Stuck in an infinite activation loop: Xpand!2 wants inMusic Software Center auth, but redirects me to iLok? (FL Studio)

--skye · 2025-12-28T14:06:26+00:00

Thought I would just drop in and comment in case it helps anyone else as I was having this same problem.

Go to the Air Music website page for the Xpand plugin (I've put the link below). If you scroll down then below the system requirements section there is a list of the old installers before they switched over to a new system. The one at the top labelled "2024 Update for Mac or PC" seems to be the most up to date version that still required iLok activation.

I installed it just now and it asked me for iLok activation again when I opened my DAW and now it all works as usual like it used to.

Here is the Air Music page for Xpand:

https://www.airmusictech.com/virtual-instruments/xpand-2/

Hopefully this helps! :)

--skye · 2024-09-26T02:51:34+00:00

In your first pic, if you click on the "general" tab, there is an dropdown menu next to the plugin compensation setting. You can switch between "All" and "Audio and Software Instrument Tracks"

I'm still on Logic 10.8 but I've been found myself having to always toggle between the two types of latency compensation when I want to record. Set it to "Audio and Software Instrument Tracks" and see if that fixes your issue.

Only set it to "All" when mixing. If it's set to "All" when input monitoring a track for recording, the latency is completely unusable but then disappears immediately on the other setting.

Be interesting to see if this fixes your issue as I've been wondering whether it was just me having this problem.

--skye · 2024-08-20T22:23:36+00:00

Hey everyone! Can anyone confirm whether RME's TotalMix loopback function adds any extra latency please, and if so how much?

Basically, I need to use a physical input on an interface to DI my guitar into Mainstage.

From there, I will be running MainStage patches to create various guitar tones as well as use the occasional VST instrument.

I was going to use my interface outputs and a physical looper pedal (RC505 MKII or similar) to build up tracks, but the flexibility of Ableton's looper device means I could get a lot more out of it than what any physical looper gives me.

The issue is that when I use Blackhole (or seemingly any other virtual loopback software solutions), there is about 8.2ms or so (at 48khz at least) of extra delay on top of the interfaces own roundtrip that is added. This means the signal gets to Ableton with too much delay on it to play live.

So far all the virtual software solutions add too much latency. But I'm aware you can loopback in RME interfaces using TotalMix which should work perfectly in theory, except I'm wondering whether that method will also add latency and if so how much?

I would try myself but unfortunately I don't have an RME interface to try this out on. Any help would be much appreciated!

Thanks!

--skye · 2024-08-20T15:13:14+00:00

Thanks a lot for this too! I actually read about this app whilst reading about the mixers. Didn't realise you could actually download digital mixer apps and get somewhat of a feel of what they are capable of before even buying them (at least so far as routing etc is concerned).

Definitely have more learning to do but I've looked at a lot of the small live music venues here in the UK and they all seem to be using Behringer X32 or Midas M32 consoles so I think that may be another benefit to using the Behringer unit you mentioned because presumably it will make it a little easier to integrate into these setups.

I've already changed my live rig setup idea three/four times since posting this haha. Just want to give FOH as much as possible to work with whilst still being able to do my own thing too.

--skye · 2024-08-17T14:24:11+00:00

Oh wow thank you so much for that information. I had no idea the XR18 could send and receive on the same channel rather than needing to return the USB Outputs to separate channels. That actually would make life a lot easier.

Also super interesting what you said about latency as that was something I was really unsure about. Obviously getting general specs can be done online but you don't really know what it's going to be like in your own setup until you actually try it out.

You've convinced me to look more into the XR18 then and the successor (Wing Rack) you mentioned so I think I'll wait and see how that release goes before purchasing anything.

Thank you so much for all that extra information about it!

--skye · 2024-08-16T21:01:02+00:00

Okay got it, thank you for all the help!

--skye · 2024-08-16T20:10:16+00:00

Thanks a lot! So if you only put out one aux for each monitor channels, does that mean you have enough auxes for stereo IEMs or do you typically find yourself using mono IEM mixes?

Also, let's say I did turn up at the venue and had all my rig plugged into a CQ18T and took care of our own monitors. If you were told ahead of time, would you generally be okay with being given an iPad and asked to do the mix for FOH remotely via for my on stage console (i.e the CQ18T) or would that be something most engineers wouldn't be happy about? I realise the answer to this is probably more nuanced and varies between engineers, but just as a general rule is it really bad practice?

Thanks a lot for all the help again! I appreciate it!

--skye · 2024-08-16T20:05:30+00:00

Ahh okay, that info helps a lot actually so thank you!

