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DATA-MANFULL_DDX3216_ENG_Rev B.p65

1. 27 5 2 13 Stereo Phas Re 28 SIV senesced E T E E E E mete 28 CI A E 28 2 ee ee E cee een ee ee ee ee eee 28 9217 CHOS 28 2218 Gee nee aCe A ene eae eee eee ae eT eee a one eee 29 5219 PRTG 29 2 2 29 29 D222 7 30 30 10 ee eee eee eee ene 30 30 5 2 26 Ring Modulator
2. EAA r 34 CRANE E 34 7 23 Paring AUX SENOS 34 channel 34 8 INPUT OUTPUT ROUTING 0 244 4 01001 35 BD OME OUI 35 8 1 1 Assigning signals to the MULTI 35 WAY CUO E eere e a e 39 8 2 1 aE nea iai aA eai pai ii Pea a EREN Oi Reiri OMIT TOUN E E 30 8 2 3 OUTPUT page in the 1 0 MENU 36 8 2 4 MODULE page in 36 8 3 Configuring the S PDIF input 423 36 8 31 S PDIF in
3. 15 2o DISD 16 2 6 Snapshot automation switches and 16 SW NGM IOC E 16 2 1 Fader se 16 Ghane control DANK 17 2 1 3 17 2 TA Generi Dank eee eee eee 17 2 7 0 18 3 DIGITAL CHANNEL 5 0 18 3 1 CHANNEL LIBRARIES 5 18 3 2 CHANNEL 19 19 IA neu sion teas
4. ES 31 6 MONITOR SECTION AND LEVEL 65 0 011 1 1 1 31 MONITOR 31 6 1 1 Mono stereo switching 2555 31 MONO SUC MING E 32 MON 32 6 2 1 Soloing input channels FX 32 6 2 2 Soloing aux FX master 22 TS 32 6 3 1 Channel strip level meters 32 7 GROUPS PAIRS AND COPY FUNCTIONS 33 Fader and MUE ONC ERE 30 7 1 1 Creating and updating fader mute 33 Teke OWING OUD a E E E A E A E S 33 OAD ES WG ORRE Ee REOR 33 PFN ON E E A 34 Panng Channels
5. OUTPUT MODULE SEO Fig 8 1 MULTI in I O menu On this page internal mixer signals can be assigned to the MULTI outputs using four lists one per output To edit an assignment turn or press the corresponding master controller and scroll the list of available options The selected signals are then routed to the MULTI outputs The settings in the I O menu are stored as part of a snapshot automation When you recall a snapshot however the routing for the MULTI outputs will be loaded only if checkbox I O ROUTING below Recall also is checked see chapter 10 3 Loading snapshots 8 2 Input output routing Your DDX3216 features a flexible input output routing system In combination with the optional I O modules the routing section also provides digital format converter and digital patchbay functionalities router You can convert signals from one digital format to another and route them from any input to output all in the digital domain Naturally all settings are stored with a snapshot automation so that even the intricate routings of a complex recording or mixdown can be restored within a few seconds 8 2 1 Input routing The 32 channel signals on your DDX3216 can come from a variety of signal sources analog inputs I O modules and even mix busses The inputs are assigned in blocks of eight which enhances the flexibility of your DDX3216 considerably Bel
6. cccccccccececeeceeeaeeeeeeeesseeeceeceeeeeeeseesseaaeaeseeseesceeeeeeeeeeeeesessaeaeeeeeeeeseeseaaags 41 so WT OM Oe 41 11 3 2 SETUP page 42 11 3 3 RECORD Dae 42 11 4 Dynamic automation in 42 11 4 1 Starting a project a esesciesnnzccwacenssaeserandiadeuseneneessateassancaistaanstadcesausbsadeeceusstadsphecsincedslsdeneiceausiabieesusagcesedeteata 42 TA 2 E e E EE E 43 11 4 3 Disabling RECORD FADEBACK OFFSET WR TO 43 12 44 12 1 FS CLOCK 44 l2 WS 219 44 PREFS page 44 12 3 1 CONFIRMATION OVERWRITE 44 12 3 2 CHANNEL MUTE AFTER FADER 88 44 12 3 3 AUTOMATION AUTO SAVE 45 12 3 4 MAIN CONTROL AS AUX FX MASTER
7. 19 3 4 1 EQ Menu 19 3 4 2 PASS men 19 3 4 3 19 J4A EO 19 3 5 Dynamics 20 35 1 GATE Men 20 3 5 2 COMP RESSOR menu ccccccccccccssseeseeseceeceeeeeeaeaeeeeeeeeeeeeeeesseseeesseeceeeeeeesesseeaesaeeeeeeeeeeeessaeaas 20 35 3 Compressor parameters 20 3 5 4 DYNAMICS LIBRARY Menu 21 So DELAY IOD E ieee incon 21 4 CHANNEL ROUTING AND BUSSES 0 0 01 1 1 22 HOP abe TOON E E 22 4 2 Multi track bus faders
8. 22 ee ee ee ee ene 22 EFFECTS PROCESSORS E 24 E 24 5 1 1 Selecting an effect 24 52 Editing 1 7 me een eee eee eee ane eee 24 921 Cathedral 24 E 24 EE 25 e ee sec 25 929 e ES 25 282825212041 26 5 2 7 Spring FIC MO 26 Oy Aa 26 5 2 9 Stereo Delay 27 DTO aces eco see ee 27 27 Stereo Flange asii
9. 36 9 1 Saving loading files to from 2 4 37 9 1 1 Communications 97 9 2 File Manageme 37 9 2 Using a PO Card A arii ra EERE EEEa EE 38 ZA Formaltmng a PO Card ieena EEEE Eri 38 9 2 2 Saving files to card 38 Loading EE di 38 9 2 4 Loading Snapshot and library 38 Ns 38 9 2 6 Deleting snapshot library presets 38 10 SNAPSHOT 38 10 1 Memory contents Of snapshot 39 10 2 Snapshot automation control elements 39 10 3
10. oY T Solo Level lt 5 L O Test Tone 5 Generator AUX SEND 1 MUTE O 60 CHANNEL PROCESSING CH 1 16 AUX SEND 2 D AUX SEND 3 gt O AUX SEND 4 lt 2 fe FX SEND 1 lt gt O FX SEND 2 lt ee 1 GATE 4 a FX SEND 4 5 N TO INTERNAL 5 EFFECTS lt INTERNAL EFFECT 1 INTERNAL EFFECT 2 I O MODULE MOD IN 1 8 INTERNAL EFFECT 3 1 MAIN SEND MOD IN 9 16 INTERNAL EFFECT 4 O FROM SENDS MOD IN 1 8 85 2 2 FROM BUS SENDS A ee a 6 9 5 in IN GROUPS OF EIGHT CONNECTED X SWITCHABLE DIRECT OUT 1 32 IN GROUPS OF TWO ROUTING 40x 1234 1234 UR UR 123456789101 1213141516 BUS SEND 1 24 OUTPUT SELECT MATRIX BEHRINGER VERSION 1 1 MULTI OUTPUT 1 omen H onc Ra J mun our GND MULTI OUTPUT 2 MULTI OUTPUT 3 MULTI OUTPUT 4 MOD OUT 1 8 VIRTUAL OUTPUTS 16 SELECTABLE IN GROUPS OF TWO NOVEMBER 2001 MOD OUT 9 16 1 5 MIRRORS MOD OUT 1 8 1 9 MODULE MMR MOD OUT 9 16 2 CONTROL ROOM OUTPUTS ROOM 970 20dB DITHER OUT LEFT GND CTRL 075 DITHER DAC ROOM 2008 OUT RIGH
11. 2 7 4 General bank 2 FILES MMC MIDI Fig 2 21 General bank These switches access menu pages for various console settings or to activate specific functions In some cases several pages are grouped together and you can scroll through them with the PREVIOUS and NEXT switches or by pressing GENERAL switch several times METERS Displays the menu page for controlling the level meters which are specifically described in chapter 6 MONITORING AND LEVEL METERS MONITOR Display the menu page for controlling the monitor speakers via the Control Room monitor output This switch flashes whenever the signal source assigned to the Control Room output is not the stereo main mix The monitoring functions are discussed in chapter 6 MONITORING AND LEVEL METERS COPY Opens the COPY dialog in which you can exchange data between single channels The COPY parameters are specifically described in chapter 7 GROUPS PAIRS AND COPY FUNCTIONS PAIR Opens the PAIR dialog in which neighboring channels can be grouped as stereo pairs Pairing grouping of channels is discussed in chapter 7 GROUPS PAIRS AND COPY FUNCTIONS GROUP Opens the GROUP dialog in which you can organize faders and mutes in groups The FADER menu shows the current mute and fader groups Fader and mute groups are specifically described in chapter 7 GROUPS PAIRS AND COPY FUNCTIONS ISOLATE Temporarily disables
12. The analog interface section of your 00 3216 comprises 12 mic line inputs inputs 13 16 are exclusively designed for line level signals An analog 2 track input allows you to connect a 2 track master recorder and can be assigned to inputs 15 and 16 The main XLR balanced control room 1 4 TRS balanced phones and four multi outputs 1 4 TRS balanced are analog The multi outputs are wired to busses aux 1 4 but can be used individually for any one of the 28 busses available on the DDX3216 bus 1 16 aux 1 4 FX 1 4 solo L R and main L R The standard configuration of your DDX3216 also includes a digital S PDIF input output The digital input is fitted with a sample rate converter to avoid synchronization problems and can replace input channels 13 14 The digital output carries a digital version of the main output e g to connect a DAT recorder When fitted with one of the optional I O modules inputs 17 32 become really useful as they have all of the functionalities of inputs 1 16 except for the channel delay feature Also with an I O module fitted full use can be made of the console s 16 busses and comprehensive routing facilities 10 1 INTRODUCTION 1 2 2 Design concept and componeniry The philosophy behind BEHRINGER products guarantees a no compromise circuit design and employs the best choice of components The operational amplifiers used in the 00 3216 are exceptional They boast extreme linearity and very
13. Three different group forming modes are available 1 Creating a new group Press the GROUP switch in the left switch block to display the GROUP menu Then press one of the flashing switches to define a channel which does not yet belong to any group as the first channel of a new group This should always be the first step when creating a new group Subsequently you can add other channels To add a channel which belongs already to another group press the unlit switch of that channel to delete it from its previous group Once flashing or unlit switches have been pressed they light up constantly to show you that their channels have been added to the selected group When all channels for the new group have been selected press ENTER to finalize the process 2 Adding further channels to an already existing group Press the GROUP switch in the left switch block to display the GROUP menu Then press any of the unlit switches from the group to which you wish to add further channels As a result the switches of all channels which already belong to that group light up constantly and the group has been selected Now when 2 6 you press a flashing switch the associated channel which does not yet belong to any group will be added to the selected group and its switch will light up constantly If you press an unlit switch its associated channel which belongs to another group will be deleted from its previous group and add
14. return in Connect the insert send with the input and the insert return with the output of the effect device Fig 17 4 Insert send return 1 4 TRS connector Headphones connection with 1 4 TRS connector strain relief clamp tip left signal sleeve ground shield ring right signal Fig 17 5 1 4 TRS connector for headphones connection 17 2 2 Digital connections S PDIF Figure 17 6 shows you how to wire the unbalanced S PDIF inputs and outputs by means of RCA connectors Experience has shown that the type of cable used makes no difference With lengths shorter than 30 feet commercially available coaxial line cables are uncritical For longer lengths or demanding applications however you should use cables having an appropriate cable resistance of 75 ohms 17 INSTALLATION 51 S PDIF output DDX3216 device A S PDIF input signal flow shield Fig 17 6 Unbalanced connection S PDIF 17 3 MIDI The MIDI standard Musical Instruments Digital Interface was developed in the early 805 to enable electronic musical instruments of different brands to communicate with each other Over the years the range of MIDI applications has constantly been expanded and today it is completely normal to network entire recording studios using the MIDI standard At the heart of this network we find a computer loaded with a sequencing software that controls not only the keyboards but also
15. 3 5 2 COMP RESSOR menu page The compressor works like a conventional analog compressor providing gain reduction above the threshold but offers the flexibility and performance of a digital dynamics processor Press the COMP RESSOR switch in the CHANNEL PROCESSING section of the switch block to display the COMP RESSOR menu page for the selected channel To scroll through the available menu pages simply press the COMP RESSOR switch repeatedly Fig 3 7 COMP RESSOR menu page On the COMP RESSOR menu page master controller 1 controls the key signal which determines the amount of gain reduction applied The key signal is used both for the compressor and the gate The default is SELF SUM i e the input signal is also the signal used to determine the gain reduction When channels are paired stereo the dynamics sections of both channels are linked automatically and their mix signal serves as the key signal for both of them This is to guarantee an identical gain reduction in both channels and thus a stable stereo image see chapter 3 5 3 Compressor parameters Master controller 2 adjusts the THRESHOLD and the ATTACK time Turn this controller to edit the values of the selected controls surrounded by a dotted line or press it to switch to another parameter Similarly master controller 3 governs the parameters compression RATIO and RELEASE time Master controller 4 determines the makeup gain GAIN as well as the compr
16. Sig LED Clip LED Mono inputs 1 12 line Sig LED Clip LED Stereo inputs 13 16 Sig LED Clip LED Accessories ADT1616 TDIF1616 AES808 ACB808P Power supply Power consumption Fuse Mains connector Physical Dimensions W D Weight net 20 30 Q TTL level square wave XLR 20k Q 9 pin DIN jack 115 200 bauds 8 data bits 1 stop bit no parity 44 1 and 48 kHz internal and external lt 1 6 ms at 48 kHz channel input against main out 20 Hz to 20 kHz 0 1 dB 100 mm ALPS motorized faders 12 from 0 to codB 256 increments 24 bit delta sigma AKM 128 times 116 dB typ 24 bit delta sigma CRYSTAL 128 times 106 5 pin DIN jacks MIDI IN MIDI THRU and MIDI OUT 16 digit LED display 2 x 16 digit LED display Peak hold function off 0 29 5 and oo minimum gain 46 dBu at input 0 dBu at input minimum gain 25 dBu at input 23 dBu at input gain at center position 36 dBu at input 10 dBu at input 16 2x8 inputs and 16 2 x 8 output ADAT digital interface optical 16 2x8 inputs and 16 2 8 outputs TDIF digital interface 25 pin D Sub 8 inputs and 8 outputs AES EBU digital interface 25 pin D Sub 19 interface box for AES808 with 4 x XLR inputs and 4 x XLR outputs approx 68 W 100 to 240 V T 4A Standard IEC receptacle approx 6 x 17 14 x 22 12 163 mm x 438 mm x 572 mm approx 29 Ibs 1
