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Technical Specification

1. CAUTION BEHRINGER EURODESK CAUTION CAUTION SERIAL NUMBER REPLACE FUSE WITH MODEL SX3282 TO REDUCE THE RISK OF ELECTRIC SHOCK TO REDUCE THE RISK OF FIRE SAME FUSE TYPE DO NOT REMOVE COVER OR ELECTRIC SHOCK AND RATING CONCEIVED AND DESIGNED BY NO USER SERVICEABLE PARTS INSIDE DO NOT EXPOSE THIS EQUIPMENT ATTENTION BEHRINGER GERMANY REFER SERVICING TO QUALIFIED PERSONNEL TO RAIN OR MOISTURE DATE CODE UTILISER UN FUSIBLE MADE IN CHINA DE RECHANGE DE MEME a 5 2 Waa CAUTION TYPE ET CALIBRE C Behringer Holdings Pte Ltd RISK OF ELECTRIC SHOCK DO NOT OPEN 11999 A A ATTENTION RISQUE DE CHOC ELECTRIQUE L EAE 1 POWER PHANTOM L zi WOT AME NE PAS OUVRIR behringer com 9 EURODESK 5 3282 User Manual 3 Mono Input Channels Each channel comes with a balanced line input on Y4 TRS jack and an XLR mic input Press the Phantom switch at the back panel if required The mic amp circuit has an unusually wide gain range 11 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 4 10 to 40 dBu The crucial operating levels 4 dBu and 10 dBV are clearly and accurately legended 1
2. TALKBACK MIC SOLO 2 LEE LE T LCD I II I I I I behringer com 8 EURODESK SX3282 User Manual Ier gm ane Dennen C Pen lan A CN N N 32 R 31 L S MIC MIC MIC MIC LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN 55 k BAL BAL BAL BAL BAL BAL OR of E E E on UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL INSERT 1 0 INSERT 1 0 INSERT 1 0 INSERT 1 0 INSERT 1 0 INSERT 1 0 INSERT 1 0 INSERT 1 0 m are un L TIP OUT RING IN TIP OUT RING IN TIP OUT RING IN TIP OUT RING IN TIP OUT RING IN TIP OUT RING IN TP OUT RING IN TIP OUT RING IN 1 Ji 2 1 3 Jil 4 Jil 5 6 7 i 8 25 32 CUmopDesi4 SH3282 TET MAIN OUTPUTS e e e e OQ CONTROL ROOM 0 0 TIP OUT RI e TIP OUT RING IN PHONES HONS rih our 60 E
3. 23 EURODESK 5 3282 User Manual Noise bus noise fader 0 dB 102 0 dBr all input channels assigned amp set 0 dB gain channels muted 92 0 dBr all input channels assigned amp set 0 dB gain 87 0 dBr Max output level 28 dBu balanced 22 dBu unbalanced Aux returns gain range 0 dB to 20 dB off Aux sends max output level 22 dBu Distortion THD N 0 007 96 4 dBu 1 kHz bandwidth 80 kHz Frequency response 20 Hz to 40 kHz 1 dB any input to any output 10 Hz to 120 kHz 3 dB Power Supply Power consumption 65 W Mains voltage 100 240 V 50 60 Hz Fuse T2A H250V Mains connector standard IEC receptacle Physical Weight Dimensions H x W x D approx 3 5 x 40 x 20 7 approx 90 x 1015 x 527 mm Weight approx 37 2 lbs approx 16 9 kg 1 Equivalent Input Noise ref 4 dBu BEHRINGER is constantly striving to maintain the highest professional standards As a result of these efforts modifications may be made from time to time to existing products without prior notice Specifications and appearance may differ from those listed or illustrated behringer com 24 EURODESK 5 3282 User Manual FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION FC BEHRINGER EURODESK SX3282 Responsible party name MUSIC Group Services USA Inc Address 18912 North Creek Parkway Suite 200 Bothell WA 98011 USA Phone Fax No Pho
4. 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 2 and lower 5 shelving controls have their turnover frequencies fixed at 12 kHz and 80 Hz whereas the midrange controls 53 and B2 have their bell center frequencies set at 8 kHz and 800 Hz All bands have up to 15 dB of cut and boost with a center detent for off 10 EURODESK X3282 User Manual Astereo equalizer is generally preferable to using two mono equalizers when EQ ing a stereo signal as often discrepancies between left and right settings can occur 4 3 Aux Sends These are the same as for mono channels see section 3 3 4 4 Routing amp Muting The only difference here from the mono channel described in 3 4 is in the implementation ofthe 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 19 determining the relative balance of the 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
5. In Solo PFL mode a 0 dB meter reading matches an internal operating level of 0 dBu 0 775 V However when looking at the mix 0 dB is referenced to 4 dBu the 2 track operating level l e if only one signal is present in the main mix bus soloing that signal will cause the meter reading to increase by 4 dB 7 EURODESK 5 3282 User Manual 53 Bol 49 48 47 46 45 LAMP 12 V 5W GER NDS STHREO RETUF N 1 J STEREO AUX RETUFIN 2 A POWER 48 V dd EX sp LC cLP C3 LI A 0 7 57 1 4 1 2 5 A 1 0 1 5 6 4 o 2 0 pak m 4 o A o 7 0 2 10 L3 20 c3 A 1 80 MAIN SOLO SOLO S80 STEREO AUX RETURN 3 STEREO AUXRETUFING PFL SOLO SOLO SECTION IN N At 500 v Ray S ok A SOLO SOLO SOLO PFL a Ce AUX RETURNS io AUX HETUHNS SOLO 1 3 SOLO 2 4 5 an CONTROL ROOM Jl TALKBACK Ze Ze 4 89 MON CTRL RM CD TAPE AUX 1 2 WE AR 23 s K an AUX 5 6 0 0 15 SOLO jE EAA mm SHIFT SHIFT AUX SENDS SOLO AUX 7 8
6. ULTRACURVE PRO DEQ2496 Fig 5 2 Inserting an external EQ dynamics processor post channel EQ 11 EURODESK SX3282 User Manual In this arrangement you might find that compression tends to soften the perceived amount of especially treble EQ applied The solution here is to apply more EQ This creates a real pressure sound great for high energy music Such as dance In the above example any aux sends to effects should be applied before the EQ dynamics processing takes place If you want the aux sends to be post processing you will need to address the signal to one of the subgroups and then insert the EQ dynamics processor between the corresponding subgroup output insert send and a channel input insert return You can now reclaim the channel 2 input as follows By applying the channel s insert send you can route out an instrument s signal being plugged into the line input treat it with an EQ dynamics processor and then reroute it via a subgroup insert return to the master section An additional patch enables channel EQ to be placed onto a subgroup with no reduction in the number of line inputs available as well as providing an opportunity to lead a signal pre EQ into a subgroup By inserting a plug into the channel insert socket the channel is interrupted between the gain pot and the EQ A signal which is being led into the channel s mic or line input is now guided into the subgroup inserts input It appears to be se
7. JPn JPn Before AUX Add a pre link al J PRE EQ POST EQ o o JPn JPn After Fig 13 2 Aux send gt pre EQ modification on channels 25 26 to 31 32 behringer com 14 Specifications Micinput Type electronically balanced discrete input circuit Mic E I N 22 Hz 22 kHz 150 0 source 129 0 dBu 117 3 dBqp input shortened 132 0 dBu 122 0 dBqp Distortion THD N 0 007 96 4 dBu 1 kHz bandwidth 80 kHz Gain range 10 dB to 60 dB Max input level 12 dBu Line input Type electronically balanced Gain range 0 dB to 40 dB Max input level 22 dBu Channel fader range 10 dB to 85 dB Aux send gain range 0 dB to 15 dB off Hi shelving Hi Mid Bell Ch 25 32 Mid Sweep Ch 1 24 Lo Mid Bell Ch 25 32 12 kHz 15 dB Q fixed at 2 oct 3 kHz 15 dB Q fixed at 2 oct 100 Hz to 8 kHz 3 15 dB Q fixed at 1 oct 500 Hz 15 dB Q fixed at 2 oct Lo shelving 80 Hz 15 dB Q fixed at 2 oct Lo cut HPF 75 Hz 18 dB oct Max in out 22 dBu Channel to channel crosstalk 95 dB 1 kHz Noise bus noise fader 0 dB 105 0 dBr all input channels assigned amp set 0 dB gain channels muted 92 0 dBr all input channels assigned amp set 0 dB gain 87 0 dBr Submaster output max output level 22 dBu balanced unbalanced 10 dB to 85 dB off Fader range
8. 4 EURODESK 5 3282 User Manual Subsequently the product must be returned in its original shipping carton together with the return authorization number to the address indicated by MUSIC Group Shipments without freight prepaid will not be accepted 4 Warranty Exclusions This limited warranty does not cover consumable parts including but not limited to fuses and batteries Where applicable MUSIC Group warrants the valves or meters contained in the product to be free from defects in material and workmanship for a period of ninety 90 days from date of purchase This limited warranty does not cover the product if it has been electronically or mechanically modified in any way If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level in any country which is not the country for which the product was originally developed and manufactured this modification adaptation shall not be considered a defect in materials or workmanship This limited warranty does not cover any such modification adaptation regardless of whether it was carried out properly or not Under the terms of this limited warranty MUSIC Group shall not be held responsible for any cost resulting from sucha modification adaptation This limited warranty covers only the product hardware It does not cover technical assistance for hardware or software usage and it does not cover an
9. Most specialist subjects are not really all that difficult provided you understand the language used and the vocabulary of mixing is pretty straight forward Nevertheless it is as well to be clear about what certain terms mean A slot ina recorder will always be referred to as a track while that in a mixer will invariably be achannel A group will always refer to a sub mix of channels Similarly the term band will be mentioned only in conjunction with frequency 1 2 Before you get started 1 2 1 Shipment Your product was carefully packed at the factory to ensure safe transport Nevertheless if the box is damaged inspect the unit immediately for signs of damage Ifthe unit is damaged please do NOT return it to us but notify your dealer and the shipping company immediately otherwise claims for damage or replacement may not be granted We recommend that you use a flight case to give the unit optimum protection during use or transport Always use the original box to prevent damage during storage or transport Make sure that children cannot play unsupervised with the unit or its packaging Please ensure proper disposal of all packing materials 1 2 2 Initial operation Ensure adequate air supply and to avoid overheating do not place the unit near radiators etc Caution Before you change the fuse switch off the device and pull the plug to avoid electric shock or damage to the device Blown fuses must be repl
