
-The gate is setup in a way to only have the sound of the kick drum coming through when it is open, that way the bleed
of the rest of the drum kit is muted when the kick drum is not hit. You will need to vary the threshold to have the gate
open when the kick drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used
centering around 80Hz to only be “listening” to the area of that range.
-With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 361ms, the gate
will allow a short time for the kick drum to naturally decay before attenuating the channel, but much shorter time in
comparison to the Beta 52.

EQ:
-Low Cut: Depending on your subwoofers, you might want to bring the Low Cut up or down in frequency. You will find
by keeping this Low Cut around the 30-40Hz range, you will end up tightening up the sound of the kick. I have this set a
few Hz higher than the Beta 52 as the main purpose of this microphone is NOT for the super low end.
-Low Band: As most of the low end is coming from the Beta 52, I have left this at a minimal boost on the low end. You
can taylor the low end as needed.
-Lo Mid Band: This is a -10dB cut at around 300Hz to help reduce the boxiness sound of the kick drum.
-Hi Mid Band: There is a small 4dB boost at 2.79kHz to help emphasize the beater click, you may need to adjust the
frequency a little bit depending on the kick pedal, beater type and head.
-High Band: This is a High Cut (Low Pass Filter) at 7.09kHz to help reduce cymbal bleed in the kick drum microphone.

Dynamics:
- I am using a 5:1 compressor with a medium attack and slow release to help give definition to the beater sound. Due to
the medium attack, the beater sound will pass through and then compress the fundamental tones of the drum due to the
slow release. You will need to adjust the threshold to get about 2-3dB of gain reduction.
03.) dBB-KickDrum B91
This is a preset for using the Shure Beta 91 as the
ONLY kick drum microphone. I will typically set this
microphone on a blanket or small pillow to keep it from
rattling around inside of the drum. Make sure when
routing the mic cable to NOT have it touch the drum
head or you can loose low end. You can do this by using
a small stand to support the cable as it comes out of the
sound hole.

NOTE: This preset does NOT enable phantom power,

the Shure Beta 91 will require phantom power to work.

Gate:
-The gate is setup in a way to only have the sound of the kick drum coming through when it is open, that way the bleed
of the rest of the drum kit is muted when the kick drum is not hit. You will need to vary the threshold to have the gate
open when the kick drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used
centering around 80Hz to only be “listening” to the area of that range.
-With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 361ms, the gate will
allow a short time for the kick drum to naturally decay before attenuating the channel.

EQ:
-Low Cut: Depending on your subwoofers, you might want to bring the Low Cut up or down in frequency. You will find
by keeping this Low Cut around the 30-40Hz range, you will end up tightening up the sound of the kick.
-Low Band: Using the low shelf on the kick drum in combination with the Low Cut is a great way to get the extra low
end you need but keep the kick drum sounding tight. This is a +6dB gain starting at 88Hz, but you will see that with the
Low Cut, 39-60Hz is emphasized.
-Lo Mid Band: This is a -10dB cut at around 250Hz to help reduce the boxiness sound of the kick drum.
-Hi Mid Band: There is a small 4dB boost at 2.43kHz to help emphasize the beater click, you may need to adjust the
frequency a little bit depending on the kick pedal, beater type and head.
-High Band: This is a High Cut (Low Pass Filter) at 7.87kHz to help reduce cymbal bleed in the kick drum microphone.

Dynamics:
-I am using a 5:1 compressor with a fast attack and a fast release to allow for the sound of the beater hitting the head to
slightly come through, but to emphasize the low end with the fast release. You will need to adjust the threshold to where
you are getting 4dB of gain reduction on the hits.
04.) dBB-KickDrum B52
This is a preset for using the Shure Beta 52A as the
ONLY kick drum microphone. I will typically have this
microphone at the sound hole on the resonance head of
the drum (non beater side). The tip of the microphone
will be right at the same depth as the head itself and
pointing in-between the beater and the rim of the kick.

Gate:
-The gate is setup in a way to only have the sound of the kick drum coming through when it is open, that way the bleed
of the rest of the drum kit is muted when the kick drum is not hit. You will need to vary the threshold to have the gate
open when the kick drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used
centering around 70Hz to only be “listening” to the area of that range.
-With an attack of 1ms, the gate will open immediately. With the hold at 224ms and the release at 361ms, the gate will
allow sufficient time for the kick drum to naturally decay before attenuating the channel.