17. The Decay parameter controls the duration of the reverb tail which is the time needed for the level of the reverb tail to drop to 60 PreDelay 0 to 500 ms This parameter controls the delay in ms until early reflections and reverb tail can be heard Hi Damp 0 to 100 This parameter controls a low pass filter which is effective on the reverb tail only If used moderately the filter makes the reverb sound more natural Gate Threshold 60 to 0 dB This parameter adjusts the threshold for the reverb to come in Diffusion 0 to 20 The Diffusion parameter allows you to edit the density of the reverb tail Gate Hold 50 ms to 1 s The Gate Hold parameter determines the time which the gate stays open after the signal has dropped below threshold Use this parameter to delay the reverb decay Stereo Width 0 to 20 Controls the basic stereo width of the reverb Gate Response 2 to 200 ms Controls the gate response time 26 5 EFFECTS PROCESSORS 5 2 9 Stereo Delay The Stereo Delay produces different delays of up to 2 7 s for the left and right sides of the output signal The low pass filter in the feedback loop progressively reduces the high frequency content of the delay signals which emulates the sound of a tape delay unit used in the pre digital age which has become popular again as part of the vintage sound trend DELAY F FEEDE L STEREO DELAY ERE Fig 5 10
18. discussed basic features of your DDX3216 in full detail it is time to describe its practical uses by means of a few examples Understandably the following chapter can only give you a few hints as starting points and does not claim to cover all possible uses of the console Your imagination is the limit and we are excited to see how you will use your DDX3216 15 1 Studio setups With its bus architecture and routing facilities the DDX3216 is the ideal mixing center for home recording project and even professional studios The variety of analog and digital inputs and outputs allows you to connect first class peripherals and ensures the high quality processing of all signals fed to the console The following examples are meant to show you just a few connection options 15 1 1 DDX3216 in combination with one or several ALESIS ADAT or TASCAM recorders DA 38 DA 78HR Owing to the optionally available ADAT and or TDIF digital interfaces it will be no problem to connect the DDX3216 to one or several ADAT or TASCAM recorders DA 38 DA 78HR Connect the optical inputs and outputs of the ADAT by means of professional optical cables to the inputs outputs on the module of your DDX3216 If you are using a DTRS recorder made by TASCAM please connect it to the DDX3216 by means of a TDIF D Sub 25 cable DDX3216 as master Adjust your ADAT or DA 38 DA 78HR recorder to lock to an external sync source wordclock
19. the menu When you have changed any settings the new assignments will be finalized only after pressing ENTER The right side of the display shows the assignments for the internal direct outputs DI 1 32 If busses 1 16 or AUX MMR are selected for one or several groups of 8 these signals are not assigned to the direct outputs Only when you select the analog or digital inputs via an I O module will the signals be assigned simultaneously to the direct outputs The settings in the I O menu including the input routing are stored as part of a snapshot automation However when recalling a snapshot the input routing will be loaded only if the checkbox I O ROUTING below Recall also is checked see chapter 10 3 Loading snapshots 057 Be careful when assigning master bus outputs to the input channels For example if you assigned busses 1 8 to channels 1 8 you could return e g channel 1 to bus 1 which would lead to internal feedback problems Tab 8 1 Available signal sources for the 32 channel strips of the DDX3216 The primary task of the AUX MMR option is to provide channel processing functions equalization dynamics etc for the aux sends For instance you could use this option to assign aux sends 1 4 the left right main and the left right solo bus to channels 25 32 In this case channels 25 32 should be routed to busses 9 16 while busses 9 12 are routed to the MULTI outputs to give you fo
20. 47 T E E E S S EE E E A E EAE A E EEE 47 15 APPLICATIONS Udo Se e 48 15 1 1 DDX3216 in combination with or several ALESIS or TASCAM recorders DA 38 DA 78HR 48 15 2 The DDX3216 i live applications 49 15 2 1 Live recording with the 3216 49 15 2 2 Sound reinforcement 49 16 SPECIAL FUNCTIONS 50 16 1 Updating the DDX3216 operating system 50 16 1 1 OS update with PC Software 50 Mice update 50 16 2 Recalling the factory presets and automatic fader Calibration 50 LIN So UP ga 51 17 1 RACK a Esi ne isa Toar 51 17 2 Audio COINS ele cs
21. When the FADEBACK option is enabled in RELEASE MODE leaving RECORD will gradually return the controls to their positions in a previously recorded automation pass The duration of this fade is governed by the FADE TIME parameter on the AUTOM page which be edited at any time even while automation is on If the OFFSET option is enabled in RELEASE MODE leaving RECORD will add an offset to the previous automation data which corresponds to the difference between the position recorded as part of the automation and the position when exiting RECORD mode When the timecode source is stopped the offset value is written to the end of the file In this way it is possible to create a complete mix quickly because there is no need to play back the entire mix Rather you start the tape at the position in question make the desired changes and stop the tape The console will adjust the rest of the mix automatically to reflect the changes made If you wish to protect your settings from a certain point of time during the recording of an automation file enable the WR TO END option Write to End so as to keep the last automation values entered up until the end of the automation There is one more way to deactivate RECORD mode Press the master controller under FADEBACK on the AUTOM page Now all controls in RECORD mode will be reset to their previously recorded positions and will enter RECORD READY mode The FADEBACK time i
22. typical drag amp drop routine When stored on a PC the various file types are given the file extensions shown in fig 9 2 9 FILE MANAGEMENT 3 As only type of backup files be active at a given time in the memory of your DDX3216 the window in the middle presents you with a list of available file tyoes When you copy a file from the internal files window to one of the other two windows you need to give that file a name The correct file extension will be added automatically Moving or copying a file to the middle window internal files will overwrite the corresponding settings in the DDX3216 ALL files contain all mixer settings and are ideal overall backup files for a specific project lt gt Transferring an ALL file to the internal files window will overwrite the entire memory contents of your DDX3216 including all snapshots dynamic automation data preferences and libraries Files with the extension BEX contain OS update software for your DDX3216 Copying a file of this type to the middle window internal files will delete all DDX3216 settings and load a new operating system see chapter 16 1 Updating the DDX3216 operating system BEX files can also be copied or moved to a PC card which allows you to update several DDX3216 consoles without the need to connect each of them to your PC 9 2 Using a PC card On the PC CARD page FILES switch you can transfer files fro
23. 51 17 2 1 Analog connections 51 17 2 2 Digital CONMECHONS ssassn EEE EAE EEE EEEE 51 t PWN eea A 52 18 11 53 18 1 MIDI 53 18 2 MIDI Control Changes nisc 2230icscnccedeccccessenssdaseeesnsaccdeoseasadeaddvendaccadasssdassadactoc2deddsasadeadedeadacnsancedeudeadaneaasehedoeaens 54 19 SPECIFICATIONS s cscssssssesssssssesessesstsesstsesstsasscsassesatsesansesanssansasseeatscsanseeansaeaess 55 WARRANT Varorna E A EEE EA 56 1 INTRODUCTION Thank you very much for expressing your confidence BEHRINGER products by purchasing the DDX3216 The BEHRINGER 00 3216 is an enormously powerful and full featured digital mixing console based on 24 bit technology Despite its compact size the standard version of this console offers 16 complete inputs four aux sends four effect sends 16 busses four on board effects processors and comprehensive routing options Optionally available expansion modules AES EBU ADAT and TDIF allow you to upgrade your DDX3216 with 32 digital inputs and 32 digital outputs so as to connect four digital 8 track recorders or 24 track hard disk recording systems Th
24. 90 and 180 This parameter determines the phase shift of the modulating waveform between the left and right channels 5 EFFECTS PROCESSORS 27 5 2 13 Stereo Phaser A phaser is a phase shifter with LFO modulated phase shift The signal is also fed back The resulting phase shift is called comb filter effect When phasing is applied to an audio signal the signal becomes thicker in texture and more lively in character an effect that is often used for guitar sounds and keyboard pads and had its heyday in the 70 s when phasers were standard devices for electric pianos STEREO 903 35 PHASER STAGES 1 FEED EE Gor Fig 5 14 Parameters of Stereo Phaser algorithm Stages 2 to 10 Stages determines the number of phase shift stages Speed 0 1 to 10 Hz This parameter controls the LFO frequency and thus the modulation speed Depth 0 to 100 This parameter governs the modulation depth i e the amplitude of the modulating oscillation Feedback 99 to 99 The Feedback parameter feeds some of the output signal back to the input Stereo Phase 0 to 180 This parameter determines the phase shift of the modulating waveform between the left and right channels 5 2 14 Pitch Shifter This effect varies the pitch of the input signal Small values cents produce a subtle detune effect but the pitch can also be shifted in semitones The input signal can be transp
25. FADER menus Simply press one of the fader bank switches to display the CHANNEL LIBRARY menu for the channel selected with the SELECT switch CURRENT PRESET DEFAULT 1 SELECT PRESET HoT EDITED TORE RECALL Fig 3 1 CHANNEL LIBRARIES menu In order to load a CHANNEL LIBRARY preset turn or press the two master controllers below the preset list SELECT PRESET until the preset of your choice has been selected then use the master controller named RECALL The first 40 memory locations are factory presets that cannot be overwritten The remaining memories are for user presets CURRENT PRESET shows the currently active preset Press the master controller STORE to store a CHANNEL LIBRARY preset This will open the STORE CHANNEL PRESET menu Fig 3 2 STORE CHANNEL PRESET menu The master controllers below the preset list STORE TO determine which preset memory will be used Edit the preset name with the corresponding controls master controllers 3 5 Press master controller 3 to delete the name displayed under STORE AS controller 4 determines the cursor position and controller 5 the character to be entered Finally press ENTER to store your preset or CANCEL to return to the CHANNEL LIBRARY menu Individual library functions are available for the EQ dynamics and effects section The operation of these functions is identical to the CHANNEL LIBRARY 18 3 DIGITAL CHANNEL PROCESSING 3 2 CHANNEL PROCE
26. Parameters of Stereo Delay algorithm Delay L 0 to 2 700 ms This parameter controls the delay for the left effect channel Feedback HP 20 Hz to 10 kHz Controls the cutoff frequency for a high pass filter acting on the effect signal Delay R 0 to 2 700 ms This parameter controls the delay for the right effect channel Feedback LP 100 Hz to 20 kHz Controls the cutoff frequency for a low pass filter acting on the effect signal Feedback L 0 to 99 This parameter determines the feedback amount in percent for the signal portion fed into the left effect input Feedback R 0 to 99 This parameter determines the feedback amount in percent for the signal portion fed into the right effect input 5 2 10 Echo Similar to the stereo delay effect the Echo algorithm produces delayed repetitions of the input signal however here you can also adjust the feedback delays which allows for very complex delay patterns DELAY Fi Ms 362 FE DEL L Fig 5 11 Parameters of Echo algorithm Delay L 0 to 1 800 ms This parameter controls the delay for the left effect channel Feedback HP 20 Hz to 10 kHz Controls the cutoff frequency for a high pass filter acting on the feedback signal Delay R 0 to 1 800 ms This parameter controls the delay for the right effect channel Feedback LP 100 Hz to 20 kHz Controls the cutoff frequency for a low pass filter acting on the feedback signal Feedback
27. The data are transmitted via electrically isolated optocouplers MIDI IN use this input to receive MIDI control data MIDI THRU this connector provides an identical copy of the MIDI signal received at the MIDI IN jack MIDI OUT use this output to transmit data to a connected computer or other MIDI equipment 2 2 5 Power supply and fuse FUSE 100 240 T4 0AH POWER SOURCE 100 240 V 250W POWER POWER SUPPLY Fig 2 9 Power supply and fuse POWER switch Use the POWER switch to turn the DDX3216 and off FUSE HOLDER Use the enclosed IEC power cord to connect the unit to the mains It complies with all applicable safety standards Blown fuses must always be replaced by fuses of the same type and rating IEC MAINS CONNECTOR Use this mains connector and the enclosed power cord to connect the unit to the mains SERIAL NUMBER Please take the time to fill in and return the warranty card within 14 days after the date of purchase so as to benefit from our extended warranty Or use our online registration option available on the World Wide Web at www behringer com 2 2 6 Option slots 1 and 2 BEHRINGER TDF1616 16 TDIF INTERFACE TDIF 16 1 0 CHANNELS 9 16 Fig 2 10 Option slots 1 and 2 These two option slots allow you to expand your DDX3216 by means of two optionally available expansion cards which are equipped with various digital connectors AES