10. There are eight mono or four stereo subgroups All channels can access all of them as can aux returns 1 and 2 7 Subgroup level is determined by the Subgroup fader RO 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 LR mix is determined by the subgroup s PAN pot 23 Try inserting compression de essing an exciter or a noise gate across grouped signals e g backing vocals drums layered synths merging a dry signal with a little wet then compressing 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 equalization 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 somewhere 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
11. 32 Effect 4 Mix L 5 Aux Return 1 Effect 5 Mix L 5 Aux Return 2 Effect 6 Mix L 5 Aux Return 3 Effect 7 Mix L S Aux Return 4 Effect 8 Mix L 5 Subgroup gt Main Mix Tracks u Outputs 1t08 Aux Output 1 Effect 1 Aux Output 2 Effect 2 Aux Output 3 Effect 3 Aux Output 4 Effect 4 Aux Output 5 Effect 5 Aux Output 6 Effect 6 Aux Output 7 Effect 7 Aux Output 8 Effect 8 Mix Output L gt DAT Mix Output R gt DAT Monitor Out L one Monitor Out R ane Tab 10 2 8 track studio recording behringer com 10 4 16 Track Studio Recording This set up is for a multipurpose studio capable of recording live bands The following layout is for a bass amp drum take while other artists also perform guides to give correct feel for the song Mic channels are used to record to tape eight tracks at a time max via the subgroup outputs Since there are no tape returns to monitor from tape when input channels are unavailable you might have to temporarily patch the tape outputs into other line inputs e g stereo input channels if you want to audition a take before placing tape tracks onto their final destination desk channels We suggest that during playback you audition in mono Ras listening to hard panned kick and snare drum will be irritating If you are using analog tape with timecode leave track 15 fre
12. Applying boost over a narrow bandwidth will sound honky For sounds which require drastic corrective EQ it is advisable to have a couple of channels of fully comprehensive parametric equalization in your rack You can always bounce tracks through the outboard EQ freeing up the unit for the next task Check out the ULTRACURVE PRO DEQ2496 a superlative digital stereo equalizer and much much more 21 EURODESK 5 3282 User Manual For advanced equalization EQ might be applied to a signal as follows First trim the LF and HF shelves to achieve the required slope or loudness Now use a parametric EQ band to boost the most significant frequency for each instrument or tape track Over all channels if two or more of these frequencies coincide then you might have to settle for second best in some cases if you want to achieve optimum separation in the mix Really nasty frequencies will need notching out A vocal signal can be enhanced by applying a significant boost in the 12 kHz region or higher above the nasty sibilance region This is especially effective if you ve got a de esser patched post EQ Use the low cut filter to tighten up channels in a mix maybe remove it only for the bass kick drum toms tablas didgeridoo and other deliberate subsonics when recording classical music ignore this advice With the LF set to boost and the low cut switch activated you have got a peak response rather than shelving at the bott
13. User Manual EN 9 1 Half normalled 17 HALF NORMALLED A BACK FRONT B BACK FRONT Fig 9 1 Patchbay mode half normalled In this configuration the contacts of the two jacks on the rear are interconnected When you insert a plug into the upper front jack the signal routed through the rear path is not interrupted Only when the lower front jack is used will the rear panel route be split up so that the two upper and the two lower phone jacks are connected to one another This configuration is called input break and is used mainly for insert paths So you can easily patch the signal from a mixing console channel at the Patchbay without interrupting the signal flow in the channel 9 2 Normalled NORMALLED A FRONT uU gt o a I j i vw D o 4 Uu gt Fig 9 2 Patchbay mode normalled behringer com Here and in contrast to the half normalled setup the signal route of the rear phone jacks is interrupted when you insert a plug both into the upper and lower front jacks 9 3 Open 17 OPEN M BACK FRONT Fig 9 3 Patchbay mode open This mode is used to connect devices such as sound modules or CD players having no inputs of their own This saves space as you can route the left and right outp
14. device Fig 7 3 Insert send and return TRS connector Ya TRS headphones connector strain relief clamp sleeve ground shield ring right signal Fig 7 4 4 TRS connector for headphones behringer com Direct out connection mixer multitrack insert point input tip insert send ring insert return sleeve ground shield sleeve strain relief clamp If you want to use the insert as a direct output while maintaining the signal flow down the channel Fig 7 5 Direct out connection Balanced use with XLR connectors input 1 ground shield 2 hot ve 3 cold ve output For unbalanced use pin 1 and pin 3 have to be bridged Fig 7 6 XLR connectors 15 EURODESK 5 3282 User Manual All outputs are ground compensated decoupled from the mains supply earth to eliminate the possibility of ground loops Please make sure that every part of your equipment is connected to the mains earth To avoid any risk of electric shock never disconnect the mains earth from any part of your equipment Please ensure that only qualified personnel install and operate the X3282 During installation and operation the user must have sufficient electrical contact to earth Electrostatic charges might affect the operation of the unit 8 Setting Up 8 1 Selecting Inputs 1 Mono cha
15. magnitude to constitute risk of electric shock Use only high quality commercially available speaker cables with Ya TS plugs pre installed All other installation or modification should be performed only by qualified personnel This symbol wherever it appears alerts you to the presence of uninsulated dangerous voltage inside the enclosure voltage that may be sufficient to constitute a risk of shock This symbol wherever it appears alerts you to important operating and maintenance instructions in the accompanying literature Please read the manual Caution To reduce the risk of electric shock do not remove the top cover or the rear section No user serviceable parts inside Refer servicing to qualified personnel Caution To reduce the risk of fire or electric shock do not expose this appliance to rain and moisture The apparatus shall not be exposed to dripping or splashing liquids and no objects filled with liquids such as vases shall be placed on the apparatus Caution These service instructions are for use by qualified service personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions Repairs have to be performed by qualified service personnel EN CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION RISQUE DE CHOC ELECTRIGUE NE PAS OUVRIR Read these instructions Keep these instructions Heed all wa
16. the signal is only interrupted when a jack is plugged into it All mono input channels have got insert points as have the subgroups and the main mix Each insert point is accommodated on a single TRS jack socket wired tip send ring return sleeve ground screen Inserts are always pre fader and also pre EQ pre aux sends for channels Ifyou want to insert a dynamics processor etc into one of the stereo channels it must be done between the source output and the SX3282 as these channels have no bona fide insert point behringer com S ee EE Em x 8990 Sana TWN ETT Keyboard am SIERT oa pt E EET JT cS a oO olla loss ULTRACURVE PRO DEQ246 Stereo Channel Input SX3282 Fig 5 1 Inserting into a stereo channel Please note that we didn t draw the ground screen connection in the following graphics to keep them as simple as possible Ifyou want to insert an external EQ or dynamics processor post EQ a subgroup insert should be used as follows Microphone 9 Subgroup 1 Insert SUBGROUP IN m Channel 1 Input Return
17. 10 Red Chip Company Ltd Trident Chambers Wickhams Cay PO Box 146 Road Town Tortola British Virgin Islands Limited Warranty 1 Warranty This limited warranty is valid only if you purchased the product from a BEHRINGER authorized dealer in the country of purchase A list of authorized dealers can be found on BEHRINGER website behringer com under Where to Buy or you can contact the BEHRINGER office Closest to you MUSIC Group warrants the mechanical and electronic components of this product to be free of defects in material and workmanship if used under normal operating conditions for a period of one 1 year from the original date of purchase see the Limited Warranty terms in 4 below unless a longer minimum warranty period is mandated by applicable local laws If the product shows any defects within the specified warranty period and that defect is not excluded under 4 MUSIC Group shall at its discretion either replace or repair the product using suitable new or reconditioned product or parts In case MUSIC Group decides to replace the entire product this limited warranty shall apply to the replacement product for the remaining initial warranty period i e one 1 year or otherwise applicable minimum warranty period from the date of purchase of the original product Upon validation of the warranty claim the repaired r replacement product will be returned to the user freight prepaid by MUS