EQ:
-Low Cut: Depending on your subwoofers, you might want to bring the Low Cut up or down in frequency. You will find
by keeping this Low Cut around the 30-40Hz range, you will end up tightening up the sound of the kick.
-Low Band: Using the low shelf on the kick drum in combination with the Low Cut is a great way to get the extra low
end you need but keep the kick drum sounding tight. This is a +7dB gain starting at 80Hz, but you will see that with the
Low Cut, 40-60Hz is emphasized.
-Lo Mid Band: This is a -10dB cut at around 340Hz to help reduce the boxiness sound of the kick drum.
-Hi Mid Band: There is a small 4dB boost at 2.79kHz to help emphasize the beater click, you may need to adjust the
frequency a little bit depending on the kick pedal, beater type and head.
-High Band: This is a High Cut (Low Pass Filter) at 6.62kHz to help reduce cymbal bleed in the kick drum microphone.

Dynamics:
-I am using a 5:1 compressor with a fast attack and a fast release to allow for the sound of the beater hitting the head to
slightly come through, but to emphasize the low end with the fast release. You will need to adjust the threshold to where
you are getting 4dB of gain reduction on the hits.
05.) dBB-Snare NoTone
This is a preset for a snare drum with a microphone on
the top. The perfect use for this preset is to use it on a
snare that has too much overtones and is in dire need of
some moon gels!

Gate:
-The gate is setup in a way to only have the sound of the snare drum coming through when it is open, that way the bleed
of the rest of the drum kit is muted when the snare drum is not hit. You will need to vary the threshold to have the gate
open when the snare drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used
centering around 600Hz to only be “listening” to the area of that range.
-With an attack of 0ms, the gate will open immediately. With the hold at 141ms and the release at 258ms, the gate will
allow sufficient time for the snare drum & snares to naturally decay before attenuating the channel.

EQ:
-Low Cut: Most snare drums don’t need much information lower than 100Hz, to keep your mix less muddy, keep the
low cut around 100Hz.
-Low Band: Using a low shelf I added +3dB below 280Hz to add a bit of fullness to the sound.
-Lo Mid Band: An -8dB cut at 600Hz removes some boxiness and a bit of the overtones from the snare.
-Hi Mid Band: A +2dB boost around 5kHz adds a bit of boost to the sound of the snares.
-High Band: This band is not used, but can be added how you wish! I would suggest keeping this for a narrow
bandwidth cut on any annoying frequencies that may pop up from different snares.

Dynamics:
-I am using a 5:1 compressor with a medium attack and a medium release to allow for the main transient of the snare
hit, then reduce the ‘sound’ of the shell and overtones, but then release to bring the snares back in. You will need to
adjust the threshold to where you are getting 4dB of gain reduction on the hits.
06.) dBB-Snare Easy
This is a preset for a snare drum with a microphone
on the top. Compared to the other snare presets,
this has less attenuation with the gate and a little less
compression.

Gate:
-The gate is setup in a way to reduce bleed into the snare channel. You will need to vary the threshold to have the gate
open when the snare drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used
centering around 600Hz to only be “listening” to the area of that range.
-With an attack of 0ms, the gate will open immediately. With the hold at 200ms and the release at 504ms, the gate will
allow more than sufficient time for the snare drum & snares to naturally decay before attenuating the channel. Also,
there is a -20dB attenuation in comparison to the -40dB on the range from the other snare presets.

EQ:
-Low Cut: To allow for a little bit more low end on the snare to come through, the low cut is set to 80Hz.
-Low Band: Using a low shelf I added +5dB below 175Hz to add a bit of fullness to the sound.
-Lo Mid Band: An -6dB cut at 400Hz removes some boxiness from the snare.
-Hi Mid Band: A very wide bandwidth +5dB boost around 4kHz makes the snare sound brighter.
-High Band: This band is not used, but can be added how you wish! I would suggest keeping this for a narrow
bandwidth cut on any annoying frequencies that may pop up from different snares.

Dynamics:
-I am using a 3:1 compressor with a very fast attack and a fast release to allow for a reduction of the main transient of the
snare hit and then release to bring the snares back in. You will need to adjust the threshold to where you are getting 3dB
of gain reduction on the hits.
07.) dBB-Snare
This is a preset for a snare drum with a microphone on
the top. This preset will reduce the lows of the snare
while adding a bit of boost in the higher end on the
snare.

Gate:
-The gate is setup in a way to only have the sound of the snare drum coming through when it is open, that way the bleed
of the rest of the drum kit is muted when the snare drum is not hit. You will need to vary the threshold to have the gate
open when the snare drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used
centering around 600Hz to only be “listening” to the area of that range.
-With an attack of 0ms, the gate will open immediately. With the hold at 141ms and the release at 258ms, the gate will
allow sufficient time for the snare drum & snares to naturally decay before attenuating the channel.