28. associated function to the channel controller but will not display the function s menu page Only when you press CHANNEL CONTROL a second time the corresponding page will be displayed 12 3 6 DISPLAY FOLLOWS AUTOMATION SWITCHES When the DISPLAY FOLLOWS AUTOMATION SWITCHES option is enabled pressing one of the global AUTOMATION switches in the switch block to the left of the display will automatically display the DYNAMIC AUTOMATION menu provided that dynamic automation is 12 3 7 ONLY ODD EVEN PAIRING The ONLY ODD EVEN PAIRING option applies to the pairing of channels When it is enabled only odd even channel pairs 1 amp 2 but not 2 amp 3 can be created 12 3 8 GROUPS FADERPAGE BOUND When the GROUPS FADERPAGE BOUND option is enabled only faders and mutes from one fader bank can be grouped 12 3 9 AUTO CHANNEL SELECT When the AUTO CHANNEL SELECT option is enabled moving a fader or channel controller or pressing a SOLO switch will automatically enable the SELECT switch of the channel that is currently being edited 13 MIDI CONTROL The DDX3216 uses the MIDI interface to control recorders and MIDI sequencing software by means of MIDI machine control commands and to receive program changes for automatic snapshot loading What is more the DDX3216 allows you to transmit and receive MIDI timecode MTC MIDI controller and MIDI sys ex data for example to record and automate fader movements or mutes with the he
29. ccccccccccccceceeeseeeeceeeeceeeeesaeaeeeseeeceeeeeeeseseeeeeseeeeeeeeeeessaeegaaes 45 12 3 5 DISPLAY FOLLOWS CHANNEL CONT ROL sstieescceuscccussnantcapeshvctocucionsnsateagetendeieudsdasseneduesdosobecoewdacaxs 45 12 3 6 DISPLAY FOLLOWS AUTOMATION SWITCHES 45 12 527 ONLY ODD EVEN PAIRING e 45 12 3 8 GROUPS FADERPAGE BOUND 2 2 2 45 45 TMID CONTROL 45 SETUP MIDIMENU 45 13 1 1 Timecode 45 13 2 MACHINE CONTROL in MIDI 20000 4 000000000000000 45 13 2 1 MIDI machine control sctccceaxesotastacsencnsnceqdeeatesteedicassiictelataasibsedastonedaansadoedetacsscendsnetileanctieneeenbsctanaieessebaoton 45 1 page IN MIDIMENU seisa A E E EEEE EEEn 46 14 EXPANSIONS 46 EBU E E 47 14 2 ADAT
30. waveform sine or triangle 28 5 EFFECTS PROCESSORS Speed 0 05 to 20 Hz The LFO Speed parameter controls the speed frequency of the modulating signal Mod Depth 0 to 100 This parameter governs the modulation depth i e the amplitude of the modulating signal Mod Delay 5 to 100 ms Mod Delay controls the delay of the modulated signal 5 2 18 Phaser This algorithm provides a mono version of the Stereo Phaser algorithm see chapter 5 2 13 ETAGE gt DEF TH SPEED 3 PHASER Hz ERE Gar Fig 5 19 Parameters of Phaser algorithm Stages 2 to 7 Stages determines the number of phase shift stages Speed 0 1 to 10 Hz This parameter controls the LFO frequency and thus the modulation speed Depth 0 to 100 This parameter governs the modulation depth 1 the amplitude of the modulating oscillation Feedback 99 to 99 The Feedback parameter feeds part of the output signal back to the input 5 2 19 Tremolo The tremolo effect was one of the most popular effects during the 60 s and many guitarists used it especially for ballads And today tremolo is again experiencing great popularity From a technical point of view tremolo is a modulation of the signal amplitude i e the effect constantly modulates the volume with the modulating oscillation being generated by an LFO Since this effect is actually an insert effect we recommend that you route the effect post fade
31. 32 input channels is equipped with a full featured digital dynamics processor which also includes compressor limiter and gate functions Similar to the EQ section you can compare two settings A and B on the COMP PRESSOR and GATE pages and use a dynamics library that includes a wide variety of pre programmed settings with descriptive names Of course you can also save and load your own presets 3 5 1 GATE menu page Press the GATE switch in the CHANNEL PROCESSING section of the switch block to display the GATE menu page for the selected channel A gate allows you to automatically reduce the level of unwanted signals or even eliminate them completely using roughly the same parameters as those found on a compressor However a gate works below the threshold and has the compression ratio replaced by a RANGE parameter which provides a fixed gain reduction Fig 3 6 GATE menu page On the GATE menu page master controller 1 adjusts the key signal which determines the amount of gain reduction More information on the key signal can be found in chapter 3 5 2 55 menu Master controller 2 controls both the ATTACK time and the gate THRESHOLD Turn this controller to edit the values of the selected controls Surrounded by a dotted line or press it to switch to another parameter Master controller 3 controls the RELEASE time and gain reduction RANGE while master controller 4 allows you to define the HOLD
32. 4 MAIN CONTROL AS AUX FX MASTER SELECT switch The SELECT switch selects the MAIN strip for on screen editing AUTO REC switch The AUTO REC switch controls the dynamic automation When automation is off the AUTO REC switch activates the SNAPSHOT SAFE function which is indicated by a flashing green LED in the switch A channel in SNAPSHOT SAFE mode remains unaffected when you load a stored snapshot RECALL SOLO ENABLE switch The SOLO ENABLE switch activates the solo function which replaces the main mix signal in the control room or phones outputs by the selected channel signal When SOLO ENABLE is off the solo function is not available i e pressing a SOLO switch in an input output channel will have no effect When SOLO ENABLE is on the solo bus is routed to the control room bus aS soon as you press one of the channel SOLO switches the LED of the SOLO ENABLE switch starts flashing Pressing SOLO ENABLE again will cancel all solo settings 057 When the 2 CTRL switch is pressed the solo signal is not routed to the control room output MON 20 dB switch This switch reduces the level of the signal sent to the control room output by 20 dB When the 2 TO CTRL R switch is pressed this function has no effect on the control room signal 2 CONTROL ELEMENTS AND CONNECTORS 15 PREVIOUS NEXT ENTER CANCEL Fig 2 14 Display with control elements Many functions of your mixing console are
33. CUT 72 498 15 16 GLE Fig 5 2 Parameters of Cathedral algorithm Decay 2 to 20 s The Decay parameter controls the duration of the reverb tail which is the time needed for the level of the reverb tail to drop to 60 PreDelay 0 to 500 ms This parameter controls the delay in ms until early reflections and reverb tail can be heard Damping 0 to 100 This parameter controls the attenuation of high frequencies in the reverb tail If used moderately damping makes the reverb sound more natural Density 0 to 50 The Density parameter determines the density of the early reflections Bass Multiply 10 to 10 Use this parameter to control the decay time in the low frequency range of the reverb tail Diffusion 0 to 20 The Diffusion parameter allows you to edit the density of the reverb tail Reverb Modulation 1 to 10 Reverb Modulation defines the modulation depth of the reverb tail HiShv Cut 0 to 30 dB Use this parameter to determine the attenuation of the low pass filter wired to the input of the Cathedral algorithm 5 2 2 Plate The Plate algorithm emulates the sound of ancient reverb plates and is an ideal reverb for drums snare and vocals DECAY FREQ ST WIDTH PLATE see OO me Fig 5 3 Parameters of Plate algorithm 24 5 EFFECTS PROCESSORS Decay 0 to 10 5 The Decay parameter controls the duration of the reverb tail which is
34. Delay L 0 to 900 ms This parameter determines the delay for the left signal portion before it is fed into the left effect input Feedback 0 to 99 Feedback controls the number of repetitions Feedback Delay R 0 to 900 ms This parameter determines the delay for the right signal portion before it is fed into the right effect input Input Gain R 0 to 100 This parameter exchanges the feedback paths and attenuates the input for the right side repetitions so as to create ping pong echoes 5 2 11 Stereo Chorus This effect algorithm uses a low frequency oscillator LFO to produce a subtle and constant up downward modulation of the pitch and delay time of the effect signal which creates a charming detune or chorus effect As this effect is used so frequently and in such a variety of signal widening applications any recommendation given here would mean a limitation of its uses MODDELAY ot 9 42 5 00 i 115 CHORUS GE Gar Fig 5 12 Parameters of Stereo Chorus algorithm Wave Sine Tri The Wave parameter determines the shape of the modulating waveform sine or triangle LFO Speed 0 05 to 20 Hz The LFO Speed parameter controls the speed frequency of the modulating signal Mod Depth 0 to 100 This parameter governs the modulation depth i e the amplitude of the modulating signal Mod Delay 5 to 100 ms Mod Delay controls the delay of the
35. EBU ADAT and TDIF Fig 2 10 shows a TDIF module installed in slot 1 The second slot is not in use and has a blank panel attached gt A detailed installation manual is enclosed with each optionally available expansion card 2 3 PCMCIA card slot Fig 2 11 PCMCIA card slot The PCMCIA card slot is used to exchange data between the DDX3216 and a PC card equipped with a flash memory 057 Only use PC cards of the 5 V ATA Flash Card type any memory capacity permitted 2 4 Channels and main mix The DDX3216 features 16 identical channel strips controlling all of the 32 inputs 16 master busses four aux and four FX sends as well as eight returns from the built in effects devices For this purpose your DDX3216 has four fader banks with 16 channels each The MAIN fader always controls the stereo main mix Fader bank CH 1 16 Channels 1 to 16 CH 17 32 Channels 17 to 32 BUS OUT 1 16 Busses 1 to 16 AUX FX Aux FX sends and FX returns Tab 2 1 Four fader banks and associated channels 2 4 1 Channel strips SELECT AUTO REC Fig 2 12 Channel strip Each of the 16 channel strips has the following firmly assigned control elements Channel fader The channel faders are 100 mm motorized faders made by ALPS Their function depends on what is selected in the fader banks 14 2 CONTROL ELEMENTS AND CONNECTORS Channel level meter Each fader has a channel level meter assigned to it D
36. Freely configurable built in level meters on all channels and channel controls with LED rings which control any of nine selectable parameters per channel Fully featured static and dynamic automation functions Four freely assignable analog outputs on balanced 1 4 TRS connectors Internal input output patchbay for easy routing of complex signal configurations Six master controllers for comfortable push and turn functionality Large easy to read LCD display with adjustable contrast Synchronization to SMPTE MTC or internal clock Dither word length and noise shaping adjustable for digital main outputs Two slots for installation of optionally available digital interfaces based on AES EBU 8 I O 16 I O or TDIF formats 16 I O MIDI RS232 connectors allow communication with a PC or numerous other devices Extensive MIDI implementation MMC program changes control changes MIDI sysex PC card slot for saving loading various libraries and other settings Free PC software for data transmission and management downloadable at www ddx3216 com serial cable included 19 rack mounting kit included Manufactured under 1509000 certified management system 7 lt PHANTOM 48 INPUT 1 6 INPUT 7 12 SOLO mute independent MUTE O ui All AFL PFL 2 switches linked MUTE BUS SEND 2 MIC LINE INPUT2 77 INPUT 2 wel BUS SEND 16 f MIC LINE INPUT 8 _ 9
37. Loading SNApPSNOIS id ega iraia aea Ea RER idiei riein aeaa 39 10 4 Snapshot Safe EEr NEEE EER rinri 39 10 5 Saving SMADS NOUS 39 11 DYNAMIC AUTOMATION 44 2 2 0 0 00 0222 39 OGY OO 39 DV ose gece ve ce peda mceeateseeee cess 40 11 2 1 Absolute 40 11 22 Fea MOUE ia eeesaureeseedere 40 11 2 3 Various operating 40 11 2 4 Snapshots dynamic automation 41 11 2 5 Global automation switches 41 11 2 6 AUTO REC switches Channel strips 00 000000110 00 0 41 11 3 DYNAMIC AUTOMATION Men
38. PREFS page On the PREFS page in the SETUP menu you can determine several user specific settings which are then stored in the console s SETUP files Loading snapshot or dynamic automation files has no effect on the user preferences clock osc CLOCK O50 GEH ESE i OVERWRITE OHLY FAIRING O MUTE AFTER FADER OF GROUPS FADERFAGE BOUND O AUTOMATION AUTO O AUTO SELECT MAIH COHTROL AS AURA Fa HASTER E FOLLOWS CHANNEL CONTROLS O FOLLOWS AUTOMATION SWITCHES Fig 12 3 PREFS page in the SETUP menu 12 3 1 CONFIRMATION ON OVERWRITE When the CONFIRMATION ON OVERWRITE option is enabled any action that will overwrite an existing file or the contents of a preset memory causes a confirmation dialog to be displayed For example when CONFIRMATION OVERWRITE is enabled and you want to save a SNAPSHOT to a non empty SNAPSHOT memory the DDX3216 will display a dialog prompting you to confirm your command before overwriting the existing memory 1 REPLACED Fig 12 4 WARNING note when overwriting SNAPSHOT memories 12 3 2 CHANNEL MUTE AFTER FADER When the CHANNEL MUTE AFTER FADER option is enabled the MUTE switches in the input channels will only mute post fader send and post fader bus signals but not pre fader send or pre fader bus signals The default
39. Turning master controllers 2 5 adjusts the times in the LOCATE TIME window Master controller 2 adjusts the hours master controller 3 adjusts the minutes master controller 4 adjusts the seconds and master controller 5 adjusts the frames Press ENTER to transmit the current TAPE TIME to the LOCATE TIME window where it is stored in the selected LOCATE memory MARK 1 9 A 0 memory is also available which cannot be stored to The MARK memories are selected with master controller 1 13 3 RX TX page in MIDI menu On the RX TX page in the MIDI menu you can define incoming and outgoing MIDI messages more specifically HACHIHE COHTROL SETIF f Rath Tx Only OO CONTROL CHANGE FAH GATE O E HMACHINECOHTROL DIRECTFAR ERCL FHIDELAY AUN FAFAR Fig 13 3 RX TX page in the MIDI menu When you check the checkbox below RX Receive the DDX3216 receives the MIDI messages listed on the left Check the checkbox below TX Transmit to send MIDI messages PROGRAM CHANGE Snapshots can also be changed by using program change commands Program change 0 corresponds to snapshot 1 In order to recall various snapshots in sync to a running playback you can transmit program changes while loading a snapshot In this way the program changes can be recorded on a MIDI sequencer and sent back in sync to the running playback CONTROL CHANGE Most of the controls