18. 3 1 Input Level Setting Channel input level is determined by the GAIN trimpot 1 Use Solo PFL 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 1 has an associated LED 4 Forlevel setting as opposed to localized listening choose to use the Mono PFL bus rather than the post fader post channel pan stereo solo bus Channel MODE switch 38 not depressed Solo PFL never interrupts the mix at the main recording outputs It follows that aux sends and subgroups must also be unaffected since they contribute directly to the main mix In addition to switchable Solo PFL metering a couple of channel LEDs 09 12 illuminate when a signal is present 20 dB or if a channel is going into overload These LEDs are particularly useful when using extreme EQ settings or adding a dynamics processor via an insert 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 see also the essential section 8 Setting up 3 2 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 and lower 5 shelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively The midrange control lis semi parametric with a peaking respo
19. 8 Setting up behringer com 6 5 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 Bol routes this signal to the control room monitors With the MON CTR Level control 29 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 input could usefully be connected to the output of a hi fi pre amp or integrated amplifier allowing you to easily audition a variety of sources e g CD phono etc 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 BI Main mix insert points are provided for patching a gate a compressor etc pre fader This is important Connecting a compressor or gate after the 2 track output would disrupt any attempt to acquiring a smooth fade using the output faders Although the 2 track output is primarily designed for recording it can also be used as a PA feed or as a 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 6 6 Ta
20. IC Group 4 Warranty claims other than those indicated above are expressly excluded PLEASE RETAIN YOUR SALES RECEIPT IT IS YOUR PROOF OF PURCHASE COVERING YOUR LIMITED WARRANTY THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF OF PURCHASE e 2 Online registration Please do remember to register your new BEHRINGER equipment right after your purchase at behringer com under Support and kindly read the terms and conditions of our limited warranty carefully Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently Thank you for your cooperation 5 3 Return materials authorization To obtain warranty service please contact the retailer from whom the equipment was purchased Should your BEHRINGER dealer not be located in your vicinity you may contact the BEHRINGER distributor for your country listed under Support at behringer com If your country is not listed please check if your problem can be dealt with by our Online Support which may also be found under Support at behringer com Alternatively please submit an online warranty claim at behringer com BEFORE returning the product All inquiries must be accompanied by a description ofthe problem and the serial number of the product After verifying the product s warranty eligibility with the original sales receipt MUSIC Group will then issue a Return Materials Authorization number
21. ODESH SH3282 Dome GNI ey User Manual EURODESK SX3282 Ultra Low Noise Design 32 Input 8 Bus Studio Live Mixer with XENYX Mic Preamplifiers and British EQs behringer com behringer 2 EURODESK 5 3282 User Manual D Table of Contents Thank you 2 Important Safety Instructions eere 3 Legal Disclaimer eere eere eene 3 Limited Warranty 20s00ussossnssnssonsnnssonsonssnnsonssnnsnnsnnnnnne 3 1 Introduction ssosssonssnsssonennnsnnnsnnnenonssnnnennnsnnnennnnee 5 2 SX3282 OvervieW ssssssessossssosssoosososssssssosssosossossse 6 3 Mono Input Channels eee eene eere enean ean 9 4 Stereo Input Channels csssssusssosssnnssnnsennsssnnsnnenen 9 5 Subgroups and Inserts cccccccscsscccsesscsecssecveee
22. Q on these inputs Effects could be brought back on any line input The main LR output should feed the front of house or main studio console 10 2 Live Concert with Simultaneous 8 Track Recording Here some or all mono channels are likely to be tied up with stage mics Carefully choose the right position so as to minimize feedback Try to keep the stage volume as low as possible as stage sound can cause a muddy front of house FOH sound Don t forget to notch out troublesome frequencies using a graphic or parametric equalizer or Feedback Destroyer see the BEHRINGER FEEDBACK DESTROYER PRO DSP1124P and the ULTRACURVE PRO DEQ2496 which does all of these and more The effects used in the FOH mix will not be recorded to multitrack These can be added later during mixdown ds g Source Subgroup Track T mono 1 Vocals 1 M m 2 Backing Vocals 2 M m 3 Backing Vocals 2 M m 4 Backing Vocals 2 M m 5 Kick Drum 3 amp 4 Stereo Mix M m 6 Snare Drum 3 amp 4 Stereo Mix M m 7 Hi Hat 3 amp 4 Stereo Mix M m 8 Tom 1 3 amp 4 Stereo Mix M m 9 Tom2 3 amp 4 Stereo Mix M m 10 Tom 3 3 amp 4 Stereo Mix M m 11 Tom4 3 amp 4 Stereo Mix M m 12 OverheadL 3 amp 4 Stereo Mix M m 13 Overhead R 3 amp 4 Stereo Mix M m 14 Bass Guitar 5 M m 15 Bass Guit DI 5 L m 16 Guitar 6 M m 7 Brass 1 7 M m 18 Brass 2 7 M m 19 Brass 3 7 M m 20 Brass4 7 M
23. T L amp R TOUTL amp R DAT OUT L amp R CD OUT L amp R O ee O O O O O son 12 14 15 18 317 18 19 21 22 24 0 0 0 6 0 0 6 0 6 0 6 6 6 6 6 6 OOOO 6 O Direct OUT 9 12 Direct OUT 13 16 DAT OUT L amp R TINL amp R 2TRKINL amp R HiFi OUT L amp R O Fig 9 4 Patchbay 1 O Multitrack OUT 1 8 MIDI Instruments OUT T MIDI Instruments OUT Aux Send 1 4 FX OUT O SIR 0 9 CO Line Monitor IN 1 8 Line IN 9 12 Direct OUT 13 16 FX IN Stereo Aux Returns 1 amp 2 Fig 9 5 Patchbay 2 re half normalled 1l normalled Insert Sends 1 8 T Insert Sends 13 16 Subgroup insert Sends 1 4 Main ISL amp R CTR OUT L amp R O 000000000000 0 O O Insert Returns 1 12 Insert Returns 13 16 Subgroup Returns 1 4 Main IR L amp R PhINL amp R O Fig 9 6 Patchbay 3 Let us give you an example configuration that shows how you can most effectively use your patchbays We assume you own a mixing console with 16 mic line inputs plus inserts 8 direct outputs 8 subgroups with 4 inserts 4 aux paths with 2 stereo returns and one stereo master output including insert jacks Added to this we have an 8 track recorder digital or analog a few pieces of outboard equipment FX dynamics amp EQ S a CD pl
24. a to keep the recorder s peak meters below 0 dB Most not all esp samplers read 0 dB with some headroom left This is because unlike with analog the onset of digital distortion is as sudden as itis horrible If you really want to take your recording level to the limit and fully exploit 16 bit digital s 96 dB dynamic range you ll have to do some calibrating How to do it Well you could run a tone at 0 dB from the mixer and use that as your DAT reference But your DAT may be way under its maximum input limit Probably a better way to work out just how hard you can drive your recorder is to incrementally increase the record level until the onset of digital distortion subtract say 5 or 10 dB and never exceed that level Engage peak hold on your recorder before recording if you want to confirm that you haven t When recording to analog the tape machine s VU meters should show around 3 dB on bass but only around 10 dB for hi hat Although analog distortion is more like compression at modest overload levels often desirable on bottom end higher frequencies cause saturation even at modest levels an unpleasant crunchiness Also VU meters tend to progressively under read above 1 kHz due to their sluggish response time Hi hats should read about 10 dB on a VU meter as against 0 dB for a typical snare drum and 3 dB or more for a kick drum Peak meters read more or less independent of frequency Aim for 0 dB recording level for
25. aced by fuses of the correct rating Please refer to the Specifications section for the applicable rating For connection to the mains use the enclosed power cord with cold connector which complies with the relevant safety regulations Please make sure that all devices are properly grounded For your own safety never remove or disable the ground conductors from the devices or on the power cords The unit must always be connected to the mains outlet with a protective grounding connection behringer com Important notes concerning installation The sound quality may diminish within the range of powerful broadcasting stations and high frequency sources Increase the distance between the transmitter and the device and use shielded cables for all connections 1 2 3 Online Registration Please register your new BEHRINGER equipment right after your purchase by visiting http behringer com and read the terms and conditions of our warranty carefully Should your BEHRINGER product malfunction it is our intention to have it repaired as quickly as possible To arrange for warranty service please contact the BEHRINGER retailer from whom the equipment was purchased Should your BEHRINGER dealer not be located in your vicinity you may directly contact one of our subsidiaries Corresponding contact information is included in the original equipment packaging Global Contact Information European Contact Information Should your country not