EQ:
-Low Cut: Most snare drums don’t need much information lower than 100Hz, to keep your mix less muddy, keep the
low cut around 100Hz.
-Low Band: Using a low shelf I cut -4.5dB below 600Hz to reduce the low end of the snare.
-Lo Mid Band: This band is not used, but can be added how you wish! I would suggest keeping this for a narrow
bandwidth cut on any annoying frequencies that may pop up from different snares.
-Hi Mid Band: A +5dB boost around 2kHz adds a bit of boost to the sound of the snares.
-High Band: I continued a +2dB boost with a high shelf from 2.4kHz going up.

Dynamics:
-I am using a 2.5:1 compressor with a medium attack and a medium release to allow for the main transient of the snare
hit, then reduce the ‘sound’ of the shell and overtones, but then release to bring the snares back in. You will need to
adjust the threshold to where you are getting 4dB of gain reduction on the hits.
08.) dBB-Snare Bottom
This is a preset for a snare drum with a microphone
on the bottom. This preset will focus on compressing
the initial part of the snare rattle but elongate it using
compression.

Polarity:
-Because the top microphone is pointing down, and the bottom microphone is pointing up, a snare hit would cause
a negative pressure on the top mic, and a positive pressure on the bottom mic. This could cause a lot of bad audio
interactions, to fix this, we need to flip the polarity of the bottom snare channel. This preset has the polarity reversed.

Gate:
-The gate is setup in a way to only have the sound of the snare drum coming through when it is open, that way the bleed
of the rest of the drum kit is muted when the snare drum is not hit. You will need to vary the threshold to have the gate
open when the snare drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used
with a Low Cut around 1kHz to remove the possibility of the kick drum opening the gate..
-With an attack of 0ms, the gate will open immediately. With the hold at 112ms and the release at 315ms, the gate will
allow sufficient time for the snare drum & snares to naturally decay before attenuating the channel.

EQ:
-Low Cut: Because the main portion of low end for the snare is coming from the top microphone, the bottom mic is
mostly for the sound of the snares. We have this set to 201Hz.
-Low Band: Using a low shelf I cut -2.5dB below 2kHz to reduce the low end of the snare.
-Lo Mid Band: This band is not used, but can be added how you wish! I would suggest keeping this for a narrow
bandwidth cut on any annoying frequencies that may pop up from different snares.
-Hi Mid Band: A +3dB boost around 4.3kHz adds a bit of boost to the sound of the snares.
-High Band: This band is not used, but can be added how you wish!

Dynamics:
-I am using a 3:1 compressor with an attack of 0ms, a short 5ms hold and a short 10ms release, we are compressing the
initial part of the snare rattle, but elongating the sound of the snares. You will need to adjust the threshold to where you
are getting 4dB of gain reduction on the hits.
09.) dBB-Hi Tom
This is a preset for a smaller tom typically used in the
high position with a microphone on the top. One of my
favorite microphones is the Audix Micro-D as it is small
and comes with a clamp for mounting. A Shure SM57 is
also a great choice.

Gate:
-The gate is setup in a way to only have the sound of the tom coming through when it is open, that way the bleed of the
rest of the drum kit is muted when the tom is not hit. You will need to vary the threshold to have the gate open when the
tom is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 182Hz
to only be “listening” to the area of that range.
-With an attack of 0ms, the gate will open immediately. With the hold at 316ms and the release at 385ms, the gate will
allow sufficient time for the tom to naturally decay before attenuating the channel.

EQ:
-Low Cut & Low Band: I use the Low Cut in combination with the Low Band EQ to create a bell shape curve for the EQ
on the low end. This is emphasizing the area in the 180Hz range with around a +3dB boost. Vary the freq. of the low cut
and the low band together up or down to find the fundamental tone for the tom.
-Lo Mid Band: A wide bandwidth -13dB cut at 570Hz helps reduce the boxiness tone of the tom.
-Hi Mid Band: A +6dB boost at 2.79kHz adds a bit of boost the attack of the stick hitting the tom.
-High Band: The high cut at 5.57kHz helps reduce cymbal bleed in the tom channel.

Dynamics:
-I am using a 5:1 compressor with a medium attack and a medium release to allow for a little of the main transient of the
tom hit, then reduce the ‘sound’ of the tom, but then release to elongate the decay. You will need to adjust the threshold
to where you are getting 6dB of gain reduction on the hits.
10.) dBB-Mid Tom
This is a preset for a medium sized tom typically used in
the high or mid position with a microphone on the top.
One of my favorite microphones is the Audix Micro-D
as it is small and comes with a clamp for mounting. A
Shure SM57 is also a great choice.