40. _Settofadebackmode 1 65 X 12 Automation rec play Settoplaymode 1 60 X number 1 61 as fader volume MIDI controller no 0 all YES X NO Tab 18 2 MIDI Control Changes 18 APPENDIX 19 SPECIFICATIONS Mono inputs 1 12 Microphone input Type Connector Gain Input impedance THD Noise Max input level S N ratio Equivalent noise Crosstalk Line input Type Connector Gain Input impedance THD Noise Max input level S N ratio Equivalent noise Crosstalk Stereo inputs 13 16 Type Connector Gain Input impedance THD Noise Max input level S N ratio measured at main out Equivalent noise measured at main out Crosstalk measured at main out Main outputs Type Connector Output impedance Max output level Multi outputs Type Connector Output impedance Max output level Control Room outputs Type Connector Output impedance Max output level S PDIF digital input output Input Connector Special feature Output Connector Dither Special feature electronically balanced discrete input stage XLR 10 to 60 dB PAD 20 dB approx 1 5k Q 1 kHz 0 05 20 Hz to 20 kHz 60 dB gain 42 dBu at input 1 dBu minimum gain 95 dB 20 Hz to 20 kHz gain 1 0 dBu at input 90 dB 20 Hz to 20 kHz input termination 150 Q lt 85 dB channel 1 against chan nel 2 60 dB gain 42 dBu at input electronically balan
41. accentuate the cutoff frequency Bass Q 1 to 4 The Bass Q parameter controls the resonance of the low pass filter bass enhancer High values accentuate the cutoff frequency Process 0 to 100 The Process parameter defines the intensity of the harmonics generated for the high frequency range 5 EFFECTS PROCESSORS 29 Bass Level 0 to 100 The Bass Level parameter defines the intensity of the harmonics generated for the low frequency range NR Response 20 to 400 ms This parameter controls the response time of the gate NR Threshold 90 to 0 dB Use the NR Threshold parameter to adjust the threshold below which the gate is activated 5 2 22 Graphic Equalizer The Graphic Equalizer algorithm offers eight frequency bands each with a maximum boost cut of 15 dB The following frequencies are available for processing 50 Hz 100 Hz 250 Hz 500 Hz 1 5 kHz 3 5 kHz 7 kHz 14 kHz As this effect is actually an insert effect we recommend that you route the effect post fader but disable the channel s main routing In this way only the processed signal will be audible via the FX return path FHE GRAPHIC dE Fig 5 23 Parameters of Graphic Equalizer algorithm 5 2 23 LFO Filter The LFO low frequency oscillator provides three different operating modes low pass high pass and band pass The low pass filter allows low frequ
42. allow for proper air flow around the unit and do not place the DDX3216 close to radiators or power amps so as to avoid overheating 057 Only use the screws holding the DDX3216 side panels to fasten the 19 rack mounts 17 2 Audio connections 17 2 1 Analog connections You will need a large number of cables for the various connections of the console The illustrations below show the wiring of these cables Be sure to use only high grade cables Use commercial RCA cables to wire the 2 track inputs and outputs You can also connect unbalanced devices to the balanced input outputs Use 1 4 phone connectors or link the ring and shaft when using 1 4 TRS connectors or pins 1 amp 3 in the case of XLR connectors Balanced use with XLR connectors 1 ground shield 2 hot ve 3 cold ve For unbalanced use pine 1 and pin 3 have to be bridged Fig 17 1 XLR connections Unbalanced use of 1 4 phone connector sleeve ground shield tip strain relief clamp signal sleeve Fig 17 2 1 4 phone connector Balanced use of 1 4 TRS connector sleeve ground shield tip strain relief clamp hot ve sleeve ring cold ve For connection of balanced and unbalanced plugs ring and sleeve have to be bridged at the stereo plug Fig 17 3 1 4 TRS connector Insert send return with 1 4 TRS connector sleeve ground shield tip strain relief clamp send out sleeve ring
43. allows you to poll all RS232 and MIDI ports on your PC and to adjust the communications parameters automatically 9 1 2 File management 74 DDX3216 File Exchange File Configuration Info Card Files Name Internal Files Desktop 3 Arbeitsplatz 9 25 3 5 Diskette 1 9 SYSTEM SJ 0083216 Project all BCH Channel Library Library Dynamics Library Effects Library BA Automation Data BSN Snapshots BSU Setup ja Intro BA OKB Datei BA 22 03 2001 15 51 BEX Operating System a Vocals BEQ OKB DateiBEQ 22 03 2001 15 53 495 V1_00 BEX DateiBEX 22 03 2001 15 53 ajSong_1 BEQ DateiBEQ 22 03 2001 15 50 No communications port selected Fig 9 2 Windows software DDX3216 File Exchange The DDX3216 File Exchange software comprises three windows which display the contents of the PC card inserted into the PC card slot of the DDX3216 card files the contents of the internal flash memory of the DDX3216 internal files and the contents of the network drives of your PC window on the right works similar to a Windows Explorer window Use the typical Windows commands Mark all rename delete paste copy insert for the management of the various file types see chapter 9 FILE MANAGEMENT Naturally you can exchange files between the individual windows using the Windows
44. and quit the automation Set the guitar channel to PLAY and listen to the result You can change from absolute to relative mode and vice versa at any time during the mix even if certain channels are just being recorded Any change overs are done simultaneously for the whole console It is therefore not possible to have some channels in absolute mode and some in relative mode 40 11 DYNAMIC AUTOMATION 11 2 3 Various operating modes For the control of individual channels each channel has an AUTO REC switch with a two color LED which allows you to set each channel individually to the operating modes MANUAL PLAY RECORD READY or RECORD The switch LED indicates the current channel status The global RECORD and PLAY switches in the left switch block are effective on all channels at the same time 057 Dynamic automation must be enabled for this switch to work When automation is disabled the AUTO REC switch controls the SNAPSHOT SAFE function see chapter 10 4 Snapshot safe func tion Operating mode State of the AUTO REC switch LED MANUAL PLAY lights up green RECORD READY flashes red RECORD lights up red Tab 11 1 Various states of the AUTO REC switch LED MANUAL mode In MANUAL mode the AUTO REC LED is not lit the channel is user controllable and does not record nor respond to dynamic automation data PLAY mode In PLAY mode the AUTO REC LED lights up green The control elements reproduce the previously
45. and switches on your DDX3216 can be remotely controlled from MIDI controllers Additionally you can transmit the movements of controls and switches via MIDI controllers for example to operate external MIDI devices from the DDX3216 A list of all MIDI controllers transmitted and received by the DDX3216 can be found in chapter 18 2 MIDI control changes MACHINE CONTROL To allow for the reception transmission of MIDI MACHINE CONTROL commands you need to check the associated checkboxes DIRECT PAR EXCL Changes to all controls that can be automated are transmitted and received by the DDX3216 in the form of MIDI system exclusive data Check the appropriate checkboxes to enable these functions A complete list of all MIDI sys ex data received transmitted by the DDX3216 is available from your BEHRINGER Customer Support team or our Internet web site at www behringer com RX TX Only determines which parameter values in the various sections are received transmitted both via MIDI controllers and MIDI sys ex data 14 EXPANSIONS The DDX3216 has two option slots on the rear panel which are used to enhance the console with optionally available modules For example you can equip your console with additional digital interfaces Available modules are based on the formats AES EBU 8 inputs and 8 outputs ADAT 2 x 8 inputs and 2 x 8 outputs and TDIF 1 2 x 8 inputs and 2 x 8 outputs as well as a 19 interface unit for
46. as well as on its sample rate gt Changes made to the clock setting must be finalized by pressing ENTER 12 2 Test oscillator The built in test oscillator is controlled on the OSC GEN page in the SETUP menu and is used to test and adjust inputs and connected devices It also generates white and pink noise for the speaker calibration ALL BUSSES AU 2 4 AURES SELECT Fig 12 2 OSC GEN page in the SETUP menu Master controller 1 SOURCE selects the desired test signal Available choices are 100 Hz 1 kHz and 10 kHz sine waves white noise equal energy per frequency and pink noise equal energy per octave If ISO is selected master controller 2 can be used to adjust and generate an ISO frequency The SEND TO option master controller 3 allows you to route the selected signals to the outputs If SELECT is checked master controller 4 controls the outputs to which the oscillator signals are sent Master controller 5 LEVEL controls the relative level referenced to a full scale output 0 corresponds to the maximum output level available Master controller 6 IN OUT turns the oscillator on or off I3 The OSC GEN page uses the effect returns 1 2 to generate and route the test signal When the test signal is switched on all settings for the FX returns 1 2 will temporarily be disabled and replaced by the OSC GEN settings Switching the test oscillator off sets the FX returns back to their previous settings 12 3
47. controller 6 MAIN controls the routing to the stereo main bus This signal is always post fader as well as post mute pan 4 2 Multi track bus faders The faders for the multi track busses are activated by pressing fader bank switches BUS OUT 1 16 in the switch block By default this will also assign the level meters to the multi track bus faders Normally the multi track bus outputs are available via the digital I O modules but can also be assigned in the I O menu to any of the four multi outputs The multi track busses can be grouped or paired using the PAIR and GROUP switches 4 3 Aux and FX sends Each of the 32 input channels has four aux and four FX sends The effect returns have four aux sends The levels for each send or aux path can be adjusted separately and also their position in the signal path pre or post fader can be determined specifically 22 4 CHANNEL ROUTING AND BUSSES aux FX sends are adjusted with the channel controllers and the display Using the AUX and FX switches in the left switch block you can assign one common aux or FX send to the channel controllers of channels 1 16 or 17 32 When you press the AUX and FX switches in the left switch block the AUX and FX send page is displayed providing you with an overview of all sends and masters including their pre and post fader settings 057 If DISPLAY FOLLOWS CHANNEL CONTROL the PREFS page in the SETUP menu is activated default the c
48. devices So there is no need for an additional wordclock connection between the DDX3216 and connected AES EBU equipment The sampling rate is not fixed and can be selected freely Typical sampling rates are 32 kHz 44 1 kHz and 48 kHz The AES EBU interface is largely compatible with the S PDIF interface widely used in semi professional applications The connection can be made using a specific adapter However as there are some differences in terms of data structure and electrical specifications we do not recommend the use of such a connection 958 S PDIF XLR Level 02 Vto5V pp 02Vt005Vpp Clock accuracy defined oe Pe Ill variable pitch not defined Tab 14 2 AES EBU and S PDIF specifications 14 2 ADAT The ADAT Multi Channel Optical Digital format was developed by ALESIS company and has been implemented both in digital recorders of different brands and in effects devices synthesizers hard disk recording systems and computer interfaces Meanwhile plenty of peripherals are available for this interface such as microphone preamplifiers external A D and D A converters etc And you can also retrofit your DDX3216 with an ADAT based interface The ADAT format transmits eight digital channels simul taneously via optical plastic cables Professionals often refer to this interface standard as lightpipe because of the optical connection which can even be seen just send a signal over the ca
49. elements to be recalled by loading a snapshot preset The settings can be edited with the master controllers 10 4 Snapshot Safe function When the dynamic automation is disabled you can use the AUTO REC switches in the channel strips to put the channels into SNAPSHOT SAFE mode Channels in this mode will not be affected when you load a new snapshot SNAPSHOT SAFE is indicated by a flashing green LED in the AUTO REC switch 10 5 Saving snapshots Snapshots can be saved in a preset memory by pressing the STORE switch which also displays the STORE SNAPSHOT menu 1 CURRENT TORE A Fig 10 3 STORE SNAPSHOT menu In this menu you can assign a name to the snapshot and select the preset memory of your choice with the UP and DOWN switches Depending on the user settings on the PREFS page in the SETUP menu you will be prompted to confirm your store command before the stored preset can be overwritten The FADE time stored with the preset is shown in the upper right corner of the display FADE TIME and can be edited with master controller 6 10 SNAPSHOT AUTOMATION 39 11 DYNAMIC AUTOMATION 11 1 Introduction has always been the dream of audio engineers to be able to automate and save their often complex mixes of music and soundtrack recordings Just imagine the following scenario The recording of a movie soundtrack also involves the recording of an orchestra and choir