26. all signals 10 7 Track Sheet When laying out channels for recording or mixing try to be sensible Keep tom toms together etc Work out a scheme that suits you amp stick to it A common order is kick drum snare hi hat tom toms as the audience sees the kit cymbals ditto bass guitars keyboards other instruments vocals From session to session and gig to gig you will soon know where you are without ever having to look at a track sheet 11 Technical Background 11 1 Mixing 11 1 1 Equalization In the beginning EQ was an instrument for removing unwanted frequencies or compensating for imperfect microphone response curves or bumps in a studio s acoustic It was a corrective device Tamla Motown turned that notion upside down in the sixties with the novel idea that you try to find for each instrument a characteristic frequency not shared by the other instruments in the mix Then you whack up its gain This makes individual voices punch through a mix in a slightly unnatural but exciting way In general corrective EQ usually involves broadband slope contouring together with narrowband notching of unwanted resonances The narrower the notch or Q the less the total signal will be affected Finding bad resonances is made easier by first frequency sweeping in BOOST mode Motown EQ is achieved by applying boost in a fairly broadband way The broader the band the more musical but less instrument specific the effect
27. ayer tape deck HiFi system and a headphones amp In the first eight modules of patchbay 1 the subgroup outputs are directly connected to the corresponding multitrack inputs In addition to that it is also possible to record the signals coming from a subgroup on a different track of the multitrack To save space and provide a clearly structured configuration the direct outputs are connected both to the top and bottom jacks Modules 17 amp 18 are the stereo master output which is half normalled and thus allows for recording both to the DAT recorder and the tape deck simply by patching it accordingly Modules 19 amp 20 tape deck are open because it does not make sense connecting the inputs and outputs of the tape deck 21 amp 22 are normalled and route the DAT recorder outputs to the 2 track inputs of the mixing console So it always is possible to control the recorded data on the 2 track from the mixing console The CD player and the HiFi system are connected to modules 23 amp 24 which are open because they only serve as a source In patchbay 2 the first 16 modules are normalled 1through 8 IN could also be used to connect the corresponding monitor inputs if the console has a separate monitor section MIDI devices such as samplers expanders keyboards etc are usually set up in every corner ofthe room To make the cabling better structured we route these units to modules 9 through 16 This allows further workmanship ofthe MIDI d
28. be listed please contact the distributor nearest you A list of distributors can be found in the support area of our website http behringer com Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently Thank you for your cooperation 6 EURODESK 5 3282 User Manual EN 2 SX3282 Overview 2 1 Architecture The X3282 is a conventional split console By this we mean that the inputs and outputs occupy separate areas of the board This makes for easier visualization of signal path compared to an in line design which uses combined input output channels The main section on the right hand side handles all the outputs as well as 4 stereo aux returns and a 2 track tape input input channels are located on the left The configuration is 32 into 8 into 2 This means that there are 32 channel inputs in total there are 24 mono and 4 stereo channels assignable to 8 subgroup buses plus the main mix which in turn may be blended into the main mix stereo output The subgroups configurable as stereo pairs if required are provided for connecting to a multitrack tape recorder or for use as a mixing aid during mix down or during a live concert Every channel and two out of four stereo aux returns included in the X3282 can access any or all of these subgroups or the main mix directly via comprehensive routing matrices All channels also have access to eight aux send buses Each chann
29. ced 14 TRS sockets wired tip hot ve ring cold ve sleeve ground screen Phones outputs Will feed two headphones 14 TRS socket wired tip left signal ring right signal sleeve ground screen Main inserts For inserting into the main mix signal Unbalanced send and return ona single 14 TRS socket wired tip send out ring return in sleeve ground screen behringer com Main output TRS sockets Unbalanced 14 TRS sockets wired tip hot ve sleeve ground screen Main outputs XLR Balanced XLR wired pin 1 ground screen pin 2 hot ve pin 3 cold ve Maximum level is 28 dBu Unbalanced 4 TS connector Strain relief clamp lt 4 Sleeve Fig 7 1 74 TS connector Balanced TRS connector strain relief clamp 4 sleeve ring AL lt 4 tip sleeve ground shield ring cold ve For connection of balanced and unbalanced plugs ring and sleeve have to be bridged at the stereo plug Fig 7 2 TRS connector 14 EURODESK X3282 User Manual Insert send return TRS connector J strain relief clamp 4 sleeve sleeve ground shield ring return in 3 send out Connect the insert send with the input and the insert return with the output of the effects
30. ckwise etc Many controls have a natural initial setting For EQ cut and boost this is unity gain However some settings such as selecting pre or post for channel aux sends will depend on the operating environment e g studio or live or on a particular engineer s preferred way of working 9 Patchbay A patchbay allows you to patch the audio signals of most components in your studio from a central point and send them to other units which makes your entire cabling better structured and is indispensable for professional work If you want to use your studio as effectively as possible then it is preferable to use a complete patchbay wiring scheme But even smaller studio configurations will benefit from less sophisticated patchbay solutions The majority of commercially available patchbays include two rows with 24 phone jacks each in a 19 1 U rack panel On the rear either a corresponding number of phone jacks or contacts for soldering signal leads can be found Each group of four of these phone jacks forms one module The configuration of some Patchbays can be changed by inserting jumpers or turning individual modules With the help of our ULTRAPATCH PRO PX3000 an easy to use 24 patchbay offering phone jacks throughout you can easily understand the different modes With the ULTRAPATCH PRO PX3000 you can select between the different operating modes simply by setting a switch on the upper panel example module 17 16 EURODESK 5 3282
31. covered by the limited warranty the inspection costs are payable by the customer 9 Products which do not meet the terms of this limited warranty will be repaired exclusively at the buyer s expense MUSIC Group or its authorized service center will inform the buyer of any such circumstance If the buyer fails to submit a written repair order within 6 weeks after notification MUSIC Group will return the unit C 0 D with a separate invoice for freight and packing Such costs will also be invoiced separately when the buyer has sent in a written repair order Authorized BEHRINGER dealers do not sell new products directly in online auctions Purchases made through an online auction are on a buyer beware basis Online auction confirmations or sales receipts are not accepted for warranty verification and MUSIC Group will not repair or replace any product purchased through an online auction 8 5 Warranty transferability This limited warranty is extended exclusively to the original buyer customer of authorized retail dealer and is not transferable to anyone who may subsequently purchase this product No other person retail dealer etc shall be entitled to give any warranty promise on behalf of MUSIC Group 6 Claim for damage Subject only to the operation of mandatory applicable local laws MUSIC Group shall have no liability to the buyer under this warranty for any consequential or indirect loss or damage of any kind In no e
32. e as a guard band Place timecode on track 16 Wee al Source Subgroup Track n Du 1 Kick Drum 1 M m 2 Snare Drum 2 M m 3 Hi Hat 3 M m 4 Tom 1 4 amp 5 stereo mix M m 5 Tom2 4 amp 5 stereo mix M m 6 Tom3 4 amp 5 stereo mix M m 7 Tom4 4 amp 5 stereo mix M m 8 Overheads L 6 M m 9 Overheads R 7 M m 10 Bass guitar 8 M m Ti Bass guit DI 8 L m 12 Lead Vocal Guide mix M m 13 Back Vocals Guide 1 mix M m 14 Back Vocals Guide 2 mix M m 15 Back Vocals Guide 3 mix M m 16 Guitar Guide mix M m 17 Brass Guide 1 mix M m 18 Brass Guide 2 mix M m 19 Brass Guide 3 mix M m 20 Brass Guide 4 mix M m 21 Sequence Guide 1 mix L m 2 Sequence Guide 2 mix L m 23 Effect 1 mix L m 24 Effect 2 mix L m 25 26 Tape Monitor 1 2 mix L 5 27 28 Tape Monitor 3 4 mix L 5 29 30 Tape Monitor 5 6 mix l 5 31 32 Tape Monitor 7 8 mix L 5 AuxRtn1 Tape Monitor 9 10 Mix stereo L AuxRtn 2 Tape Monitor 11 12 Mix stereo L AuxRtn 3 Tape Monitor 13 14 Mix stereo L AuxRtn 4 Tape Monitor 15 16 Mix stereo L Subgroup Out gt Main Mix Tracks 1 16 Aux Output 1 gt Cue Aux Output 2 gt Aux Output 3 Effects 1 Aux Output 4 gt Effects 2 Aux Output 5 gt Cue3 Aux Output 6 gt Cue4 Aux Output 7 gt Cue5 Aux Output 8 gt C
