Behringer Eurodesk SX3282 Quick Start Manual page 6

10
EURODESK SX3282
EURODESK SX3282 Controls
Controls
Mono Input Channels
(EN)
Each channel comes with a balanced line input on ¼" TRS
jack, and an XLR mic input. Press the Phantom switch
at the back panel if required. The mic amp circuit has
(71)
an unusually wide gain range
is of extreme low-noise design, and utilizes high-current
conjugate pair vintage transistor circuitry to deliver an
incredibly warm and transparent sound.
When a jack is plugged into the balanced
(self-unbalancing) line input, the gain structure is such
that it can match any line level from +10 to -40 dBu.
The crucial operating levels +4 dBu and -10 dBV are
clearly and accurately legended (
Input Level Setting
Channel input level is determined by the GAIN trimpot
. Use Solo/PFL
(1)
input on the left/right master output bargraph meters.
This also sends the Solo/PFL-ed signal to the left and right
speakers. Channel Solo
In addition to switchable Solo/PFL metering, a couple
of channel LEDs (
(10)
present (-20 dB), or if a channel is going into overload.
You do not want the overload light to come on except
very intermittently during a take or a mix. If it does light
persistently, reduce input gain.
Equalizer
All mono input channels are fitted with a semi-parametric
3-band EQ, plus a switchable low-cut filter for eliminating
unwanted subsonics. The upper
shelving controls have their frequencies fixed at 12 kHz
and 80 Hz respectively. The midrange control
parametric with a peaking response, Q fixed at 2 octaves,
sweepable from 100 Hz - 8 kHz (
up to 15 dB of cut and boost, with a center detent for "off".
Thirdly, there is a steep high pass (low-cut) filter
slope @ 18 dB/oct, for reducing floor rumble, breath noise
and popping, woolly bottom end etc.
Aux Sends
All eight aux sends
1 & 2 are fixed to be pre-fader for cueing purposes,
while 3 & 4 are fixed post-fader for sending to effects
etc. A shift switch
potentiometers between two bus pairs (5 & 6 or 7 & 8).
These four aux sends are switchable pre/post-fader en
bloc using the PRE switch
For almost all FX send purposes, you will want aux sends
to be post-fader, so that when a fader level is adjusted,
any reverb send from that channel follows the fader.
Otherwise, when the fader is pulled down, the reverb
from that channel would still be audible. For cueing
purposes, aux sends will usually be set pre-fader, i.e.
independent of the channel fader (depress PRE switch
for aux sends 5/6/7/8).
There is +15 dB of gain on every aux send. Such a high
boost is usually only appropriate where the channel fader
is set around -15 dB or lower.
There are five stereo buses in the SX3282 (plus a stereo
from 10 dB to 60 dB, solo bus). Main mix and the four subgroup pairs are
(1)
selected by five assign switches . Solo/PFL we
(18)
encountered in the section on input level setting.
All stereo buses follow channel Pan. Usually, only one of
L-R, 1-2, 3-4 etc. will be selected for a particular channel.
Level to the group and main left and right buses is
ultimately determined by the channel fader
button (15) , like that for Solo (13) is ergonomically
).
(1)
placed immediately above the channel fader, and has an
associated LED (16) for excellent visual status indication of
this much-used feature.
to accurately monitor the channel Stereo Input Channels
(13)
Each stereo channel comes with two line level inputs on
¼" jacks, for left and right signals. When only the left
has an associated LED .
(13) (14)
input is connected, the channel operates in mono.
/ ) illuminate when a signal is Channel input sensitivity is variable between -20 and
(12)
+20 dB by adjusting GAIN (1) , enabling a perfect match
with all common line-level sources including multitrack
tape outputs, MIDI and other electronic instruments
and effects units, all of which are normally designed to
operate at either +4 dBu or -10 dBV.
Equalizer
All stereo input channels are fitted with four-band,
and lower fixed-frequency EQ. Bands 1 and 4 are shelving,
(2) (5)
while bands 2 and 3 have a peaking response, with their
is semi- Q set at 2 octaves.
(3)
The upper (2) and lower (5) shelving controls have their
). All three bands have
(4)
turnover frequencies fixed at 12 kHz and 80 Hz, whereas
the midrange controls (53) and (52) have their bell center
,
(6)
frequencies set at 8 kHz and 800 Hz.
Subgroups
The principal routes to multitrack are via the subgroup
outputs. There are eight mono (or four stereo) subgroups.
are mono and post-EQ. Aux sends
(7)
All channels can access all of them, as can aux returns
1 and 2 ( ). Subgroup level is determined by the
(47)
Subgroup fader , while the signal level may be
(20)
(8) toggles the third pair of aux send
accurately checked by solo-ing ( ).
(22)
Subgroup outputs can also be assigned to the main mix
. during mixdown by pressing the MAIN MIX switch
(9)
which case stereo position in the L R mix is determined by
the subgroup's PAN pot .