50. fast the compressor restores the original gain level once the signal has dropped below threshold Fast release times cause the gain to be restored quickly with longer settings the gain is restored more gradually Short release times minimize the duration of the gain reduction and are ideal for peak limiting In compressor mode ratio of less than 10 1 fast release times can lead to audible pumping because the compressor is changing gains constantly and quickly This effect can be reduced by using longer release times Finally high values of 3 to 5 s are often used for classical music to preserve the dynamic relationships between various passages On the DDX3216 the release time can be adjusted from 20 ms to 5 s The GAIN controller allows you to adjust the overall level of the signal to be processed Typically the gain will be increased to make up for the gain reduction in the compressor In such a case the GAIN controller functions like a fader The gain is adjusted after the dynamics section and can be adjusted from 0 dB to 24 dB The knee determines how the compressor reacts close to the threshold On the DDX3216 you can gradually adjust the knee characteristic one hard knee and five softer settings In hard knee mode the transition from no gain reduction to the adjusted compression ratio is quite sudden with a soft knee setting the transition is more gradual This effect can be clearly we I
51. low distortion characteristics The 24 bit AKM A D and CRYSTAL D A converters feature excellent technical specifications and audio properties reproducing even the tiniest details of the analog input signal All computations are performed by four state of the art SHARC DSPs made by ANALOG DEVICES The professional motorized faders made by ALPS are of excellent quality and offer you maximum precision as well as smooth and low noise operation even after many years of use so as to reproduce level settings with highest accuracy To complement this design the choice of components includes low tolerance resistors and capacitors and several other stringently selected elements The DDX3216 uses SMD technology Surface Mounted Device These subminiature components adapted from aerospace technology allow for an extreme packing density to further improve the console s overall reliability Additionally your DDX3216 was manufactured in compliance with 1509000 certified management system 1 2 3 Open architecture As the operating system firmware of your DDX3216 is stored in a flash ROM you can update the OS at any time from a personal computer or PC card We are committed to improving the DDX3216 operating software working on new algorithms and considering your ideas and suggestions The resulting software updates will be made available free of charge on the Internet so as to ensure that your DDX3216 will never outdate Wha
52. moderately the filter makes the reverb sound more natural HiShv Cut 0 to 30 dB Use this parameter to determine the attenuation of the low pass filter wired to the input of the algorithm Hi Freq 0 2 to 20 kHz Controls the cutoff frequency for the HiDec Damp parameter HiShv Freq 1 kHz to 10 kHz Controls the cutoff frequency of the low pass filter controlled with the HiShv Cut parameter Stereo Width 0 to 20 Controls the basic stereo width of the reverb Metalres 0 to 20 This parameter determines the structure of the reverb spring and controls the reverb attack Low values emulate a reverb tail that builds up gradually while high values make the reverb appear much faster and give it a rather metallic character 5 2 8 Gated Reverb This type of reverb which is cut off abruptly has become famous through Phil Collins In the air tonight You can determine the duration of the reverb tail the reverb intensity and the threshold for the reverb to come in The effect produced corresponds to a gate which is wired pre output and is controlled by the reverb input Hint when used for rhythmical patterns snare adjust the length so that the reverb is cut off just before the next crotchet that follows g 120 1 4 note 0 5 s reverb length less than 0 5 s DIFFUSION WIDTH DECAY REVERB iLE Fig 5 9 Parameters of Gated Reverb algorithm Decay 1 to 10 s
53. modulated signal Stereo Phase 45 90 and 180 This parameter determines the phase shift of the modulating waveform between the left and right channels 5 2 12 Stereo Flanger This effect algorithm also uses a LFO The input signal is delayed and the delay time is modulated by the LFO The delayed signal is fed back to create resonances of variing frequencies It is often used for guitars and electric pianos but can also be employed for a variety of other signal sources such as cymbals bass remixes etc gt WAVE boy sey MoOoDELAY O ts FLANGER FEEDBACK FEEDE LF STPHASE 5 43 180 Gar Fig 5 13 Parameters of Stereo Flanger algorithm Wave Sine Tri The Wave parameter determines the shape of the modulating waveform sine or triangle Feedback 99 to 99 Feedback controls the portion of the effect signal that is fed back to the effect block Positive and negative values produce contrasting flanging characters LFO Speed 0 05 to 20 Hz The LFO Speed parameter controls the speed frequency of the modulating signal Feedback LP 200 Hz to 20 kHz Feedback LP adjusts the cutoff frequency of a low pass filter acting on the feedback signal Mod Depth 0 to 100 This parameter determines the modulation depth i e the amplitude of the modulating signal Mod Delay 0 5 to 50 ms Mod Delay controls the delay of the modulated signal Stereo Phase 45
54. record a specific control in one channel while you play back another control Normally only those controls will be set to record mode that are actually being moved while all other control elements play back their previously recorded position changes 11 2 2 Relative mode In relative mode you can record relative changes made to an already existing automation i e the new movements are added to the previously recorded positions In this mode the faders move to the O dB position When you start your multi track recorder the faders will not move although the previously recorded movements are shown in the display menu pages FADER and CHANNEL PROCESSING and by the controllers When you edit a channel controller in RECORD READY mode an offset will be added to the previously recorded movement it will continue to play But now the absolute control position is higher or lower depending on which offset has been added For example do as follows to raise the volume level of a guitar solo but without changing the previously recorded fader movements enter relative mode the faders move to their O dB positions and set the guitar channel to RECORD READY Rewind the tape to the position shortly before the guitar solo and start playback Move the fader of the guitar channel to the desired position Now the new fader value will be added to the previous automation data When the guitar solo is over stop the tape
55. recorded automation data and do not respond to manual changes RECORD READY mode In RECORD READY mode the AUTO REC LED flashes red RECORD READY and PLAY are the same as long as no control is moved or no AUTO REC switch is pressed RECORD mode In RECORD mode the AUTO REC LED lights up red i e at least one control element of the channel is in record mode RECORD can be activated only if timecode is being fed to the console 11 2 4 Snapshots and dynamic automation You can also load snapshots in combination with the dynamic automation The effect is the same as if the controls were moved by hand channels in PLAY mode do not respond to snapshot recall but continue to follow the previously recorded automation data channels in RECORD or RECORD READY mode however follow the values loaded with the snapshot and their movements are recorded in the dynamic automation channels in MANUAL mode also respond to snapshot recall but their movements are not recorded Here too the effect is the same as if the controls were moved by hand there is no link to the loaded snapshot When you edit or delete the snapshot afterward the automation values already recorded will remain unchanged And since all movements loaded with the snapshot are completely equivalent to moves made manually they are also fully editable 11 2 5 Global automation switches The three switches RECORD PLAY and RELATIVE in the left switch block are effective simultaneou
56. reset with master controller 6 6 3 1 Channel strip level meters In FOLLOW FADERS mode the 16 level meters in the channel strips CHANNEL METERS follow the fader bank switching i e they read the level of their associated faders These levels can be set quickly easily and accurately Master controllers 1 and 2 provide some additional settings for example you can permanently assign the level meters to a fader bank INPUTS 1 16 INPUTS 17 32 BUS OUTPUTS and AUX EFFECTS so that they always read the levels of that specific fader bank In general both the input and output levels should be adjusted so that all LEDs light up with loud signal peaks an exception being the top red LED which indicates a full scale digital signal and hence warns you of digital clipping Unlike analog equipment digital clipping is so called hard clipping the top of the waveforms becomes square and extremely distorted 32 6 MONITOR SECTION AND LEVEL METERS 7 GROUPS PAIRS AND COPY FUNCTIONS 7 1 Fader and mute groups Fader and mute groups allow you to control several faders or mutes with a single fader or MUTE switch for example to control several assigned channels backing vocals drum set string ensemble etc from one single channel strip This works even if not all channels belong to the same fader bank You can create any number of fader and mute groups and existing groups are conveniently displayed in the FADER menu An ISOLA
57. s tape returns 057 Please make sure that channels 1 16 have not MAIN activated in their routing as this could lead to a superposition of signals when combined with channels 17 32 carrying the tape return signals When doing recordings always monitor the tape return signal coming from the multi track recor ders 48 15 APPLICATIONS Use the faders of channels 1 16 to adjust the levels of the digital recorder tracks and the pre fader aux sends of channels 17 32 to provide the monitor mix for the musicians Connect your monitor system g BEHRINGER TRUTH 2031 to the control room outputs The MAIN output provides the mix signal for the 2 track master recorder 15 2 The DDX3216 in live applications 15 2 1 Live recording with the DDX3216 With its flexible routing options the BEHRINGER DDX3216 is the ideal tool for live recordings as you can create separate FOH and recording mixes with only one console First define the routing for channels 1 16 and 17 32 As the instruments connected to the analog inputs need to be available for recording as well the analog inputs 1 16 are routed to channels 1 16 and 17 32 INPUT page in I O menu This enables you to create an independent mix including equalization and effects with the faders of channels 17 32 In the ROUTING menu channels 17 32 are sent to the 16 busses of the DDX3216 from where they are recorded on a multi track recorder using an optional digital interface In th
58. setting is the MUTE switch mutes pre and post fader sends Muting post fader signals can be helpful in many situations for example when you are using pre fader send signals as a monitor mix for the musicians while recording even if single channels are muted the musicians will still be able to hear themselves 44 12 SETUP 057 We recommend that have the CHANNEL MUTE AFTER FADER function enabled for all recording applications as this will cause the aux and FX sends of the DDX3216 to function like those on an analog console 12 3 3 AUTOMATION AUTO SAVE The AUTO SAVE function saves the dynamic automation file to a PC card as soon as the timecode source fed to the console stops while automation is on Use the controls on the SETUP page in the DYNAMIC AUTOMATION menu to enter a name for the AUTO SAVE file see chapter 11 3 2 SETUP 12 3 4 MAIN CONTROL AS AUX FX MASTER If you activate the MAIN CONTROL AS AUX FX MASTER function the channel controller of the MAIN strip controls the master send level of the aux or FX sends which is selected by one of the CHANNEL CONTROL buttons 12 3 5 DISPLAY FOLLOWS CHANNEL CONTROL When the DISPLAY FOLLOWS CHANNEL CONTROL option is enabled pressing a CHANNEL CONTROL switch in the switch block will automatically display the menu page of the selected function aux send FX send or panorama When this option is disabled pressing a CHANNEL CONTROL switch will assign the
59. signal sources Any changes made to a signal source will be displayed on the selected output only after ENTER has been pressed Master controller provides three presets for all 16 I O module outputs so that you can directly connect these outputs to busses 1 16 channels 1 17 or 17 32 05 The signals for the direct outputs 1 32 are taken pre DSP Turn the Master controller to select the preset of your choice displayed as lt Pressing the controller will transfer the settings to master controllers 1 and 2 Any changes made to the signal source routing will take effect only after ENTER has been pressed Master controller 4 DITHER controls the dither for the output selected with master controller 1 Dither is a low level signal reducing the amount of quantization noise and should be set to the word length supported by the connected equipment Dither can be set to OFF if an exact copy of the input signal is required Here too it should be noted that ENTER must be pressed before any changes will be effective Master controller 5 controls the dither for all 16 outputs at the same time Turn the controller to select the word length of your choice lt or press it to copy the settings to all outputs Press ENTER to finalize the changes I All settings on this page take effect only after ENTER has been pressed Abbreviation MAIN L R SOLO LR AUX 1 4 Aux send 1 to 4 in groups of 2 1 4