33. een e Line inputs balanced 4 TRS sockets wired tip hot ve ring cold ve sleeve ground screen e Micinputs XLR type connectors wired pin 1 ground screen 2 hot ve 3 coid ve for balanced low level operation Care should be taken NOT to plug mics into the console or stagebox while the phantom power 7115 on Also mute the monitor PA speakers when turning phantom power on or off Allow 1 minute after powering up for the system to equilibrate before setting input gains Stereo input channels 25 32 Four stereo pairs Unbalanced 4 TRS sockets wired tip hot ve sleeve ground screen Aux sends Unbalanced 14 TRS sockets wired tip hot ve sleeve ground screen Stereo aux returns Four stereo pairs on balanced 14 sockets wired tip hot ve ring cold ve sleeve ground screen Subgroup inserts For inserting into a subgroup signal Unbalanced send and return ona single 14 TRS socket wired tip send ring return sleeve ground screen Subgroup outputs Primarily designed for feeding a multitrack recorder Unbalanced TRS sockets wired tip hot ve sleeve ground screen 2 track in out RCA sockets for use with tape recorders etc signal 2 main mix Use custom made RCA cables for the 2 Track in out traffic center post signal ve sleeve ground screen Monitor amp control room outputs Will feed a pair of speakers via an amp of course Balan
34. el can access 6 aux sends simultaneously For each channel the 8 aux sends are switchable between two configurations six pre and two post or six post and two pre fader for live or studio operating environments respectively Input channels The first 24 input channels are mono with a choice of balanced mic XLR 48 V phantom power switchable or line 14 TRS inputs both with exceptional gain architecture A further 8 line inputs are configured as 4 stereo input channels accepting all line level signals Every channel has mute Solo PFL and comprehensive EQ A high quality 60 mm fader feeds the main mix and or subgroup buses via subgroup and mix assign switches A constant power channel Pan also selects between odd and even numbered subgroup buses Subgroups For ease and flexibility of mixing eight mono subgroups with Pan and Solo are provided Each has its own individual output and each may also be assigned to the main mix Aux sends There are eight master aux send outputs each with Solo and Gain behringer com Aux returns Four line level stereo aux returns each with Solo and Gain are located above the subgroup faders Note that AUX RETURNS 1 and 2 are assignable to any mix bus Stereo aux returns At the main section s top end middle you will find four stereo aux returns each with Solo and Level control AUX RETURN 3 and 4 are hard wired to the main mix while AUX RETURNS 1 and 2 can be switched to either mai
35. evices at the mixing console Modules 17 through 20 are normalled and have the FX inputs and the aux sends connected 21 through 24 are also normalled and are patched to the two stereo aux returns with the FX outputs In patchbay 3 modules 1 through 16 are for the channel insert These modules are half normalled so that you have an additional route for the channel signals The same applies to the insert paths of the subgroups and the master output The headphones amp is connected to 23 amp 24 which are normalled and connected to the control room outputs of the mixing console Of course you can also use pre fader aux paths for the headphones mix behringer com It should be noted that patchbays should be placed one below the other in sucha way that the patch cords won t hang all over the patchbays In our example you don t have to span great distances for instance to patch the dynamics and EQ s to the insert paths 9 5 Looming Problems Loom wiring is an art unto itself and it is worth taking time out to get it right First off it is important to avoid earth loops a looped wire acts an aerial picking up hum and electromagnetic radiation Think of a tree Every part of that tree is connected to every other part but only by one route That s how the total earth picture for your entire studio should look Don t take the earth off your power cable plug to reduce audible 50 Hz mains hum Rather you should be looking at disconnecting
36. 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 50 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 This is to help you see exactly what has been solo ed Any experienced engineer will have had occasion to painstakingly search through every solo button on his her console trying to find out why one of the main solo lights was flashing while the control room monitors remained silent 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 This feature is disabled if all line level 1 05 from the X3282 are wired permanently to a patchbay see section 9 Patchbay Aux returns 1 amp 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 45 Level 7 Balance 48 and Solo 44 Level controls the amount of signal being blended into the mix or a group while balance controls the relative amounts o
37. f left and right processed signal Be sure to have balance control in center position if you re not actually working with it Asalways there are exceptions to the rule above Some short stereo delay effects say 30 ms to left 50 ms to right cause a psycho acoustic effect where the earlier delay seems louder A similar effect is noticeable when harmonizing in stereo a slight pitch shift upwards will seem louder than one that goes down In both cases use Balance 48 to compensate An analogy comes from Greece the columns of the Parthenon in Athens are slightly bowed so as to appear straight When carrying out the setup mentioned above or any other stereo imaging exercise don t just rely on the control room monitors Get a pair of headphones and listen in stereo and in reverse stereo to allow for any hearing discrepancy between your ears Auxreturns 3 amp 4 Aux returns 3 and 4 are the poor relations with only a level pot 4 and Solo switch 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 12 EURODESK 5 3282 User Manual There is no absolute reason why the send from aux 1 should feed into a processor whose outputs are sent to the aux return 1 The processor could just as easily be patched into the aux return 3 or even a pair of channels For many purposes however it is sensible t
38. h meters indicating the PFL level 2 Adjust the gain control Ll until transient peaks are regularly hitting 2 dB Continuous signals should not exceed 0 dB 3 With FX units MIDI instruments and multitrack tape recorders pro 4 dBu semi pro 10 dBV it is important to match the operating level of the desk to that of your machine If you are not sure which level your external equipment requires try a 0 dB setting first If the signal is too low turn the gain pot to the right behringer com A 10 dBV nominal operating level for an effects processor is almost certainly referenced to 0 dB on the unit s input or output meter If the FX processor has indication only for input level ensure that the output gives comparable i e unity gain 4 If EQis adjusted at any time repeat steps 8 3 1 amp 2 5 Ifan insert is used to patch in a compressor gate EQ etc use the outboard processor s bypass or effect off switch to A B monitor the effected and bypassed signals which should be level matched If the unit does not have a bypass switch or equivalent you will have to keep connecting and disconnecting the device until you achieve unity gain 6 Solo switch ll up Move onto next channel 8 4 Desk Normalization All board settings should be set to the normal default condition before or after every session Usually faders are set to zero minus infinity EQs set flat trimpots and channel aux sends turned fully anticlo
39. he vocalists cans If you need to hear the harmonies but they re putting the vocalist off key you ll want to be able to delete channels from the headphone mix If you still don t want to assign a couple of aux buses to headphones monitoring because this would disturb the main mix the following suggestion might prove useful Set up a separate channel assignment on a subgroup pair omitting the offending channels and use that output instead of the main mix to drive the headphones either directly or via a line mixer as illustrated above Inall cases the wet dry balance of the supplementary vocal signal takes place within the FX processor 19 _ EURODESK 5 3282 User Manual Min al Source Subgroup Track an Doe 1 Tape 1 2 Tape2 Mix L M 3 Tape3 Mix L M 4 Tape4 Mix L M 5 Tape 5 Mix L M 6 Tape 6 Mix L M 7 Tape7 Mix L M 8 Tape8 Mix L M 9 Sampler 1 Mix L M 10 Sampler 2 Mix L M Ti Sampler 3 Mix L M 12 Sampler 4 Mix L M 13 Sampler 5 Mix L M 14 Sampler 6 Mix L M 15 Sampler 7 Mix L M 16 Sampler 8 Mix L M 17 Drum Computer Kick Mix L M 18 Drum Computer Snare Mix L M 19 Drum Computer Hi Hat Mix L M 20 Drum Computer Clap Mix L M 21 Synthesizer 1 Mix L M 2 Synthesizer 2 Mix L M 23 Synthesizer 3 Mix L M 24 Vocal Mic Mix L M 25 26 Effect 1 Mix L S 27 28 Effect 2 Mix L S 29 30 Effect 3 Mix L 5 31
40. her elements in the recording chain Try to record bright You can always mix back duller Brightening up an off tape signal will bring up the level of tape noise With digital tape or hard disk you have plenty of dynamic range and treble pre emphasis is not often necessary Just don t let the signal distort When mixing or recording keep the channel fader levels around or below 0 dB If you do find the faders creeping up or down apply a suitable offset over all channel faders and try to control your bad habit in future behringer com 12 Expanding When the X3282 is your main mixer you may find that you run out of inputs as your system expands It is possible to expand your mixing system by combining two or more mixers Adding extra line inputs to your Eurodesk A small line mixer can inexpensively add extra line inputs to your console With the ULTRALINK PRO any stereo line level input on your X3282 can become a stereo line input plus a further 6 pan able mono line inputs Great for adding tape monitor returns etc Linking the 5 3282 to a master console Feed any or all of the main mix subgroup outputs and aux outputs from your X3282 into separate input channels of the master console The aux outputs should be routed only to individual aux send buses on the master console Now the aux sends from the 5 3282 can access effects currently used by the master console The X3282 outputs are essentially submixes of several chan