(23)
(9)
11
Quick Start Guide
Aux Sends
Stacked in a vertical column are eight master AUX
SEND LEVEL pots , one for each bus. Each has a gain
(51)
structure of -∞ to +15 dB. The extra 15 dB of gain comes
in once a knob passes a center detent (representing
the 'normal' unity gain position), enabling insensitive
outboard FX to be properly driven. Each aux send has a
Solo button , and, as with other areas of the mixer,
(50)
a local Solo light , which starts flashing when any of
(49)
the aux master sends are solo-ed.
Aux Returns
. The mute
(17)
Across from the aux sends are the stereo aux returns.
These can be thought of as eight extra line inputs,
configured as four stereo pairs. On these inputs there
is up to 20 dB of gain available. Alternatively, a mono
(center-panned) signal may be returned by plugging into
the left aux return jack only.
Aux Returns 1 & 2
Aux returns 1 and 2 have full group routing matrices
to enable returning FX to be sent to tape, plus main
mix bus assignment. The functions for aux return 1
(mirrored by aux return 2) are: routing-switches
Level , Balance and Solo . Level controls the
(47) (48) (46)
amount of signal being blended into the mix or a group,
while balance controls the relative amounts of left and
right processed signal. Be sure to have balance control in
center-position, if you're not actually working with it.
Aux Returns 3 & 4
Aux returns 3 and 4 are the poor relations, with only a
level pot and Solo switch each. These are always
(44) (43)
assigned to the main bus.
Solo
Below the aux returns 1/3 and 2/4 lies a local Solo LED
. This flashes whenever a solo button in the column
(42)
above is pressed.
Monitoring
Though most of you will want to audition the main mix
most of the time, there are exceptions. These include
Solo/PFL and 2-track playback . The bargraph meters
(30)
follow whatever source is being auditioned.
The Monitor/Ctrl Level pot (28) sets the level to the
control room monitors. This is sourced post the main
, in mix stereo fader setting. Your fades couldn't be heard
(21)
otherwise. Lastly, there is a Mono button
(29)
checking the phase correlation and/or coherence of a stereo
signal. Again, this does not affect the main mix output.
Headphones Talkback
The headphones may be sourced from the monitor/ The built-in flush-mounted mic
control room mix , and/or from pre-fader aux sends depressing the non-latching talk switch
(27)
1/2 or switchable pre/post aux sends 5/6 for the MAIN MIX faders. Engaging talkback dims the control
(26) (25)
artist cueing. Two headphones sockets are provided on room monitors, (not lights!) by -20dB to avoid feedback.
the back panel. The headphone mix level is controlled This does not affect the other talkback routes.
by a LEVEL pot , and the gain is sufficient to drive
(24)
Talkback level is set by
headphones directly.
any or all of auxes 1/2, 5/6 or 7/8 (
Solo words every possible pre-fader (cue) aux send—
to enable you to talk to artists remotely through their
Whenever a Solo button is pressed, all unselected
headphones or personal stage mixes.
channels are muted in the monitors. Stereo panning
Phantom Power Switch
is maintained. The solo bus is derived from the output
of the channel pans, aux sends, stereo line inputs and
When using capacitor mics, +48 V DC can be switched
subgroups, and is always post-fader.
globally on or off by
PFL
Pressing the channel mode switch once disengages
(38)
the stereo solo bus, and replaces it with a separate mono
PFL (Pre-Fader Listen) bus. Now any channel which is
solo-ed, isn't. It is PFL-ed instead. PFL should always be
used for gain-setting.
The channel mode (PFL or Solo) is indicated by a pair of
,
(45)
status LEDs (located below the bargraph meter (40) ), pot
(39) controls the solo level, which will normally be set to
unity gain (center detent) to match the in-the-mix level.
2-Track Input and Output
The 2-track input is on unbalanced RCA phono plugs,
and is primarily made for auditioning mix playback from
tape. The 2-TRACK switch routes this signal to the
(30)
control room monitors.
With the MON/CTR Level control (28) fully clockwise, your
2-track input will be matched to the semi-professional
level -10 dBV. For higher output recording sources (e.g.
+4 dBu) turn the level of (28) down.
2-track output
A pair of balanced XLR and jack connectors deliver the
mix output to your 2-track recorder (or PA system) at
+4 dBu. Alternative RCA phono (-10 dBV) connectors are
provided, too.
Level to tape is ultimately determined by precision faders
(31) . Main mix insert points are provided for patching a
gate, a compressor etc. pre-fader.
Although the 2-track output is primarily designed
for recording, it can also be used as a PA feed, or as a
, useful for
send to the input of your sampler. In fact up to three
simultaneous destinations can be serviced without
resorting to a patchbay or splitter leads—there are
three separate 2-track outputs on your SX3282!
is activated by
(33)
just above
(32)
, and the mic can be routed to
(37)
, , )—in other
(36) (35) (34)
.
(71)
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