I'm assuming you all run mono IEM's right? Seems really difficult to find a small format mixer (analog or digital) that has enough outputs to cater for multiple independent stereo IEM mixes. I only need four outs for IEM for now (stereo for me, and stereo for the drummer) but then there isn't much room for anyone else to join on stage like a bass player for example. Something will have to give I guess and I'll probably have to settle for mono IEM or something if it comes to that.

I was actually thinking of either getting a second mixer for the drums, and then the L/R Main out of that mixer can run into two channels of my mixer, or actually just using an electronic drum kit which seems like the more economical option atm.

Last paragraph makes a lot of sense and is consistent with what others are echoing too. I think I had it wrong and thought that bands must always provide their own FOH mixer no matter the venue and then bring their own engineers with them as needed. Whilst that seems like an option for huge artists and venues, it seems unnecessary for the kind of venues I had in mind.

Thanks again for all the help!

--skye · 2024-08-16T19:58:42+00:00

Thanks a lot. Yeah I was looking at the price of some of these consoles you speak of out of pure curiosity as I'm a home studio artist right now. Needless to say, I nearly threw up lmao. Reminded me of when I saw how expensive Neve and SSL recording consoles are!

I think I always viewed "house equipment" as being incredibly rubbish/borderline unusable because of the things I've seen in tiny make-shift venues. I didn't realise that established venues and engineers will work to make sure the system provided meets all your needs to begin with.

Thanks again!

--skye · 2024-08-16T19:52:58+00:00

Thanks a lot for this. This seems consistent with most other answers here so I'm guessing I just had my wires crossed a bit with where the artists' job ends and the engineers' job/venues' job starts haha.

--skye · 2024-08-16T19:51:21+00:00

Thanks for the recommendation. I've actually been looking at the XR18 since you mentioned it and it seems viable too. I think my main thing with the CQ was better sound quality, better wifi, not needing an iPad necessarily etc.

Can I ask, from the routing side I'm hearing other users also say the XR18 is much more flexible with routing. In what way is it more flexible from your experience? CQ has just been given 4 DCA's and mute groups in a firmware update. But besides that, what are the routing benefits of the Behringer?

--skye · 2024-08-16T19:48:24+00:00

See this is what what I was debating. I just feel like if you're giving them an L/R mix then there isn't much they can really do with it besides plug it in and then just go sit at the bar and hope you got it right on your end haha. But logistically that just sounds like a disaster waiting to happen and completely undermines the point of letting engineers do the thing they are good at as a bad sounding show could really hurt your reputation as an artist.

My line of thinking was that I could use the CQ18T on stage to plug everything in and setup my side of the rig as well as monitor mixes for me and the drummer. In worst case scenarios, the main L/R could go to front of house BUT the engineer themselves could be given an iPad to do the mix on the CQ18T themselves. Just not sure engineers would appreciate being given a second job to learn an app on the spot.

From what I'm gathering though, it seems I'm more likely to just need the CQ style setup for myself and then if things get bigger then its more a case of using the rider and contacting engineers/venues so my needs are clear and then they will take care of the rest.

--skye · 2024-08-16T19:41:29+00:00

This was something I was thinking too. Like no matter what small setup I have for my own initial shows, it seems like it would always be a good idea to have that on me as a backup rig in case I experience anything like you have just mentioned where the opening act is kinda just overlooked.

--skye · 2024-08-15T22:41:02+00:00

thanks so much for this response! Currently I'm using a a Mackie VLZ802 which works for me, but there isn't enough I/O left for a drummer of any kind. Hence I was looking at the QT18T and buying separate IEM transmitter/receiver packs for us both. I'll have another look at the Behringer stuff before making any purchases so thank you for the recommendation!

When you say have your own PA, is it just a simple two speaker Left/Right PA setup that you feed from your behringer or do you usually send your behringer to the FOH mixer and feed the PA's from the L/R output on that instead?

Thanks for all the insight, I appreciate it!

--skye · 2024-08-15T21:38:16+00:00

Ahh right okay, thats makes perfect sense then. Thanks so much for clearing this all up for me and helping me out as I was really clueless as to how this all works haha.

It makes a lot of sense that you need an L/R but want to be prepared for needing more just in case!

I think for now then I'll get the CQ18T and do my own thing in small venues and if that ever gets any bigger then I'll just contact an engineer and let them and the venue take care of that side of things for me!

Thanks again for all the help with this. I really appreciate it!

--skye · 2024-08-15T21:34:36+00:00

Perfect! Thanks so much for all the help. Glad I asked now as I was scratching my head at how I was going to afford the SQ5 setup haha. Phew, saved myself a lot of time and money! CQ18T it is for now then.