41. lkback The built in flush mounted mic 133 15 activated by depressing the non latching talk switch B2 just above the MAIN MIX faders Engaging talkback dims the control room monitors not lights by 20dB to avoid feedback This does not affect the other talkback routes Talkback level is set by 27 and the mic can be routed to any or all of auxes 1 2 5 6 or 7 8 86 B5 BA in other words every possible pre fader cue aux send to enable you to talk to artists remotely through their headphones or personal stage mixes Sometimes you will want a much higher rejection of feedback than a flush mounted talkback mic could ever provide When running a live concert mix a dynamic mic plugged into a spare channel and routed to all the pre fader sends only will do the job 7 Connections 7 1 SX3282 Back Panel Phantom power switch When using capacitor mics 48 V DC can be switched globally on or off by il 7 2 Patchfield and Plug Wiring Scheme Most of the inputs inserts being the major exception are balanced Refer to section 9 Patchbay if you are not sure what this means Unbalanced equipment may be connected to balanced inputs outputs Either use mono jacks or connect ring and barrel of TRS jacks or pin 3 of XLR plugs 13 _ EURODESK 5 3282 User Manual Mono input channels 1 24 e Insert points unbalanced send and return on a single TRS socket wired tip send ring return sleeve ground scr
42. ly 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 17 This is designed to give a 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 35 like that for Solo 13115 ergonomically placed immediately above the channel fader and has an associated LED 18 for excellent visual status indication of this much used 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 14 jacks for left and right signals When only the left input is connected the channel operates in mono This feature is disabled if the inputs and outputs of the X3282 are wired permanently to a patchbay see section 9 Patchbay Channel input sensitivity is variable between 20 and 20 dB by adjusting GAIN 4 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 4 1 Input Level Setting This is exactly as for a mono channel see section 3 1
43. m 21 Keyboards 1 8 L m 22 Keyboards 2 8 L m 23 Keyboards 3 8 L m 24 Keyboards 4 8 L m 25 26 Effects 1 Mix stereo L 5 27 28 Effects 2 Mix stereo L 29 30 Intro Tape Mix stereo L 31 32 CD Mix stereo L 5 Aux Return 1 Effects 3 Mix stereo L Aux Return 2 Effects 4 Mix stereo L S Aux Return 3 Effects 5 Mix stereo L 5 Aux Return 4 Effects 6 Mix stereo L S behringer com pne d Source Subgroup Track it iin re gt Main Mix tracks 1108 S NN ee Aux Output 3 gt Effects 1 Aux Output 4 Effects 2 Aux Output 5 gt Effects 3 Aux Output 6 gt Effects 4 Aux Output 7 gt Effects 5 Aux Output 8 gt Effects 6 Mix Output L gt Graphic EQ Insert gt FOH Mix Output R gt Graphic EQ Insert gt FOH Monitor Out L gt Sidefills Main Stereo Feed Monitor Out R gt Sidefills Main Stereo Feed Tab 10 1 SX3282 tracksheet for live concert and simultaneous recording Use the LO CUT filters 6 to eliminate floor rumble mics popping etc Try using a compressor and noise gate on vocals bass guitar and even drums via channel insert Effects may be a little over the top for a live band not so for a dance act You might want to have 2 effects sends but six independent cue feeds for on stage
44. monitoring Record the FOH mix to DAT or to 1 or 2 channels of the multitrack as a listening aid during mixdown or to blend with dry submixes 10 3 8 Track Studio Recording 8 track MIDI project studio with sampler 8 track recording system one vocal mic and several effects units With largely computer generated dance music you will want to have plenty of line inputs and an ability to take vocals quickly efficiently and with minimal desk disturbance Often a vocal line is added after the music is almost complete For this we try not to use a valuable aux send as a cue feed Once you have finished taking vocals the subgroups may be used to submix keyboards drums etc into the main mix You might want for instance to apply creative keyed gating to a portion of the mix Use a subgroup insert to do this Auxless headphones mix In a dance production effects are often of paramount importance in creating interesting evolving sounds and aux sends are usually all dedicated to this purpose Also it is also not unusual for a vocalist to be drafted in to add some colour to the mix at a late stage The simplest solution here is to feed the main mix into the artist s cans If you or they are uncomfortable working with the mix try using a simple line mixer to blend the output of the mic channel via a subgroup possibly via a dedicated FX unit to keep the vocalist happy with the main mix the combined stereo signal then being fed into t
45. mporary Tab 10 4 X3282 example 16 track studio recording overdubs The layout shown in tab 10 4 corresponds to the music overdub situation once all bass amp drum takes have been completed We have re patched tape tracks onto main channels Remember to disconnect from the wall boxes or desk XLR inputs any microphones not in use Otherwise the line inputs of channels 1 24 won t work properly live mics picking up extraneous noise etc The temporary tape monitor returns become redundant as and when tape tracks are able to be patched into main channels You could begin to spread your FX and sequenced music returns over these stereo channels as they become available At last it is time for vocal overdubs and touch ups like percussion parts Tab 10 4 Once overdubbing is complete the subgroups may be used in mono or stereo pairs as an aid to mixdown e g to control multiple backing vocals or drum kit tracks such as tom toms and overhead mics 10 5 Multitrack Initialization Set up the multitrack so that any track in record ready condition has its input monitored when the tape is stationary Place all tracks to be recorded into record ready status once a recording has been made these tracks should automatically switch to tape playback Check that the input levels to each track are optimized before recording commences behringer com 10 6 Recording Levels When recording to digital it s a good ide
46. n damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 15 The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection 16 Where the MAINS plug or an appliance coupler is used as the disconnect device the disconnect device shall remain readily operable Legal Disclaimer Technical specifications and appearance are subject to change without notice The information contained herein is correct at the time of printing All trademarks are the property of their respective owners MUSIC Group accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description photograph or statement contained herein Colors and specifications may vary slightly from product BEHRINGER products are sold through authorized dealers only Distributors and dealers are not agents of MUSIC Group and have absolutely no authority to bind MUSIC Group by any express or implied undertaking or representation This manual is copyrighted No part of this manual may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying and recording of any kind for any purpose without the express written permission of Red Chip Company Ltd ALL RIGHTS RESERVED 20
47. n mix or the subgroups and therefore are equipped with a BALANCE control Main mix output additional features Main mix output level is being controlled via a pair of high quality 60 mm faders The main section also includes an assignable headphones output with LEVEL a 2 track tape return assignable to the control room monitors and a solo output adjustable for audition level and switchable between the solo and PFL function The monitor or control room output is independently adjustable for level and the integral talkback mic is routable to 6 of the 8 aux buses i e all possible pre fader cue sends A BNC connector is provided for a gooseneck lamp for those dark winter s night mixes Inserts Mono channels subgroups and the main mix all have insert points for patching in dynamics processors etc 2 2 Metering All input channels have signal and overload LEDs while the L and R output has a pair of 12 digit bargraph meters The main mix L R meters also have clip LEDs 428 22 dB balanced unbalanced and double up as mono PFL or stereo solo meters or 2 track return meters in general what you hear is what you see During Solo PFL only the main mix bargraph meters illuminate The master clip LEDs 22 dBu should never be allowed to illuminate If they do reduce either the MAIN MIX fader or the group s and or channel fader s or as a last resort the channel input gain s Maybe it s time to do a round of PFL metering
48. ne 1 425 672 0816 Fax 1 425 673 7647 EURODESK SX3282 complies with the FCC rules as mentioned in the following paragraph This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures Reorient or relocate the receiving antenna e Increase the separation between the equipment and receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected Consult the dealer or an experienced radio TV technician for help This device complies with Part 15 of the FCC rules Operation is subject to the following two conditions 1 this device may not cause harmful interference and 2 this device must accept any interference received including interference that may cau