60. sync source set to DIGITAL IN On the FS CLK page in the SETUP menu of your DDX3216 define INTERNAL 44 1 kHz or INTERNAL 48 kHz as the wordclock source When all adjustments have been made correctly the ADAT or DA 38 DA 78HR recorder will lock to the wordclock signals provided by the DDX3216 On the INPUT page in the I O menu you can assign the digital inputs of the I O module to the channels of the DDX3216 At the same time the 16 busses allow you to feed a maximum of 16 channels to two digital multi track recorders DDX3216 wordclock master digital ADAT recorder wordclock slave l I O TDIF digital DTRS recorder wordclock slave Fig 15 1 The DDX3216 as master controlling two digital multi track recorders ADAT as master To define your ADAT recorder as the master select the option Module 1 or Module 2 on the FS CLK page in the SETUP menu depending on which option slot accommodates the ADAT interface Now the DDX3216 should indicate whether it is receiving wordclock code or not If yes the console will lock automatically to the wordclock signals provided by the connected ADAT recorder 057 In order to use several ADAT s with your DDX3216 please make sure that only one of them is defined as the wordclock master to which all other recorders must be locked Connect the units via the ADAT sync ports on the rear of your ADAT s Please
61. the buyer of any such circumstance If the buyer fails to submit a written repair order within 6 weeks after notification BEHRINGER will return the unit C O 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 5 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer customer of 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 BEHRINGER 6 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim consequential damages In no event shall the liability of BEHRINGER exceed the invoiced value of the product 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1 This warranty does not exclude or limit the buyer s statutory rights provided by national law in particular any such rights against the seller that arise from a legally effective purchase contract 2 The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law The information contained in this manual is subject to change without notice 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
62. the connection of the AES EBU interface to XLR connectors Only through the integration of these modules you will be able to fully exploit the very special features of your DDX3216 which is the digital routing of up to 32 signals At the moment the following modules are available ADAT INTERFACE ADT1616 16 I O 2x8 IN 2 x 8 OUT ADAT digital interface optical 16 I O 2x8 IN 2 x 8 OUT TDIF digital interface 25 pin D sub 8 I O 8 x 1 IN 8 x 1 OUT AES EBU digital interface 25 pin D sub 19 connector box for AES808 with 4 x XLR IN and 4 x XLR OUT Tab 14 1 Optional expansions for the DDX3216 TDIF INTERFACE TDF1616 AES EBU INTERFACE AES808 CONNECTOR BOX ACB808P lt gt Instructions on how to install the respective interfaces are provided in the accompanying installation manuals INPUT OUTPUT MODULE MULTI D1 MOD 1 2 MOOT 9 48 9 14 1 2 9 16 65 22 1 ENTER ACCEFT Fig 14 1 INPUT page in the menu The I O menu controls the routing of the interface inputs and outputs On the INPUT page see chapter 8 2 1 Input routing you can determine which interface input is assigned to which channel strip This assignment is based on banks comprising 8 inputs each For instance you could assign inputs 1 8 of the interface to channel strips 1 8 on the 00 3216 Figure 14 1 shows a setup t
63. the time needed for the level of the reverb tail to drop to 60 qB PreDelay 0 to 500 ms This parameter controls the delay in ms until early reflections and reverb tail can be heard Hi Damp 0 to 100 This parameter controls a low pass filter which is effective on the reverb tail only If used moderately the filter makes the reverb sound more natural Stereo Width 0 to 20 Controls the basic stereo width of the reverb Hi Freq 0 2 to 20 kHz Controls the cutoff frequency for the HiDec Damp parameter HiShv Cut 0 to 30 dB This parameter allows you to cut the high frequencies of the reverb signal Diffusion 0 to 20 The Diffusion parameter allows you to edit the reverb density Metalres 0 to 20 This parameter determines the structure of the reverb plate and controls the reverb attack Low values emulate a reverb tail that builds up gradually while high values make the reverb appear much faster and give it a rather metallic character 5 2 3 Small Hall The Small Hall algorithm emulates a small but highly reflective hall With its short reverb tail it is ideal for drum sounds and if set to medium reverb times it can well be used for wind instruments too Fig 5 4 Parameters of Small Hall algorithm Decay 0 5 to 1 2 s The Decay parameter controls the duration of the reverb tail which is the time needed for the level of the reverb tail to drop to 60 qB PreDelay 0 to 100 ms This parameter con
64. timecode format and allows you to select the timecode format when CLOCK is used as the timecode source Once the dynamic automation has been activated this control is locked to the timecode rate of the corresponding automation file Erasing this file with AUTOMATION CLEAR allows you to select a new timecode rate AUTO SAVE When the AUTO SAVE function is on it will store the dynamic automation file on a PC card as soon as the timecode source connected to the console stops Use the NAME control to enter name for this AUTO SAVE file 11 3 3 RECORD page The RECORD page in the AUTOMATION menu allows you to select the various parameter to be recorded as part of the dynamic automation nae Record also FRFARAMETERS E COMPREDS 0R AWA SENOS Fig 11 4 RECORD in the DYNAMIC AUTOMATION menu You can also record all parameters of the built in effects processors for example to realize filter sweeps or timecode related modulation effects 11 4 Dynamic automation in practice 11 4 1 Starting a project Save a backup copy of all automation files to a PC card or Personal Computer Then select the AUTOMATION CLEAR option onthe SETUP page in the DYNAMIC AUTOMATION menu to clear the current automation file and disable the dynamic automation Check the timecode settings on the SETUP page If necessary connect the timecode source to the DDX3216 select the appropriate input and s
65. to drop to 60 qB PreDelay 0 to 150 ms This parameter controls the delay in ms until early reflections and reverb tail can be heard Damping 0 to 100 This parameter controls the attenuation of high frequencies in the reverb tail If used moderately damping makes the reverb sound more natural Mic Distance 0 to 100 The Mic Distance parameter determines where the pickup microphones are placed in the room Bass Multiply 10 to 10 Use this parameter to control the decay time in the low frequency range of the reverb tail HiShv Freq 1 kHz to 10 kHz Adjusts the cutoff frequency for the low pass filter controlled with the HiShv Cut parameter Diffusion 1 to 10 The Diffusion parameter allows you to edit the density of the reverb tail HiShv Cut 0 to 30 dB Use this parameter to determine the attenuation of the low pass filter which is controlled with the HiShv Freq parameter and wired to the input of the algorithm 5 2 5 Concert This algorithm emulates the acoustics of a small theater or large concert hall It produces a lively and brilliant sound DECAY EAL SIZE Fig 5 6 Parameters of Concert algorithm Decay 0 8 to 8 s The Decay parameter controls the duration of the reverb tail which is the time needed for the level of the reverb tail to drop to 60 qB PreDelay 0 to 500 ms This parameter controls the delay in ms until early reflections and reverb tail can be hea
66. until the preset of your choice is selected then press RECALL Loading a dynamics library preset will overwrite the A and B settings in the GATE and COMP displays gate and compressor The graphic display to the right of the preset list shows the compressor response curve of each preset to give you a quick overview of the parameter settings 3 6 DELAY menu Use the DELAY switch in the switch block to display a menu for the control of the channel delay and phase function All of the 32 inputs feature a PHASE function the first 16 inputs are equipped with an additional delay unit 425 14 ce 5 BE eam Fig 3 9 DELAY menu DELAY gl 2 Master controller 1 PHASE reverses the absolute polarity of the signal display phase is reversed by 180 The DELAY section inputs 1 16 provides a pure time delay for the alignment of signals in the time domain or to produce delay effects Master controller 2 FEEDBACK routes the output signal from the delay unit back to the input which allows you to create an echo effect The higher the feedback value the longer the echo duration Positive settings produce in phase feedback and negative settings reversed phase feedback The DELAY controller determines the delay duration 0 to 276 ms which is indicated in four different units of measurement milliseconds MS distance in meters M samples SMP and
67. 3 5 kg 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 19 SPECIFICATIONS 55 20 WARRANTY 1 WARRANTY CARD ONLINE REGISTRATION To be protected by the extended warranty the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH in accordance with the conditions stipulated Failure to return the card in due time date as per postmark will void any extended warranty claims Based on the conditions herein the buyer may also choose to use the online registration option via the Internet www behringer com or www behringer de 2 WARRANTY 1 BEHRINGER BEHRINGER Spezielle Studiotechnik GmbH including all BEHRINGER subsidiaries listed on the enclosed page except BEHRINGER Japan warrants the mechanical and electronic components of this product to be free of defects in material and workmanship for a period of one 1 year from the Original date of purchase in accordance with the warranty regulations described below If the product shows any defects within the specified warranty period that are not due to normal wear and tear and or improper handling by the user BEHRINGER shall at its sole d
68. A total of eight stereo microphones 32 backup and four room mics are connected to the recording console i e 44 microphones send their signals to 44 channels on the console An additional 12 channels are used as effect returns for special effects The orchestra performs the music piece for a 12 minute movie scene with the dynamics ranging from pianissimo to fortissimo The signals are applied to an analog studio console with 56 channels and will be recorded on a tape machine During the mixdown the dynamics of the music need to be aligned with the dynamics of the movie scene Two engineers plus two assistants are seated in front of the console to do live mix of the 56 channels as the movie scene is projected on a screen In the 11 minute of the scene one of the assistants forgets to open a muted channel You can certainly imagine what such a mistake meant when powerful automation computers were not yet available Often enough the entire mix had to be redone if only for a tiny correction Soon everybody wished to have a system that would allow for a time based recording of all fader movements and the entire audio world was blissfully happy when Rupert Neve introduced his Necam 1 system in 1977 the world s first fader automation with moving faders was installed in London based Air Studios The RAM available for automation data was 16 Kbytes which was an enormous capacity at the time Musicians and engineers alike were fasci
69. B to 60 dB for the XLR input and from 10 dB to 40 dB for the 1 4 TRS input 2 1 2 Line inputs 13 to 16 Inputs 13 16 are on balanced 1 4 TRS connectors and can be used for line level signals only CHANNEL13 14 13 LINE IN BAL OR UNBAL 516 CLIP 4 20 Fig 2 2 Connectors and controls for inputs 13 16 LINE IN The line inputs are on balanced 1 4 TRS connectors SIG and CLIP LEDs These LEDs monitor the analog signal level after the insert point When gain is in center position the SIG LED lights at approx 36 dBu unity gain indicating the presence of audio The CLIP LED lights at approx 10 dBu unity gain and warns you of signal distortion GAIN Use the GAIN control to adjust the line input signal gain The setting range is from 20 dB to 20 dB 057 On S PDIF page the I O menu you can assign the inputs of channels 13 14 to the digital S PDIF input When S PDIF is selected as the signal source for channels 13 14 the normal channel input signals are replaced by the signals present at the digital S PDIF input 2 1 3 Phantom power and 2 track inputs outputs 1 6 7 12 2 TRACK IN OUT L L TAPE IN TO 15 16 Fig 2 3 Phantom power 2 track The 48 V phantom power required for condenser mics can be activated separately for channels 1 6 and 7 12 The associated switches lig
70. C BCG Dynamics Library _DDX3216 x Effects Library BA Automation Data BSN Snapshots BSU Setup BEX Operating System Song 1 OKB DateiBEQ 22 03 2001 15 50 a OKB Datei BA 22 03 2001 15 51 a Vocals DateiBEQ 22 03 2001 15 53 4 5 1 00 DateiBEX 22 03 2001 15 53 No communications port selected Fig 16 1 WINDOWS software DDX3216 File Exchange In the window on the right select the firmware update file on your hard disk and copy the file to the window in the middle internal files When the file has been copied the console display reads an automatic message Confirm with ENTER to update the operating system of your DDX3216 I Be sure to keep the mains connection of the DDX3216 intact while updating the flash ROM During that process the display reads the message ERASING FLASH Please wait followed by BURNING FLASH Please wait 16 1 2 OS update with PC card Insert the PC card containing the new DDX3216 operating system into the PC card slot then access the PC CARD page in the FILES menu CARO FORMAT EXCHANGE SOFTWARE UPDATE CANCEL Fig 16 2 PC CARD page in the FILES menu Mark the LOAD option with master controller 1 JOB then select UPDATE from the option and the file name of the firmware updat