Gate:
-The gate is setup in a way to only have the sound of the tom coming through when it is open, that way the bleed of the
rest of the drum kit is muted when the tom is not hit. You will need to vary the threshold to have the gate open when the
tom is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 138Hz
to only be “listening” to the area of that range.
-With an attack of 0ms, the gate will open immediately. With the hold at 316ms and the release at 385ms, the gate will
allow sufficient time for the tom to naturally decay before attenuating the channel.

EQ:
-Low Cut & Low Band: I use the Low Cut in combination with the Low Band EQ to create a bell shape curve for the EQ
on the low end. This is emphasizing the area in the 120Hz range with around a +3dB boost. Vary the freq. of the low cut
and the low band together up or down to find the fundamental tone for the tom.
-Lo Mid Band: A wide bandwidth -13dB cut at 570Hz helps reduce the boxiness tone of the tom.
-Hi Mid Band: A +6dB boost at 2.79kHz adds a bit of boost the attack of the stick hitting the tom.
-High Band: The high cut at 5.57kHz helps reduce cymbal bleed in the tom channel.

Dynamics:
-I am using a 5:1 compressor with a medium attack and a medium release to allow for a little of the main transient of the
tom hit, then reduce the ‘sound’ of the tom, but then release to elongate the decay. You will need to adjust the threshold
to where you are getting 6dB of gain reduction on the hits.
11.) dBB-Floor Tom
This is a preset for a floor tom with a microphone on
the top. My favorite microphone for the floor tom is the
Audix D6. The low end on that microphone is amazing
and will really give a great sound from the floor tom.

Gate:
-The gate is setup in a way to only have the sound of the floor tom coming through when it is open, that way the bleed
of the rest of the drum kit is muted when the tom is not hit. You will need to vary the threshold to have the gate open
when the floor tom is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering
around 105Hz to only be “listening” to the area of that range. Careful with setting this as the Kick drum is always the
culprit for accidentally opening the gate for this channel
-With an attack of 0ms, the gate will open immediately. With the hold at 251ms and the release at a long 615ms, the gate
will allow sufficient time for the floor tom to naturally decay before attenuating the channel.

EQ:
-Low Cut & Low Band: I use the Low Cut in combination with the Low Band EQ to create a bell shape curve for the EQ
on the low end. This is emphasizing the area in the 60-80Hz range with around a +3dB boost. Vary the freq. of the low
cut and the low band together up or down to find the fundamental tone for the tom.
-Lo Mid Band: A wide bandwidth -13dB cut at 317Hz helps reduce the boxiness tone of the floor tom.
-Hi Mid Band: A wide bandwidth -5dB cut at 1kHz helps taylor the sound of the floor tom.
-High Band: The high cut at 7kHz helps reduce cymbal bleed in the floor tom channel.

Dynamics:
-I am using a 5:1 compressor with a medium attack and a medium release to allow for a little of the main transient of the
tom hit, then reduce the ‘sound’ of the tom, but then release to elongate the decay. You will need to adjust the threshold
to where you are getting 5dB of gain reduction on the hits.
12.) dBB-Hi Hat
This is a preset for the Hi Hats. Most commonly I will
use a small diaphragm condenser microphone for this
like the Audio Technica AT4041.

Gate:
-The gate is setup as an automatic mute to attenuate the channel when it is not being used.
-With an attack of 1ms, the gate will open immediately. With the hold at 141ms and the release at a 116ms, the gate will
allow sufficient time for the natural decay of the high hat before attenuating.

EQ:
-Low Cut: Set at 189Hz we are reducing any of the low end from this microphone as the hi hat does not produce any low
end that we will need.
-Low Band: I use the the Low Shelf with a -7dB cut for everything below 1.3kHz, this gives a high frequency boost.
-Lo Mid Band: This is not used with this preset, feel free to change that!
-Hi Mid Band: This is not used with this preset, feel free to change that!
-High Band: This is not used with this preset, feel free to change that!

Dynamics:
-I am using a 5:1 compressor with an attack of 0ms and a fast release to allow for a reduction of the initial peak of the
high hat. You will need to adjust the threshold to where you are getting 4dB of gain reduction on the hits.
13.) dBB-Ride
This is a preset for the Ride cymbal. Most commonly I
will use a small diaphragm condenser microphone for
this like the Audio Technica AT4041.