49. nels of sound and are therefore likely to be considerably higher than the typical source signals coming from mics MIDI instruments or tape seen by the master console Therefore we recommend a reduction of gain in those channels of the master console that are fed by the X3282 s outputs 13 Modifications The following modifications require you to do some soldering Only attempt that if you are experienced in using an iron on PCBs Otherwise refer to qualified personnel After modification the Behringer warranty becomes void Links should not be threaded into holes on the PCB They should be soldered to the tinned areas around the holes and bowed slightly upwards in between 22 EURODESK 5 3282 User Manual Aux sends pre EQ All channel aux sends are post EQ If you want to convert them carry out the modification described below to each channel The right PCB area is indicated by a yellow printing see figures below 1 2 3 4 Disconnect power supply Cut the post track Add in a pre link Se gt aS gt Repeat for all channels you want to be modified AUX o PRE EQ Cut the post track POST EQ JPn Before AUX Add a pre link hH PREEQ POSTEQ JPn After Fig 13 1 Aux send gt pre EQ modification on channels 1 to 24 AUX PRE EQ Cut the post track
50. nnels accept mic or line inputs If you are using the mic input make sure nothing is connected to the line input and vice versa Please note that mic inputs are many times more sensitive than line inputs Do not connect mics with phantom power switched on NEVER use unbalanced mic cables with the phantom power switched on ever Shorting 48 V DC to earth can cause serious damage 2 Stereo channels accept line level signals Any stereo channel can be run in mono simply by connecting into the left jack socket only This feature is disabled if all line level in outputs from the SX3282 are wired permanently to a patchbay see section 9 Patchbay The stereo channels are suitable for a variety of line level sources including MIDI instruments effects outputs and tape returns from multitrack 3 Stereo aux inputs are primarily designed for returning effects units though these too may be given over to multitrack returns or MIDI instrument outputs 8 2 Initializing Channels for Gain Setting 1 Set gain to minimum and all aux sends to off fully counterclockwise 2 Set EQ to flat all knobs at 12 o clock 3 Where applicable set LO CUT switch 6 on for most mics off for signals with desired very low frequency content 4 Set Channel Mode to PFL Bl up 5 Depress Solo switch 3 8 3 Auditioning a Signal and Setting Up a Channel 1 Make a typical noise or roll the tape There should now be some activity at the main bargrap
51. nse Q fixed at 2 octaves sweepable from 100 Hz 8 kHz L All three bands have up to 15 dB of cut and boost with a center detent for off Thirdly there is a steep high pass low cut filter 6 slope 18 dB oct for reducing floor rumble breath noise and popping woolly bottom end etc The combination of shelf boost at 80 Hz together with low cut at 75 Hz results in a peaking response useful for adding warmth to vocals and instruments and a firm bottom to kick drums and basses without losing control of low frequency speaker cones 3 3 Aux Sends All eight aux sends 7 mono and post EQ Aux sends 1 amp 2 are fixed to be pre fader for cueing purposes while 3 amp 4 are fixed post fader for sending to effects etc A shift switch L8 toggles the third pair of aux send potentiometers between two bus pairs 5 amp 6 or 7 amp 8 These four aux sends are switchable pre post fader en bloc using the PRE switch 91 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 2 for aux sends 5 6 7 8 Most reverbs etc internally sum up the left and right inputs The very few that do not may be driven in
52. nsible to use this signal path preferably for readily edited signals e g tape tracks or post EQ DI outs from instruments amplifiers as there is no EQ in the subgroup signal path Subgroup 1 Insert Send e Tip e Ring 8 kl Channel X INSERT 1 0 Insert Return I TP OUT RING Fig 5 3 Making use ofthe channel EQ for shaping subgroup signal by applying inserts 503282 insert points are of course simultaneously inputs and outputs For goodness sake get them onto a patchbay where they can appear as independent sockets and do away with all these fiddly Y leads that always seem to be the first to get knotted in the flightcase see section 9 Patchbay Now it is possible to do the incredibly useful patch shown in fig 5 3 without having to make up what would amount to a ring to tip tip to ring stereo patch lead Insert points may also be used as pre EQ direct outputs without interrupting the signal flow See fig 7 5 Direct out connection behringer com 6 Main Section 6 1 Aux Masters Aux sends Much ofthe main section situated left and below the bargraph meters is taken up by master aux sends and returns Stacked in a vertical column are eight master AUX SEND LEVEL pots ET one for each bus Each has a gain structure of oo to 15 dB The
53. o set up a default patch where the aux sends and returns correspond It is logical to put your premier FX units into the aux 1 and aux 2 loops since these returns enable you to record to tape without repatching Sometimes an engineer wants to narrow the stereo width of a reverb field To do this you will have to come back on channels because they have full panorama facilities 6 2 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 Bd The bargraph meters follow whatever source is being auditioned the meters won t make much sense if more than one source is selected Altering what goes into the control room monitors does not affect the signal from the main mix recording outputs That offers to you the opportunity to do a quick solo during a mix whenever you want without having to start again The Monitor Ctrl Level pot 23 sets the level to the control room monitors This is sourced post the main mix stereo fader setting Your fades couldn t be heard otherwise Don t rely on a single pair of loudspeakers to audition your mix You d better use a variety of different speakers Lastly there is a Mono button 29 useful for checking the phase correlation and or coherence of a stereo signal Again this does not affect the main mix output 6 3 Headphones The headphones may be sourced from the monitor control room mix 27 and or from p
54. om Good for tight but deep bass Remember EQ contouring can be done with cut as well as with boost Cutting away the top and bottom then pushing up the gain is equivalent to mid range boost EQ is not a one way street Always reset a channel s input gain or external devices output level after altering the amount of desk EQ cut or boost applied 11 1 2 Gain Optimization PFL Pre Fader Listen is the way to set a desk level Master aux send levels are fixed at unity gain As the mix progresses more and more channels are likely to be sending to effects via the aux buses and it s best to PFL all sends just before setting up for the final mix Outboard reverbs etc should all be made to work hard There s no point in having an 85 dB dynamic range if the input meter of your reverb is barely flickering On the other hand digital distortion is not one of the nicer noises around You ll have to rely on your ears to detect digital distortion since different outboard processors calibrate their meters differently If you hear distortion turn down the input on the FX unit and turn up the desk s aux return input 99 times out of 100 distortion in the aux send gt FX gt aux return loop will come from the FX unit FX gain too high and the same goes for a high noise level FX gain too low Analog multitrack tape should be driven quite hard since its dynamic range without noise reduction is likely to be 20 to 30 dB worse than ot
55. re fader aux sends 1 2 24 or switchable pre post aux sends 5 6 25 for artist cueing Two headphones sockets are provided on the back panel The headphone mix level is controlled by a LEVEL pot 24 and the gain is sufficient to drive headphones directly This is fine for a MIDI suite with overdub booth but for the bigger studio s headphone network using a separate headphones distribution amplifier like the Behringer POWERPLAY PRO XL HA4700 is recommended This can offer the added advantage of independent headphones level control for every performer 6 4 Solo PFL Solo Solo is short for Solo in Place and is the preferred method for auditioning an isolated signal or group of signals Whenever a Solo button is pressed all unselected channels are muted in the monitors Stereo panning is maintained The solo bus is derived from the output of the channel pans aux sends stereo line inputs and subgroups and is always post fader PFL Pressing the channel mode switch 28 once disengages 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 status LEDs located below the bargraph meter 80 pot 39 controls the solo level which will normally be set to unity gain center detent to match the in the mix level see also the essential section
56. rnings Follow all instructions Do not use this apparatus near water Clean only with dry cloth wR Do not block any ventilation openings Install in accordance with the manufacturer instructions 8 Donot install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat behringer com 9 defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Use only attachments accessories specified by the manufacturer 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid LA injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has bee
