Behringer X32 User Manual page 36

36
X32 RACK DIGITAL MIXER User Manual
• Linear: In this mode, the rate of gain change is constant (as set by the
timing controls). Therefore, the greater the signal dynamic excursion,
the longer the compressor will take to complete a gain change.
Also, since the total time that the compressor spends in attack or decay
is proportional to the size of the gain excursion, the harmonic content
of the compression artifacts will seem to reduce in frequency content.
The louder the signal excursion is. This type of compressor is useful
for generating dynamic sound effects because the sonic character of
the compression is much more affected by time control settings and
program material than the exponential type.
9. Adjust the 5th encoder to set the release time of the compressor.
10. Adjust the 6th encoder to set the makeup gain of the compressor,
useful when the compression effect has reduced the overall signal level of
the channel too much.
Page 2
1. Encoders 1 and 2 function the same on pages 1 and 2.
2. Adjust the 3rd encoder to set the steepness of the compressor "knee"
between five separate settings. Adjust this control to switch between a
"harder" sounding or more transparent compression effect.
3. Tap the 3rd encoder to move the compressor effect before or after the
equalizer in the channel signal path.
4. Adjust the 4th encoder to set the frequency of the key filter that can be used
to trigger the compressor.
5. Tap the 4th encoder to toggle the key filter on/off, allowing a specific
frequency to control the compressor.
6. Adjust the 5th encoder to set the steepness of the EQ slope used in
the compressor.
7. Tap the 5th encoder to send the key source to the solo bus, allowing the key
source to be monitored and evaluated.
8. Adjust the 6th encoder to select the specific key source to be used.
Choices include "self" (the channel's own signal) as well as any other
input/output of the console.
9. Tap the 6th encoder to assign the selected key source to the compressor.
7.2.5 Home Screen: EQ Tab
The EQ tab displays all aspects of the channel equalizer and also displays a
detailed visual graph of the current EQ curve.
1. If the currently selected channel is an input, the channel equalizer contains
four bands, with various aspects of each band adjusted by encoders 2-5.
2. If the currently selected channel is a bus, the channel equalizer contains six
bands, with various aspects of each band adjusted by encoders 1-6.
3. On the equalizer screen, the various encoders are always tied to the various
equalizer bands, and the Layer up/down keys are used to toggle whether the
four/six encoders adjust:
• Gain
• Frequency
• Q (Bandwidth)
•
Equalizer Mode
Page 1 (Gain)
1. Adjust the 1st encoder to set the frequency of the channel low-cut filter.
2. Tap the 1st encoder to toggle the low-cut filter in/out of the signal path.
3. Adjust the 2nd encoder to boost/cut the gain of the low band.
4. Adjust the 3rd encoder to boost/cut the gain of the low-mid band.
5. Adjust the 4th encoder to boost/cut the gain of the high-mid band.
6. Adjust the 5th encoder to boost/cut the gain of the high band.
7. Tap the 6th encoder to toggle the EQ in/out of the signal path.
Page 2 (Frequency)
1. Works as above, but the encoders now adjust the frequency center points for
the different EQ bands.
Page 3 (Q)
1. Works as above, but the encoders now adjust the Q (bandwidth) for the
different EQ bands. Use a narrow slope for working with a specific frequency,
or use a more broad slope for general tone shaping.
Page 4 (Mode)
1. Mode: Works as above, but the encoders now adjusts the EQ mode for each
EQ band. Choices include:
• Low Cut
• Low Shelf
• Parametric Equalizer
• VEQ
• High Shelf
• High Cut
2. The LOW and HIGH EQ bands available in the six matrices allow selection
of additional Modes for filtering, especially in crossover applications:
BU (Butterworth), BS (Bessel) or LR (Linkwitz-Riley) with 6, 12, 18 or 24 dB slopes.
When one of these is active, the adjacent LOW2 or HIGH2 bands are not available.