Behringer EURODESK SX3282 Quick Start Manual page 8

14
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
The mic amp circuit has an unusually wide gain
range (1) from 10 dB to 60 dB, 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 (1) . Use Solo/PFL (13) to accurately monitor
the channel 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
(13) has an associated LED (14) . In addition to
switchable Solo/PFL metering, a couple of channel
LEDs ( (10) / (12) ) illuminate when a signal is 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
(2) and lower (5) shelving controls have their
frequencies fixed at 12 kHz and 80 Hz respectively.
The midrange control
a peaking response, Q fixed at 2 octaves, sweepable
from 100 Hz - 8 kHz (
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
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
third pair of aux send 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 (9) .
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,
(71) at the back panel if required.
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 (9) 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 solo bus). Main mix and the four
(1) ). subgroup pairs are selected by five assign
switches (18) . Solo/PFL we 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
The mute button (15) , like that for Solo (13) is
ergonomically placed immediately above the
channel fader, and has an associated LED
for excellent visual status indication of this
much-used feature.
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 connected,
the channel operates in mono.
Channel input sensitivity is variable between
-20 and +20 dB by adjusting GAIN
(3) is semi-parametric with
perfect match with all common line-level sources
including multitrack tape outputs, MIDI and other
(4) ). All three bands have up to
electronic instruments and effects units, all of
which are normally designed to operate at either
(6) ,
+4 dBu or -10 dBV.
Equalizer
All stereo input channels are fitted with four-band,
fixed-frequency EQ. Bands 1 and 4 are shelving,
(7) are mono and post-EQ. Aux
while bands 2 and 3 have a peaking response,
with their Q set at 2 octaves.
(8) toggles the The upper (2) and lower (5) shelving controls have
their turnover frequencies fixed at 12 kHz and 80 Hz,
whereas the midrange controls (53) and (52) have
their bell center frequencies set at 8 kHz and 800 Hz.
15
Quick Start Guide
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 (
Subgroup level is determined by the Subgroup
fader (20) , while the signal level may be accurately
checked by solo-ing ( (22) ).
Subgroup outputs can also be assigned to the main
mix during mixdown by pressing the MAIN MIX
switch (21) , in which case stereo position in the L R
mix is determined by the subgroup's PAN pot
Aux Sends
Stacked in a vertical column are eight master AUX
SEND LEVEL pots (51) , one for each bus. Each has a
gain structure of -oo 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
(17) . and, as with other areas of the mixer, a local Solo
light (49) , which starts flashing when any of the
aux master sends are solo-ed.
(16)
Aux Returns
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
(1) , enabling a
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 (45) , Level (47) , Balance (48) and Solo (46) .
Level controls the 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 (44) and Solo switch (43) each. These are
always assigned to the main bus.
Solo
Below the aux returns 1/3 and 2/4 lies a local Solo
LED (42) . This flashes whenever a solo button in the
column above is pressed.
Monitoring 2-track output
Though most of you will want to audition the A pair of balanced XLR and jack connectors
main mix most of the time, there are exceptions. deliver the mix output to your 2-track recorder
These include Solo/PFL and 2-track playback (30) . (or PA system) at +4 dBu. Alternative RCA phono
(47) ). The bargraph meters follow whatever source is (-10 dBV) connectors are provided, too.
being auditioned.
Level to tape is ultimately determined by precision
The Monitor/Ctrl Level pot (28) sets the level to the faders
control room monitors. This is sourced post the patching a gate, a compressor etc. pre-fader.
main mix stereo fader setting. Your fades couldn't
Although the 2-track output is primarily designed
be heard otherwise. Lastly, there is a Mono button
for recording, it can also be used as a PA feed,
(29) , useful for checking the phase correlation and/or
or as a send to the input of your sampler. In fact
(23) . coherence of a stereo signal. Again, this does not
up to three simultaneous destinations can be
affect the main mix output.
serviced without resorting to a patchbay or splitter
Headphones leads—there are three separate 2-track outputs
on your SX3282!
The headphones may be sourced from the monitor/
Talkback
control room mix (27) , and/or from pre-fader aux
sends 1/2 (26) or switchable pre/post aux sends 5/6
The built-in flush-mounted mic
(25) for artist cueing. Two headphones sockets are
depressing the non-latching talk switch
provided on the back panel. The headphone mix
above the MAIN MIX faders. Engaging talkback dims
(50) , level is controlled by a LEVEL pot (24) , and the gain is
the control room monitors, (not lights!) by -20dB
sufficient to drive headphones directly.
to avoid feedback. This does not affect the other
Solo talkback routes.
Whenever a Solo button is pressed, all unselected Talkback level is set by
channels are muted in the monitors. Stereo panning routed to any or all of auxes 1/2, 5/6 or 7/8 (
is maintained. The solo bus is derived from the (34) )—in other words every possible pre-fader (cue)
output of the channel pans, aux sends, stereo line aux send—to enable you to talk to artists remotely
inputs and subgroups, and is always post-fader. through their headphones or personal stage mixes.
PFL Phantom Power Switch
Pressing the channel mode switch (38) once When using capacitor mics, +48 V DC can be
disengages the stereo solo bus, and replaces it switched globally on or off by
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 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 (30) routes
this signal to the 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.
(31) . Main mix insert points are provided for
(33) is activated by
(32) just
(37) , and the mic can be
(36) , (35) ,
(71) .
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