71. FX or bus outputs of the console can also be routed to the control room output The signal to be monitored is selected in the center section of the MONITOR menu Master controller 2 MONITOR switches the control room output between MAIN MIX and SELECT Master controller 4 SOURCE determines the signal source to be monitored when the SELECT position is selected The inputs as well as the aux FX and bus outputs are all displayed in groups of two Use master controller 1 MODE in positions MONO L and MONO R to assign a single aux FX or bus output to the control room output In this way you can monitor odd aux FX or bus signals in position MONO L and even aux FX or bus signals in position MONO R 057 The MONITOR switch in the switch block starts flashing aS soon as a signal source other than the stereo main mix is assigned to the control room output 6 2 Solo function Like all professional mixing consoles the DDX3216 features sophisticated solo functions to monitor all input channels as well as aux FX and bus outputs via the monitor speakers or headphones independently of all other console outputs Use the SOLO ENABLE switch in the MAIN strip to enable the solo function Active solos replace any monitor signals selected for the control room and or phones outputs SOLO switch in one or several channel strips is pressed If SOLO ENABLE is disabled the channel SOLO switches too are locked out and have no effect on the mo
72. FX send 1104 in groups of 2 DI 1 32 Direct outs of channels 1 to 32 in groups of 2 BUS 1 16 Bus outs 1 to 16 in groups of 2 Tab 8 2 Available signal sources for the 16 outputs 8 2 4 MODULE page in I O menu On the MODULE page in the I O menu you can assign the outputs to the optionally available I O modules Fig 8 4 MODULE page in the I O menu Each I O module is equipped with 8 16 outputs Each group of 8 outputs can be assigned to the internal outputs 1 8 9 16 or MULTI MR outputs 1 16 are dedicated outputs for the I O modules to which almost any mixer signal can be assigned OUTPUT page in I O menu The default assignment is mix busses 1 16 MULTI MR or Multi Mirror offers a digital version of the console s analog main outputs Channels 1 4 are digital copies of the MULTI outputs default aux 1 4 channels 5 6 correspond to the stereo main mix and channels 7 8 carry the solo bus The MODULE page also contains information on the modules installed such as type number of supported channels and version 8 3 Configuring the S PDIF input and output 8 3 1 S PDIF page in the I O menu Your DDX3216 features a digital audio input based on S PDIF format This input is fitted with a sample rate converter that allows you to feed in digital signals with sample rates between 32 and 50 kHz lt E 015 CHAN 120414 SHAPING l HOW OFF cam Fig 8 5 S PDIF
73. Filter The Auto Filter algorithm is quite similar to the LFO Filter but depends on the level of the signal to be processed As this effect is actually an insert effect we recommend that you route the effect post fader but disable the channel s main routing In this way only the processed signal will be audible via the FX return path EASE F EMSITIN ATTACK RELEASE TE ene 5 gt 5 FILTER FILTER FILTER G 3 63 ERE Fig 5 25 Parameters of Auto Filter algorithm Base Frequency 100 Hz to 10 kHz This parameter defines the cutoff frequency of the filter Filter Mode LP HP or BP Use this parameter to determine the type of the Auto Filter LP Low Pass HP High Pass or BP Band Pass Sensitivity 0 to 100 This parameter defines the filter sensitivity i e the threshold above which the filter opens Filter Q 1 to 20 This parameter controls the filter resonance and allows you to accentuate the frequencies close to the cutoff frequency Attack 10 to 1 000 ms Defines the time until the filter opens Release 10 to 1 000 ms Defines the time during which the filter closes 5 2 25 LoFi For years and years digital engineering has been trying to achieve high quality low noise and ever more brilliant audio but a back to the roots trend in the recent past has made more and more people rediscover the warmth of analog sounds The techno and dance community loves vinyl and many a m
74. G seen on the COMP RESSOR menu page with a hard knee setting the graphic display of the compressor curve shows a sharp angle at the threshold with one of the five softer settings the curve becomes gradually flat The key signal determines the amount of gain reduction Normally the key signal is the same signal that is being processed or the mix signal of both channels in stereo link mode In certain applications however it can be helpful to use another signal to control the compressor For example you can duck a music signal as soon as the signal delivered by an announcement microphone exceeds a certain level Another common use of the key input is to use an equalized version of the signal to make the compressor respond only to certain frequency ranges for example to eliminate esses de essing On the DDX3216 you the key input to SELF SUM stereo linked when channels are paired or assign it to any channel from the same fader bank The compressor on the MAIN output always works in stereo link mode 3 5 4 DYNAMICS LIBRARY menu page The DYNAMICS LIBRARY menu page offers a selection of pre programmed dynamics processing presets with descriptive names Of course you can also name and save your own presets CURRENT PRESET 1 SELECT PRESET WO AL HoT EDITED STORE RECALL Fig 3 8 DYNAMICS LIBRARY menu page To load a preset turn one of the controllers below the preset list
75. NFAIR CANCEL Fig 7 5 CHANNEL UNPAIR page SELECT one of the channel s SELECT switch 7 2 3 Pairing aux sends The master aux sends can also be paired and operated as stereo pairs Aux pairs are created on the AUX FX fader bank page using the same pairing procedure as described above There are no limitations except for the fact that only odd and even sends can be paired i e aux 1 amp 2 can be paired but not aux 2 amp 3 7 3 Copying channel settings The COPY function allows you to copy all or specific channel settings to one or several destination channels Press the COPY switch in the left switch block to initiate the process then follow the on screen instructions CHANNEL COPY COPY a channel press the switch the SOURCE channel Fig 7 6 First CHANNEL COPY page Any channel can be copied to any other channel The first CHANNEL COPY page prompts you to select the SOURCE channel whose settings you wish to copy CHANNEL COPY channel bo WHEH Fig 7 7 Second CHANNEL COPY page press SELECT switches hor DESTINATION channel s Once a SELECT switch has been pressed the second CHANNEL COPY page is displayed on which you need to select one or several DESTINATION channels to which the settings of the SOURCE channel will be copied Use the SELECT switches to define any number of destination channels Channels in other fader ban
76. OMATION Fig 2 15 Snapshot automation Almost all settings for the control of audio parameters except for the analog level controls can be stored in any of the 128 snapshot automation memories The switches and LED display in the snapshot automation section give you direct access to these memory locations Further information on this can be found in chapter 10 SNAPSHOT AUTOMATION NEXT Selects the next highest automation memory and displays the SNAPSHOT AUTOMATION menu PREVIOUS Selects the next lowest automation memory and displays the SNAPSHOT AUTOMATION menu STORE Displays the STORE SNAPSHOT menu in which you can name and store the current settings of the console RECALL Recalls the snapshot stored in the selected automation memory PRESET NUMBER display This display reads the number of the current preset or the one that has been selected for loading After selection with the PREVIOUS and NEXT switches the display shows a decimal point indicating that the preset has not been recalled yet Press the RECALL switch to confirm your selection the point in the display disappears Sp SS GSS SS OSS BS 6 6 8 6 E B B E B B dB MAIN MONITOR Fig 2 16 MAIN MONITOR level meters MAIN MONITOR level meter Depending on the current configuration this level meter displays the MAIN or MONITOR bus levels When the solo function is enabled you can also
77. Phantom power 2 track inputs outputs 12 2 1 4 Control room and phones sections 13 2 2 rear panel of the 3216 18 2 2 1 room multi and main DUNS 13 2 2 2 Digital S PDIF wordclock inputs outputs 000 000 13 2 23 SMPTE 5232 1 13 2 2 4 MIDI connections 14 12 SUI and We ace sre secs 14 2 2 6 Option slots 1 and 14 PS 14 2 4 Channels and Main MiX 14 24 1 COMA esien a 14 24
78. SSING switches Use the CHANNEL PROCESSING switches PROC to display the menu pages for the channel processing functions in the selected channel strip EQ gate compressor limiter phase delay or routing Many of these menus have more than one page To scroll through these pages use the PREVIOUS and NEXT switches or press one of the CHANNEL PROCESSING switches repeatedly 3 3 A B function The processing menus provide an A B function that helps you compare two different settings Each time you recall a menu page selection of a new channel or coming from another menu page setting A will always be selected and both A and B have the same parameter settings Now you can edit one of the two pages A or B and switch between them to compare their settings When you quit a menu page selection of another channel fader bank or menu page the settings of the currently inactive page will be erased 3 4 Equalizer 3 4 1 EQ menu page The EQ page of the EQUALIZER menu which can be accessed by pressing the EQ switch in the switch bank allows you to edit the powerful equalization functions of your DDX3216 Each channel has a complete fully parametric 4 band digital EQ with tunable frequency filter quality Q and boost cut All bands can be tuned from 20 Hz through 20 kHz and provide boost cut of max 18 dB The low band can be configured as a low cut LC or low shelving filter LSh the high band as a high cut HC or high shelving
79. T GND PHONES GND FROM 2TR IN MAIN OUT L BALANCED L S PDIF DITHER TRANSMITTER DITHER 2TR OUT R DITHER DITHER MAIN OUT R BALANCED TABLE CONTENTS 1 INTRODUCTION 10 Ma MOI WS INO E Ea a E A EE 10 CONCE E E E 10 Ae 1 e E E E 10 1 2 2 Design concept and 11 123 ee eee ene eee ee cen ene a ee ri i E 11 1 3 Before you begin 11 ssn eects 11 1 3 2 Initial 20 11 EE I 11 2 CONTROL ELEMENTS AND CONNECTORS 3 2 1 1 12 2 1 Connection interfaces and control elements on the top side of the 00 3216 12 2 1 1 Microphone and line inputs 1 12 12 LUN TEM 12 12 2 1 3
80. TE function is also provided which temporarily disables all groups and allows you to use the grouped channels individually without having to delete the group before When the ISOLATE function is disengaged the groups are re activated but are updated to reflect the changes you have made in the meantime 7 1 1 Creating and updating fader and mute groups The GROUP switch in the left switch block allows you to create and update independent fader and mute groups quickly and conveniently Just follow the on screen instructions If dynamic automation is on you will be prompted to switch it off Press ENTER to continue or CANCEL to quit To get a clear picture of existing fader or mute groups press the FADER bank switches to display all groups see chapter 7 1 2 Viewing groups FE UE To group fungroup FADERS press the channel s SELECT switches GROUP CANCEL To group fungroup MUTES press the channel s MUTE switches Fig 7 1 GROUP page As long as the GROUP page is displayed the SELECT and MUTE switches only indicate the group status of the faders SELECT switches and mutes MUTE switches based on the following modes Flashing switch Channels with a flashing switch do not belong to any group Unlit switches Channels with unlit switches are part of an already existing group Constantly lit switches Channels with constantly lit switches belong to a currently selected group
81. The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time Object and liquid entry Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings Damage requiring service The appliance should be serviced by qualified service personnel when the power supply cord or the plug has been damaged or objects have fallen or liquid has been spilled into the appliance or the appliance has been exposed to rain or the appliance does not appear to operate normally or ex hibits a marked change in performance or the appliance has been dropped or the enclosure damaged Servicing The user should not attempt to service the appliance beyond that which is described in the operating instructions All other servicing should be referred to qualified service personnel gt gt gt FOREWORD Dear Customer Welcome to the team of DDX3216 users and thank you very much for expressing your confidence in BEHRINGER products by purchasing the DDX3216 is one of my most pleasant tasks to write this letter to you because it is the culmination of many months of hard work delivered by our engineering team to reach a very ambitious goal To produce a digital mixer which fully satisfies your and our expectations and delivers a superior sound quality easy operation and technical specifications The task to design the 00 3216 certainly meant a gr
82. achine providing timecode information or pressing the AUTO REC switch of a channel in RECORD mode In OFFSET mode an offset is added to the previous automation data which corresponds to the difference between the previously recorded position of the control element and its current position when leaving RECORD mode In WRITE TO END mode the last value adjusted for the controller in question will be used for the entire automation process I RELEASE mode can be changed at any time during mix UNDO Undoes the last pass of automation record a pass refers to the passage between the start and stop of timecode The currently selected UNDO level one of two is shown in the display When you activate RECORD after UNDO the REDO option will no longer be available i e the UNDO level is set back to 0 REDO Repeats the last pass of automation record Two REDO levels are available however only if the UNDO function has been used since the last automation record The current REDO level is shown in the display When you activate RECORD after UNDO the REDO option will no longer be available i e the UNDO level is set back to level O FADEBACK This option causes all channels in RECORD mode to fade back to their positions in the previous automation pass and enter RECORD READY The FADEBACK time is shown above the master controller and can be edited by turning the knob TIMECODE display Reads the current timecode an