Gate:
-The gate is setup as an automatic mute to attenuate the channel when it is not being used.
-With an attack of 1ms, the gate will open immediately. With the hold at 200ms and the release at a 337ms, the gate will
allow a short time for the natural decay of the ride before attenuating.

EQ:
-Low Cut: Set at 195Hz we are reducing any of the low end from this microphone as most ride cymbals do not produce
any low end that we will need.
-Low Band: I use the the Low Shelf with a -4dB cut for everything below 550Hz, this gives a high frequency boost.
-Lo Mid Band: This is not used with this preset, feel free to change that!
-Hi Mid Band: A 2.8kHz boost of +2dB helps add the stick sound hitting the ride.
-High Band: A +4dB High Shelf at 12.3kHz adds a bit more brightness to the sound of the ride.

Dynamics:
-I am using a 3:1 compressor with an attack of 0ms and a fast release to allow for a reduction of the initial peak of the
ride. You will need to adjust the threshold to where you are getting 2dB of gain reduction on the hits.
14.) dBB-Overheads
This is a preset for drum set overheads. Most commonly
I will use a small diaphragm condenser microphone for
this like the Audio Technica AT4041.

Gate:
-The gate is setup as an automatic mute to attenuate the channel after it has not been in use for 1.5 seconds.
-With an attack of 1ms, the gate will open immediately. With the hold at 502ms and the release at a very long 983ms, the
gate will allow sufficient time for the natural decay of cymbals at the end of a song, but mute when the drums are not
being played.

EQ:
-Low Cut: Set at 101Hz we are reducing any of the low end from this microphone as the direct microphones are better at
picking up the low end due to proximity effect.
-Low Band: I use the the Low Shelf with a -5dB cut for everything below 700Hz. This helps limit the low end of the
audio spectrum in the microphone.
-Lo Mid Band: This is not used with this preset, feel free to change that!
-Hi Mid Band: This is not used with this preset, feel free to change that!
-High Band: I use a High Shelf with a +4dB boost at 7.6kHz to add some brightness to the cymbals.

Dynamics:
-I am using a 3:1 compressor with a slow attack and a fast release to allow for a for the initial crash of the cymbal, but
then limit the decay a bit. You will need to adjust the threshold to where you are getting 2dB of gain reduction on the
hits.
15.) dBB-Electric GTR
This is a preset for a mic’ed electric guitar cabinet. I will
typically use a Shure SM57 as this is the staple guitar
microphone. The Audix I-5 and Sennheiser MD-421
are also great alternatives!

Gate:
-The gate is setup as an automatic mute to attenuate the channel after it has not been in use for 1.5 seconds.
-With an attack of 1ms, the gate will open immediately. With the hold at 502ms and the release at a very long 983ms, the
gate will attenuate when the guitar is not being played.
-You will need to vary the threshold to set above the noise of the amplifier when not being played.

EQ:
-Low Cut: Set at 84Hz we are limiting the amount of electric guitar going to the subwoofers. Some musical genres will
need a bit more of the electric guitar into the subwoofers, but most of the time
-Low Band: I use the the Low Shelf with a -5dB cut for everything below 400Hz. This helps clean up a bit of muddiness
in the overall mix of the band.
-Lo Mid Band: This is not used with this preset, feel free to change that!
-Hi Mid Band: A narrow +4.5dB boost of 2.34kHz adds a bit more presence for the electric guitar.
-High Band: This is not used with this preset, feel free to change that!

Dynamics:
-I do not use compressors with electric guitar. Typically electric guitar players are very picky on their tone and dynamics.
I find that you can gain more trust with a guitar player when you mention to them that you want to keep their tone in
the system correct and that you don’t use a compressor. With that trust comes the ability to ask them to turn down their
amplifiers without an immediate NO.
16.) dBB-Acoustic GTR
This is a preset for an acoustic guitar through a direct
box.

Gate:
-The gate is setup as an automatic mute to attenuate the channel after it has not been in use for 1.5 seconds.
-With an attack of 1ms, the gate will open immediately. With the hold at 502ms and the release at a very long 983ms, the
gate will attenuate when the guitar is not being played.
-You will need to vary the threshold to set above the noise of the guitar when not being played.

EQ:
-Low Cut: Set at 95Hz we are limiting the amount of acoustic guitar going to the subwoofers as most guitars aren’t useful
in this area of the spectrum.
-Low Band: I use the the Low Shelf with a -3dB cut for everything below 317Hz. This helps clean up a bit of muddiness
in the overall mix of the band & vocals.
-Lo Mid Band: This is not used with this preset, feel free to change that!
-Hi Mid Band: A -3.5dB cut at 2kHz removes some of the abrasiveness of the acoustic in the mix
-High Band: A -3.25dB cut at 8kHz removes some of the harshness of the acoustic.