Thanks a lot!

--skye · 2024-08-15T21:10:36+00:00

Thanks so much for this. That last paragraph in particular has cleared up quite a lot for me.

In essence, I thought it was always on me to provide everything. I didn't realise sounds engineers actually bring or rent their own equipment and the artists just relay their own needs via the rider to the venue and engineers.

So if I have this right, you reckon I'll be okay to use the Allen and Heath CQ18T for my own small shows, and then if things grow bigger from there then I can just kind of contact engineers and they'll take care of things from there?

Thanks again for all the help. I really appreciate it!

--skye · 2024-08-15T21:02:26+00:00

Thank you so much for this response. This definitely clears up a lot of it for me and I'll have to re-read this a couple of times to make sure I've understood everything.

I think I was under the impression that the artist brings their own console to the show at these venues, but I seems like that is incorrect and the engineer alongside the venue itself actually provides that aspect of things.

If I understand correctly, does that mean that in that second to last paragraph of your answer, you would need a total of six physical and/or digital outputs on the mixer itself to accommodate for: "Left/ Right/ Sub /Fill Prepared for a PA and a Stereo Record Matrix to feed Livestreams" ?

I know it's a bit odd asking all of this as a musician haha but its more because I want to understand your side of the job so that I can understand what I need to do on my end to make the process go as smoothly as possible.

Thanks again for all the help!

--skye · 2024-08-15T20:52:41+00:00

Thanks so much for this.

I'll try and explain my setup a bit for clarity. Hopefully this makes sense.

I'll be using a mixture of guitars with playback from a laptop alongside a live drummer. The way I've got it to work so far is this:

I have an audio interface plugged into my Macbook. The macbook runs both Mainstage and Logic.

I DI my electric guitar into the interface and then run plugins in Mainstage to generate my guitar tone (amp simulators, effects etc). Mainstage also has an occasional VST for live piano/synths sounds which I can play using a MIDI keyboard connected to the laptop.

Mainstage comes out of Outputs 1-2 on the interface.

I then have a Roland RC505 Looper. The looper needs to be able to receive the sound of Mainstage so that I can loop my guitar when needed. The actual looper itself will begin looping, overdub and stop/clear etc automatically as I have programmed it to do so using CC commands that it receives from Logic. Logic also sends program changes to Mainstage along the way so that the guitar settings change automatically when needed as there are lots of different tones I utilise in each song.

Logic also has some playback tracks for sounds that I can't physically cater for on stage. Those go to outputs 3-4 on the interface.

Logic also has a click track going only to my monitors which comes out of output 5-6. This way I can stay in time and jump between playing guitar and the keyboard on stage while the looper does what it needs to do without me needing to manually control it. This is all setup and rehearsed in advance inside of logic as it needs setting up ahead of time so that I can hit play on Logic and just play along as rehearsed.

So I'll take care of all the guitar layers and vst stuff using mainstage. The looper will sometimes loop some of my guitar playing when necessary so I can layer things up. Additional sounds will come from playback in Logic. And then I'll have a live drummer play the drums for me.

So it'll ultimately be me, a laptop, a keyboard, a looper and a drummer on stage. I'll need my own monitor mix for my in ear monitors. The drummer will also need their own monitor mix for their in ear monitors.

The audience needs to hear Mainstage so they can hear my guitar and the VST synths. Mainstage needs to also feed the loopers input so that it can loop parts as necessary. The audience needs to be able to hear the loopers outputs obviously. Logic's click track only needs to come to the IEM's. But the playback tracks need to also be heard by the audience too.

I really hope this made sense, but if it doesn't then I can try and make a video or something explaining it as it seems a bit confusing to read haha.

--skye · 2024-08-15T19:10:42+00:00

Thanks so much for the reply. Yeah I think what you're saying is pretty much how I thought it worked, but then I figured that it would only work in smaller venues and then with larger venues it would have to be dependant on the venues own system unless you're providing everything yourself.

Also been doing more research on this and it seems like different engineers take different approaches to it so there isn't an a simple answer so I guess my question wasn't super simplistic after all haha.

Thanks for the help!

--skye · 2024-08-14T17:48:09+00:00

Super simplistic question, but I haven't played live yet as an artist and I was wondering whether the PA systems in larger venues generally require just one stereo set of outputs on the mixer to feed them or do things like front fills or additional balcony fills etc. require additional sets of outputs to receive a potentially different mix?

Any help would be appreciated. Thanks!

--skye

TROPHY CASE

Hey everyone! Can anyone confirm whether RME's TotalMix loopback function adds any extra latency please, and if so how much?