57. s 10 6 Main Section 1 eee 11 7 Connections esussssosssssssssnnsnsnnnsssnnsnnsnnnnsnnnsnsnnsnnsnnnne 12 8 Setting Up 15 9 Patchbay Gaia 15 10 ApplicatiOnS See ee 18 11 Technical Background eene 20 12 Expanding cousin 21 13 Modifications cccccscsccscccsesesesccssccsescsesesesees 21 14 Specifications cccccccccsccscccesescsccssccscscsescscsces 22 Thank you Thank you for choosing the EURODESK X3282 mixing console Your new EURODESK console provides incredible sound and features including 32 inputs 24 XENYX mic preamps with 48 V phantom power warm and musical British EQ multiple routing options and more These features come packaged inside ruggedly constructed unit that will serve as the heart and soul of your studio live front of house or monitoring rig for years to come But why bother with manuals We know you want to get started right away but please read this manual carefully and keep it handy for ongoing reference These instructions show you all the inside features tricks and tips you need to build the best possible sound with your new EURODESK console After all it s all about your sound behringer com 3 EURODESK SX3282 User Manual Important Safety Instructions A A Terminals marked with this symbol carry electrical current of sufficient
58. se undesired operation Important information Changes or modifications to the equipment not expressly approved by MUSIC Group can void the user s authority to use the equipment behringer com 25 EURODESK 5 3282 User Manual behringer com 26 EURODESK 5 3282 User Manual behringer com 27 EURODESK SX3282 User Manual behringer com imagine music behringer com behringer
59. the signal screen somewhere one or several audio cables It is good practice to ensure that all screens are commoned at the patchbay in which case all unearthed equipment would pick up earth from this point via a single screen more than one route an earth loop while mains earthed equipment would have all screens cut at the equipment end Some quality equipment has an independent signal and mains earth In this case at least one screen should carry earth to the equipment Sometimes the only way to find out is suck and see Take care to ensure that using the patchbay does not disturb the studio s earth architecture Always use short as possible patch leads with the screen connected at both ends Having designed mains hum out of the system make up your cable looms from the patchbays outwards and use cable ties flexible sheaths multicores etc to keep the back of your racks tidy 18 EURODESK 5 3282 User Manual 10 Applications 10 1 Keyboard Submixing MIDI keyboard sub mixing live or in the studio sequenced and or played This is relatively simple to achieve Simply use the line inputs to mix stereo or mono outputs from your keyboards Subgrouping may be useful en route to the mix e g to control the level of drums versus music Aux sends may be used either to feed on stage monitors artists headphones or effects units You might want to use the stereo aux inputs for instruments with built in EQ since there is no E
60. true stereo by using 2 aux sends behringer com 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 Here an almost exclusively wet signal will be heard In most consoles such a wet mix requires the use of a pre setting for the channel aux send losing fader control With the X3282 you can have a virtually wet mix with fader control Channels may be altered for pre EQ aux sends see section 13 Modifications 3 4 Routing amp Muting Routing means selecting which bus you want a channel to address There are five stereo buses in the X3282 plus a stereo solo bus Main mix and the four subgroup pairs are selected by five assign switches 18 Solo PFL we encountered in the section on input level setting 3 1 Channel PAN Il positions the output of the channel in the stereo field Its constant power design ensures there are no level discrepancies whether a signal is hard panned center stage or somewhere in between Such pin point accuracy will be a revelation if you have been working on consoles with lower quality circuits All stereo buses follow channel Pan Usually only one of L R 1 2 3 4 etc will be selected for a particular channel An exception to this rule is when laying down voice takes It is often convenient to have the mic channel s routed to all potential take tracks simultaneously since you are often dropping in quick
61. ue6 Mix Output L gt DAT Mix Output R gt DAT Monitor OutL gt Control Room MonitorOutR gt Control Room Tab 10 3 5 3282 example 16 track studio recording bass guitar and drum tracks 20 EURODESK 5 3282 User Manual pem a Source Subgroup Track e m 1 Kick Dr Tape 1 mix L 2 Snare Dr Tape 2 mix L m 3 Hi Hat Tape 3 mix L m 4 Tom 1 Tape4 mix L m 5 etc Tape 5 mix L m 6 Tape6 mix L m 7 Tape7 mix L m 8 Tape8 mix L m 9 Tape9 mix L m 10 Tape 10 mix L m 11 11 mix L m 12 Lead Vocals Guide mix M m 13 Back Vocals Guide 1 mix M m 14 Back Vocals Guide 2 mix M m 15 Back Vocals Guide 3 mix M m 16 Guitar Guide 1 Track 9 M m 7 Brass Guide 1 2 amp 3 Tracks 10 amp 11 M m 18 Brass Guide 2 2 amp 3 Tracks 10 amp 11 M m 19 Brass Guide 3 2 amp 3 Tracks 10 amp 11 M m 20 Brass Guide 4 2 amp 3 Tracks 10 amp 11 M m 21 Sequence Guide 1 mix L m 22 Sequence Guide 2 mix L m 23 Effects 1 mix L m 24 Effects 2 mix L 5 25 26 1 2 L 5 27 28 3 4 mix L 5 29 30 5 6 L 31 32 7 8 mix L 5 AuxRtn1 Tape Monitor 9 10 mix L 5 AuxRtn2 Tape Monitor 11 12 mix L 5 AuxRtn3 Tape Monitor 13 14 mix L 5 AuxRtn4 Tape Monitor 15 16 mix L 5 Outputs remain unchanged te
62. uts to one module left top right bottom or patch two devices to one module top and bottom Effects devices and 2 tracks can be configured this way so the inputs and outputs are positioned on top of each other Basically the inputs are routed to the bottom and the outputs to the top rear wall connectors Avoid routing digital signals over a patchbay as the pulse signal used for the transmission of such signals causes heavy interference in analog signals Additionally normal patchbays change the impedance of the digital cable route which causes interference in the digital path Use the BEHRINGER ULTRAMATCH PRO SRC2496 specifically designed for this and other digital signal related functions Microphone inputs operate at a level several orders of magnitude lower than line levels 4 4 dBu or 10 dBV Therefore they should never be routed via a patchbay In any case patching in a field with 48 V DC phantom power flying about is to be avoided at all costs It is best to plug mics directly into the mixing console or via special XLR type wall boxes connected to the mic inputs ofthe console by good quality balanced multicore cables 2 cond 4 shield 17 EURODESK 5 3282 User Manual 9 4 Patchbay Organization oo 1 re 7 half norm open normalled open Subgroup Outputs 1 8 Direct OUT 1 4 T Direct OUT 5 8 M OU
63. vent shall the liability of MUSIC Group under this limited warranty exceed the invoiced value of the product 7 Limitation of liability This limited warranty is the complete and exclusive warranty between you and MUSIC Group It supersedes all other written or oral communications related to this product MUSIC Group provides no other warranties for this product 8 Other warranty rights and national law This limited warranty does not exclude or limit the buyer s statutory rights as a consumer in any way The limited warranty regulations mentioned herein are applicable unless they constitute an infringement of applicable mandatory local laws mi This warranty does not detract from the seller s obligations in regard to any lack of conformity of the product and any hidden defect 9 Amendment Warranty service conditions are subject to change without notice For the latest warranty terms and conditions and additional information regarding MUSIC Group s limited warranty please see complete details online at behringer com MUSIC Group Macao Commercial Offshore Limited of Rue de Pequim No 202 A Macau Finance Centre 9 J Macau including all MUSIC Group companies 5 EURODESK 5 3282 User Manual 1 Introduction 1 1 The manual Reading this manual will make you aware of the many possibilities the X3282 offers you Please keep this manual safely for future reference 1 1 1 Nomenclature
64. y software products whether or not contained in the product Any such software is provided AS IS unless expressly provided for in any enclosed software limited warranty This limited warranty is invalid if the factory applied serial number has been altered or removed from the product 5 Free inspections and maintenance repair work are expressly excluded from this limited warranty in particular if caused by improper handling of the product by the user This also applies to defects caused by normal wear and tear in particular of faders crossfaders potentiometers keys buttons guitar strings illuminants and similar parts 6 Damage defects caused by the following conditions are not covered by this limited warranty improper handling neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals e connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used e damage defects caused by acts of God Nature accident fire flood etc or any other condition that is beyond the control of MUSIC Group behringer com gt Any repair or opening ofthe unit carried out by unauthorized personnel user included will void the limited warranty 8 Ifan inspection of the product by MUSIC Group shows that the defect in question is not

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