Dynamics:
-The use of the compressor here is to limit the attack of the pick from the acoustic and get more of the note on the guitar.
A fast attack limits the transient from the pick on the strings, and a fast release puts the emphasis to the notes rather
than the percussiveness. You will need to adjust the threshold to where you are getting 2dB of gain reduction while
playing.
17.) dBB-Keyboard
This is a preset for an electric keyboard/piano through a
direct box.

Gate:
-The gate is setup as an automatic mute to attenuate the channel after it has not been in use for 1.5 seconds.
-With an attack of 1ms, the gate will open immediately. With the hold at 502ms and the release at a very long 983ms, the
gate will attenuate when the keyboard is not being played.
-You will need to vary the threshold to set above the self-noise of the keyboard when not being played.

EQ:
-Low Cut: Set at 40Hz we are limiting the amount very low frequency into the subwoofers.
-Low Band: I use the the Low Shelf with a -4dB cut for everything below 300Hz. This helps clean up a bit of muddiness
in the overall mix of the band & vocals.
-Lo Mid Band: This is not used with this preset, feel free to change that!
-Hi Mid Band: A +4.75dB boost at 3.81kHz adds a bit of clarity to the keys
-High Band: This is not used with this preset, feel free to change that!

Dynamics:
-I typically do not use compression on Keyboards as their patches usually incorporate some sort of compression
internally.
18.) dBB-Bass 1 & 19.) dBB-Bass 2
These are two presets for a bass guitar through a direct
box. Depending on the song and the player, one may
suit better than the other.

Gate:
-The gate is setup as an automatic mute to attenuate the channel after it has not been in use.
-With an attack of 0ms, the gate will open immediately. With the hold at 141ms and the release at a long 615ms, the gate
will attenuate when the bass guitar is not being played.
-You will need to vary the threshold to set above the noise of the bass when not being played.

EQ:
-Both of these presets have a slight boost to the low end, a cut in the 200Hz area to clean up the overall mix of
muddiness and a boost at 3.43kHz to give some clarity to the strings and finger sounds.

Dynamics:
-dBB-Bass 1 uses a slow attack, 44ms hold and a medium release. This lets a lot of the attack of the picking through but
attenuates the first part of the note to elongate the sustain of the note. Adjust the threshold to get 4dB of gain reduction.
-dBB-Bass 2 uses a faster attack and a short release. This attenuates the sound of the picking, but releases before the
natural sustain of the string starts. Adjust the threshold to get 4dB of gain reduction.
20.) dBB-Bass LowFreq & 21.) dBB-Bass HiFreq

This is a preset for a bass guitar through a direct box. This will use two channels and you will need to select the input
to be from the same board input. To do this, select the channel, press ‘Home’, tab over to ‘Config’ and then use the 3rd
rotary knob to select the bass input, press the rotary knob to confirm. Now the two channels will be using the same
input.

dBB-Bass LowFreq will process the low end of the bass guitar, while the dBB-Bass HiFreq will process the high end of
the bass. Throughout the songs you are able to vary the bass vs treble of the guitar for easy different sounds.

Using a Hi-Cut on the dBB-Bass LowFreq, we can focus on just the low end and likewise on the dBB-Bass HiFreq, we
will use a Lo-Cut to focus on just the high end.
22.) dBB-MaleLessBass
This is a preset for a singer with a lot of low end in
his voice. Low end in males is very easy to come by,
either by being a bass vocalist or singing right up into
the mic grill (proximity effect) this bass is not always
wanted. This preset rolls off a bit of the low end off and
adds some much needed high end to get away from
the muffled sound. Be cautious of feedback with any
boosting of high end if open floor monitors are being
used.

Gate:
-The gate is setup as an automatic mute to attenuate the channel after it is not being used.
-With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 173ms, the gate will
attenuate when the mic is not being used..
-You will need to vary the threshold to set above the background noise when not being used.

EQ:
-Low Cut: Set at 92Hz we are limiting the amount of vocals going to the subwoofers.
-Low Band: I use the the Low Shelf with a -6dB cut for everything below 340Hz. This helps clean up a bit of muddiness
in the vocals.
-Lo Mid Band: This is not used with this preset, feel free to change that!
-Hi Mid Band: A +9.5dB boost at 4.68kHz adds clarity to the bass heavy vocal.
-High Band: This is not used with this preset, feel free to change that!

