Stereo Input Channels; Subgroups And Inserts - Behringer Eurodesk SX3282 User Manual

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An exception to this rule is when laying down voice takes.
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It is often convenient to have the mic channel(s) routed to
all potential take tracks simultaneously, since you are often
dropping in quickly between four or more tracks. It means
one less button to press each time you switch tracks.
Level to the group and main left and right buses is ultimately
determined by the channel fader
smooth logarithmic taper of a type more usually associated with
megabuck consoles. The low level performance particularly is far
smoother than that of a "normal budget" fader.
The mute button , like that for Solo
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immediately above the channel fader, and has an associated
LED for excellent visual status indication of this much-used
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feature. Engaging mute is equivalent to setting a fader level of
minus infinity. It follows that pre-fader aux sends are unaffected
by application of mute.
4.

Stereo input channels

Each stereo channel comes with two line level inputs on ¼"
jacks, for left and right signals. When only the left input is con-
nected, the channel operates in mono.
This feature is disabled, if the inputs and outputs of the
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SX3282 are wired permanently to a patchbay (see section 9
"Patchbay").
Channel input sensitivity is variable between -20 and +20 dB by
adjusting GAIN , enabling a perfect match with all common
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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.
4.1 Input Level Setting
This is exactly as for a mono channel (see section 3.1).
4.2 Equalizer
All stereo input channels are fitted with four-band, fixed-
frequency EQ. Bands 1 and 4 are shelving, while bands 2 and 3
have a peaking response, with their Q set at 2 octaves.
The upper and lower shelving controls have their turnover
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frequencies fixed at 12 kHz and 80 Hz, whereas the midrange
controls ) and ( have their bell center frequencies set at 8
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kHz and 800 Hz.
All bands have up to 15 dB of cut and boost, with a center detent
for "off".
A stereo equalizer is generally preferable to using two mono
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equalizers when EQ-ing a stereo signal, as often discrepan-
cies between left and right settings can occur.
. This is designed to give a
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is ergonomically placed
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4.3 Aux Sends
These are the same as for mono channels (see section 3.3).
4.4 Routing & Muting
The only difference here from the mono channel described in 3.4
is in the implementation of the pan control. When a channel is
run in mono, there is no difference at all.
In stereo operation however, this control functions as a
BALANCE control , determining the relative balance of the
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left and right channel signals being sent to the left and right
main mix buses, or odd and even subgroup buses. For example,
with the balance control turned fully clockwise, only the right
portion of the channel's stereo signal will be routed to any or all
of buses R, 2, 4 etc.
5.

Subgroups and inserts

5.1 Subgroups
The principal routes to multitrack are via the subgroup outputs.
There are eight mono (or four stereo) subgroups. All channels
can access all of them, as can aux returns 1 and 2 (
level is determined by the Subgroup fader
level may be accurately checked by solo-ing (
Subgroup outputs can also be assigned to the main mix during
mixdown by pressing the MAIN MIX switch
stereo position in the L R mix is determined by the subgroup's
PAN pot .
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Try inserting compression/de-essing/an exciter or a noise
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gate across grouped signals (e.g. backing vocals, drums,
layered synths).
Try merging a dry signal with a little wet, then compressing
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the sum heavily. Though the reverb proportion will be low
when a signal is present, the resultant reverb tail pumped
up by the compressor at the start of each silence will give
the illusion that the reverb was massive at the time. (The
listener will be left wondering how the singer could sound
so clear in such a wet acoustic!)
5.2 Insert Points
Insert points are useful for adding dynamic processing or equal-
ization to a channel, a group, or the mix. Unlike reverbs etc.,
which are usually added to the dry signal, dynamic processing
is normally applied across an entire signal. Here an aux send
would be inappropriate. Instead the signal is intercepted some-
where along the channel, fed through the dynamics processor
and/or EQ, then returned to the console at the same point where
it left. The insert point is normalized, i.e. the signal is only inter-
rupted when a jack is plugged into it.
EURODESK SX3282 User Manual
) . Subgroup
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, while the signal
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) .
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, in which case
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