Dynamics:
-The use of the compressor here is to limit the dynamics of the singer. Using a fast attack and a fast release keeps tabs
on the dynamics while staying not noticeable. You will need to adjust the threshold to where you are getting 3dB of gain
reduction while the vocalist is singing normally.
23.) dBB-Male Vocal
This is a preset for a male vocalist. Be cautious of
feedback with any boosting of high end if open floor
monitors are being used.

Gate:
-The gate is setup as an automatic mute to attenuate the channel after it is not being used.
-With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 173ms, the gate will
attenuate when the mic is not being used..
-You will need to vary the threshold to set above the background noise when not being used.

EQ:
-Low Cut: Set at 104Hz we are limiting the amount of vocals going to the subwoofers.
-Low Band: I use the the Low Shelf with a -2dB cut for everything below 340Hz. This helps clean up a bit of muddiness
in the vocals.
-Lo Mid Band: This is not used with this preset, feel free to change that!
-Hi Mid Band: A +2dB boost at 4.68kHz adds clarity to the vocal.
-High Band: This is not used with this preset, feel free to change that!

Dynamics:
-The use of the compressor here is to limit the dynamics of the singer. Using a fast attack and a fast release keeps tabs
on the dynamics while staying not noticeable. You will need to adjust the threshold to where you are getting 3dB of gain
reduction while the vocalist is singing normally.
24.) dBB-Female Vocal
This is a preset for a female vocalist. Be cautious of
feedback with any boosting of high end if open floor
monitors are being used.

Gate:
-The gate is setup as an automatic mute to attenuate the channel after it is not being used.
-With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 173ms, the gate will
attenuate when the mic is not being used..
-You will need to vary the threshold to set above the background noise when not being used.

EQ:
-Low Cut: Set at 114Hz we are limiting the amount of vocals going to the subwoofers.
-Low Band: I use the the Low Shelf with a -2dB cut for everything below 360Hz. This helps clean up a bit of muddiness
in the vocals.
-Lo Mid Band: A -4.75dB cut at 700 helps clean up the vocals.
-Hi Mid Band: A +5dB boost at 3.2kHz adds clarity to the vocal.
-High Band: I use a high shelf boost of +6dB above 8kHz to give a bit more brightness to the vocals.

Dynamics:
-The use of the compressor here is to limit the dynamics of the singer. Using a fast attack and a fast release keeps tabs
on the dynamics while staying not noticeable. You will need to adjust the threshold to where you are getting 3dB of gain
reduction while the vocalist is singing normally.
25.) dBB—Zeroed—
This is a preset for zeroing a channel without needing to Initialize the console. All settings return to a default position.
Gate, EQ, Dynamics, Sends all turn off; EQ Bands are set to 0dB for gain and freq. is placed to a typical position.
Channel is sent into the LR Bus with the fader turned all the way down and unmuted.

26.) dBB-LoudnessCurv

The equal loudness contour is very similar to the Fletcher-Munsion curve, this was a study about human hearing and
how we perceive loudness of frequencies compared to each other. Basically this study took a 1kHz tone, played it at
60dB, then would play other tones and would record at what level you ‘heard’ it at the same level. With our hearing
being much more sensitive to the 1kHz-8kHz range, for a 1kHz tone to be at the same volume as a 100Hz tone, you
would need to turn up the 100Hz tone by around +6dB.

The lower the volume the more drastic this difference, but not only that, the volumes over the entire range of say 80dB
is much different than 100dB. This preset adds an EQ curve that is similar to the equal loudness contour but is the
difference between listening to something at 100dB and at home at 80dB.

When you are recording a board feed in a room that is producing 100dB, if you add this preset to the recording feed, it
should sound very similar if you listen to the same recording at 80dB in your car or at home. I will typically place this on
a matrix or mixbus send for a stereo recording of the mix. There is also some limiting set up in this preset to reduce the
chance of clipping the recorder.
BONUS! Full Board Setup Scene w/ Routing
This is a scene that is already laid out for you with routing set up! It includes
the most common input setups that I have come across throughout my time
with the X32. There are 6 IEM, a Stereo + Subwoofer output, and a recording
bus already set up! The best part is that all of the library is already loaded into
the channels. Use this as a quick tool to rapidly set up your console for the
show.

To Load:
-Press ‘View’ in the Scenes section of the board.
-Use the ‘tab’ buttons to select the ‘Scenes’ tab
-Rotate the 1st rotary knob to an empty slot
-Press the ‘Utility’ button (it will turn green)
-Press the 5th rotary knob and navigate to the ‘dBB-Full Setup.scn’
-Press load

Recording Feed Mixbus 11 & Mixbus 12:

One common problem with live mix recordings off of a sound board used for a PA system is that the music records
at a higher volume than any speech. This is due to the higher volume that is pushed during the music portion of a
service. Typically music is played around 100dB and speech/sermons are normally around 85dB. This accounts for a
-15dB difference on the recording between music and the sermon. In some venues this difference can be up to 30dB of
difference!

To eliminate this, I have set up a recording bus on Mixbus 11 and Mixbus 12 to feed the USB Recorder. This is a ‘Post
Fader’ configuration so any mix changes in the house PA would also happen in the recording feed. All of the channels on
the board (Channel 1-32, Aux 1-6, USB Player, FX Returns) are sent to these busses at -10dB. Any speech channels like
Pastor, Pulpit or Announcement Mic should be sent to these busses at +5dB. This will set full music volume and speech
at close to the same volume in the recording.

After the first week, go back and listen to the recording in your car or at home. Listen for any changes between the live
service and the recording. One common thing is to have the drums NOT loud enough in the recording, this is due to the
live drums being so loud in the room, most will not need to put much of the drums in the PA system. This will make the
drums record at a low level. Find these different adjustments that need to be made to the instruments and write them
down. Next time you are at the board, adjust the sends level of those channels up or down as needed going into Mixbus
11&12. Next week, repeat this process and by the 3rd Sunday, you should have the recording levels set perfectly!

This is by far my favorite way to set up a recording mix. The USB recorder that is built into the console is already routed
to pull from this feed. This mix is also great for sending to a cry room, sending to the video recorder, or even feeding a
assisted hearing mix. To tap into this, in the routing of the board, find the output that you want and assign it to Mixbus
11 or Mixbus 12 and have the tap be Post Fader.

There is also a EQ curve set to the Equal Loudness Contour so that when you listen to the recording at 80dB, it will
‘sound’ the same as if you were in the room at 100dB.
BONUS! Cont.
Stereo + Sub
This is a scene to use with a Stereo PA system with additional Subwoofer. We utilize Matrix 1 and Matrix 2 as the sends
for the PA output and have a subwoofer on Matrix 3. Subwoofers should be kept mono as the human hearing cannot
accurately define direction at subwoofer frequencies. To help save channels, I always keep my subwoofers in a mono
configuration.

All channels should be sent into the LR Bus, any panning will be still be present at the output, but this allows for more
accurate EQ of the speaker system in the room using the Matrix section. The board’s Matrix section will do any of the
crossover functions needed to separate the main system from the subwoofer. The best way to keep things out of the
subwoofers is to use the Channel Low Cut and have that set to 100Hz or higher.

The HPF and LPF of Matrix 1&2 and Matrix 3 should be set to the speaker manufacture recommendations, but a good
starting location for the subwoofer crossover point is 100Hz.
Inputs Outputs
01 - Vocal Female XLR OUT 01 - IEM-1 (MixBus 01)
02 - Vocal Female XLR OUT 02 - IEM-2 (MixBus 02)
03 - Vocal Female XLR OUT 03 - IEM-3 (MixBus 03)
04 - Vocal Male XLR OUT 04 - IEM-4 (MixBus 04)
05 - Vocal Male XLR OUT 05 - IEM-5 (MixBus 05)
06 - Vocal Male XLR OUT 06 - IEM-6 (MixBus 06)
07 - Lead Electric Guitar XLR OUT 07 -
08 - Electric Guitar XLR OUT 08 -
09 - Acoustic Guitar XLR OUT 09 - Recording-L (Mixbus 11)
10 - Mono Keyboard XLR OUT 10 - Recording-R (Mixbus 12)
11 - Stereo Keyboard - L XLR OUT 11 - Recording-L (Mixbus 11)
12 - Stereo Keyboard - R XLR OUT 12 - Recording-R (Mixbus 12)
13 - XLR OUT 13 -
14 - Bass Guitar XLR OUT 14 - Subwoofer (Matrix 3)
15 - XLR OUT 15 - Right PA (Matrix 2)
16 - Pastor/Wireless Speech Microphone XLR OUT 16 - Left PA (Matrix 1)
17 - Kick Drum Out
18 - Kick Drum In
19 - Snare
20 - Tom
21 - Floor Tom
22 - Hi-Hat
23 - Ride
24 - Drum Overhead
25 - Drum Overhead
26 -
27 -
28 -
29 -
30 -
31 -
32 -
 dBB Audio
www.dbbaudio.com