83. adjust some basic settings which can be fine tuned later on if need be I By the way if you need more analog inputs than provided by the DDX3216 you can connect external A D converters to the digital connectors of the optionally available interfaces There are plenty of solutions available for the digital formats AES EBU ADAT and TDIF We recommend using external A D and D A converters made by RME Musical Setting the sound for a musical is one of the most demanding tasks in sound reinforcement The audience expects to see and hear a perfect synthesis of sound light and stage sets Quick set changes and a large number of actors and performers require maximum attention of all people involved Even minor mistakes can ruin the entire performance Often you have an orchestra playing and need to cue in various playbacks with timecode precision For this purpose audio engineers conductor and performers must be given exact cues for their entries The BEHRINGER DDX3216 features pioneering functionalities for such applications you can recall snapshots by means of timecode based MIDI program changes so as to accurately follow any change of stage sets The dynamic automation allows for complex mixes which could otherwise be realized in recording studios only Additionally the director can change audio and light scenes in parallel via MIDI and thus give the audio engineers enough time and opportunity to fine tune and perfect their mi
84. adjusts the cutoff frequency of a low pass filter acting on the feedback signal 5 2 16 Flanger This algorithm provides a mono version of the Stereo Flanger algorithm see chapter 5 2 12 WAVE MOODEFTH MoOoOdELAT FLANGER 30 0 50 2 SOE 1 30 Fig 5 17 Parameters of Flanger algorithm Wave Sine Tri The Wave parameter determines the shape of the modulating waveform sine or triangle Feedback 99 to 99 Feedback controls the portion of the effect signal that is fed back to the effect block Positive values increase negative value reduce the volume of the repetitions LFO Speed 0 05 to 20 Hz The LFO Speed parameter controls the speed frequency of the modulating signal Feedback LP 200 Hz to 20 kHz Feedback LP adjusts the cutoff frequency of a low pass filter acting on the feedback signal Mod Depth 0 to 100 This parameter determines the modulation depth 1 the amplitude of the modulating signal Mod Delay 0 5 to 50 ms Mod Delay controls the delay of the modulated signal 5 2 17 Chorus This algorithm provides a mono version of the Stereo Chorus algorithm see chapter 5 2 11 WAVE LFO FEED MODDELAY CHORUS TRI 52299 2 Gar Fig 5 18 Parameters of Chorus algorithm Wave Sine Tri The Wave parameter determines the shape of the modulating
85. al processing have made it possible to improve the quality of digital consoles to such an extent that they are now challenging their analog competitors Which benefits do digital mixing consoles offer 1 Flexibility in signal processing and routing since most of the signal processing is done in the software domain designers can let their imagination run free The functions implemented in an analog console are determined by the hardware used so that later modifications and updates are usually impossible The functionalities of digital mixing consoles however can be expanded with the help of software updates 2 mixing results become predictable unlike analog consoles which use a sophisticated set of analog com ponents to realize a specific audio result digital signal processors always give you predictable results because audio signals are processed with the help of so called algorithms calculation rules based on mathematical formu las and equations The designers of such algorithms can use a wealth of sound possibilities greatly exceeding those of analog circuits and devices 3 noise generation during signal processing since the entire signal processing takes places in the mathematical domain once the signal has been converted from analog to digital in the A D converter no further noise will be added in the console The only noise sources in digital consoles are preamplifiers and A D converters of poor qua
86. amics library effects library and dynamic automation settings SNAPS Single snapshot automation file containing all snapshot memories CHANLIB Single channel library file containing all channel libraries EQ LIB Single EQ library file containing all EQ libraries DYN LIB Single dynamics library file containing all dynamics libraries FX LIB Single FX library file containing all effects libraries AUTOM Dynamic automation files SETUP DDX3216 setup files UPDATE OS update file firmware for the operating software of your DDX3216 see chapter 16 1 Updating the DDX3216 operating system 9 1 Saving loading files to from a computer You can download the free DDX3216 File Exchange software from our website www ddx3216 com The software enables the console to communicate with a Windows PC Windows 95 or higher 9 1 1 Communications setup In order to use the program you need to establish a connection between the console and computer either via the serial PC port and the RS232 interface on the console or via MIDI connection RS232 serial interface Connect the 5232 port on the console 9 pin D connector to a free serial port on your PC Use the enclosed serial cable 1 1 connection You should also know which COM port is assigned to the serial port you are using If in doubt consult the computer user manual Press the FILES switch in the left switch block of the DDX3216 until the EXCHANGE page is dis
87. amp 0 to 100 This parameter controls a low pass filter which is effective on the reverb tail only If used moderately the filter makes the reverb sound more natural Rev Delay 0 to 500 ms This parameter controls the delay between the early reflections and the reverb tail ER REV Bal 0 to 100 Use this parameter to adapt the ratio of early reflections and reverb tail to suit the audio signal processed Diffusion 0 to 20 The Diffusion parameter allows you to edit the density of the reverb tail Size 1 to 50 Size determines the room size with regard to the early reflections The number of early reflections is always the same Stereo Width 0 to 20 Controls the basic stereo width of the reverb 5 2 7 Spring Reverb This algorithm emulates the typical sound of a spring reverb which is known from countless guitar amps However here you don t have that shatter sound produced when the amp gets knocked over DECAY HI DAMPF FREG T WIDTH OLO TORO REVER Fig 5 8 Parameters of Spring Reverb algorithm Decay 2 to 5 s The Decay parameter controls the duration of the reverb tail which is the time needed for the level of the reverb tail to drop to 60 dB PreDelay 0 to 500 ms This parameter controls the delay in ms until early reflections and reverb tail can be heard Hi Damp 0 to 100 This parameter controls a low pass filter which is effective on the reverb tail only If used
88. arameter In this case the LED ring around the controller will be off and turning the controller will have no effect Instead the display will read FUNCTION NOT AVAILABLE AUX 1 4 Assigns one of the four aux sends to the channel controllers FX 1 4 Assigns one of the four FX sends to the channel controllers PAN Assigns the channel pan to the channel controller The channel controller in the MAIN strip exclusively functions as BALANCE control for the stereo mix However for this purpose MAIN CONTROL AS AUX FX MASTER on the PREFS page in the SETUP menu needs to be deactivated ex works 2 3 Proc ess bank ROUTING PHASE DELAY Fig 2 20 Proc ess bank All input channels as well as the main mix outputs are equipped with a comprehensive set of dynamics and equalization functions Inputs 1 16 also have delay sections The signal processing in the selected channel is adjusted by means of on screen controls The CHANNEL PROCESSING switches PROC display the menu pages for the corresponding functions in the selected channel EQ gate compressor phase delay and routing Many of the CHANNEL PROCESSING menus comprise several pages Use the PREVIOUS and NEXT switches to the right of the display to scroll through the available menu pages or press the CHANNEL PROCESSING switch several times The channel processing functions are described in full detail in chapter 3 DIGITAL CHANNEL PROCESSING
89. ass effects including such standard effects as reverb chorus or delay but also unconventional effects such as a ring modulator plus various filter and lo fi effects Any parameter changes made on the four effects processors can be recorded and played back as part of a dynamic automation 6 Stage 8 Gated Reverb 9 Stereo Delay Tab 5 1 Effect algorithms and effect processor configurations The first two multi effects processors FX 1 amp FX 2 allow you to select any one of the effect algorithms available while processors FX 3 amp FX 4 are limited to the effect algorithms 15 26 To help you get to know the variety of effect algorithms available the DDX3216 comes loaded with 50 presets with descriptive names created by professional audio engineers 5 1 FX menu Use channel controllers FX 1 4 in the switch block to display the various pages of the FX menu To edit one of the four multi effects processors you first need to select an algorithm for the desired effects processor on the LIB page 5 1 1 Selecting an effect algorithm On the LIB page in the FX menu you can select one effect algorithm for each of the four multi effects processors SEND FH 2 LIE CURRENT 2 SELECT PRESET CATHEDRAL HoT EDITED STORE RECALL Fig 5 1 page in the FX menu Master controller 6 determines the effect processor FX 1 4 for which to select an effect algorith
90. beats per minute BPM I Please note that adjusting the delay time can produce audible clicks which is completely normal 3 DIGITAL CHANNEL PROCESSING 21 Master controller 3 MIX adjusts the amount of delayed signal in relationship to the input signal With a setting of 100 you will hear the delayed signal only with 0 only the input signal For pure delay with no signal processing the MIX parameter is set to 100 and FEEDBACK to 0 A single repeat can be realized with a FEEDBACK of 0 and a MIX setting of below 100 For multiple delay echo effects both the FEEDBACK and MIX parameters are used 4 CHANNEL ROUTING AND BUSSES Your DDX3216 features a complete set of stereo main and monitor busses 16 multi track busses as well as four aux sends and four FX sends These busses can be used for a wide variety of applications 0 as pre and post fader sends mono and stereo or as pre or post fader multi track sends with independent panorama Comprehensive routing facilities are also provided I To take full advantage of these features at least one of the optional I O modules needs to be installed 4 1 Channel routing In order to display the CHANNEL ROUTING menu press the ROUTING switch in the CHANNEL PROCESSING section of the switch block and then the SELECT switch of the desired channel Master controllers 2 5 control the routing to the multi track busses and master controller 6 controls t
91. ble and look at the other end of the cable The data format supports signals with a resolution of max 24 bits and a sampling rate of 48 kHz standard configuration deviations are possible due to pitch shifting The data stream is auto clock i e the DDX3216 can clock equipment connected to its ADAT interface or can be clocked by an ADAT device providing a wordclock signal An additional word clock connection is not required 14 3 TDIF 1 The TDIF 1 digital audio format was developed by TASCAM company current version 1 1 Here too eight digital tracks can be transmitted at the same time The maximum sampling rate is 48 kHz the maximum signal resolution 24 bits TDIF 1 connections are made with 25 pin D Sub connectors The cable length should not exceed 5 meters Signals can be synchronized via the TDIF 1 interface even though TASCAM recommends an additional word clock connection The first generation of TASCAM DA 88 recorders is an exception to this rule as these DTRS recorders do not allow for selecting the digital input as a clock source 2 DDX3216 only transmit but not receive word clock signals via its TDIF interface For this reason the DDX3216 must always be configured as the master If you wish to define a connected TDIF device as master you will need to establish an additional wordclock connection 14 EXPANSIONS 47 15 APPLICATIONS Now that we
92. both channels will be used as a key signal so that any gain reduction will be equally effective on both channels Channel pan will also be linked however in reverse direction i when one channel is set to the left the other channel will be panned to the right and vice versa Thus the PAN controller becomes a stereo width control ranging from normal left right stereo via mono to reverse stereo The same applies to the PAN function in the ROUTING menu Only adjacent channels from one fader bank can be paired Example Channels 1 amp 2 or 2 amp can be paired but not channels 1 amp 3 168 17 because they belong to different fader banks When a stereo pair is created the pan positions are automatically set to hard left for the left channel and hard right for the right channel If the option ONLY ODD EVEN PAIRING on the PREFS page in the SETUP menu is enabled only odd even numbered channel pairs can be created 1 amp 2 but not 2 amp 3 Ss create stereo PAIRS ENTER CANCEL press 2 adjacent SELECT switches Fig 7 3 CHANNEL PAIR page Press the PAIR switch in the left switch block to pair two channels This brings up the CHANNEL PAIR page with further instructions The SELECT switches of all channels which are not paired start flashing i e they are available for creating new channel pairs First press the SELECT switch of the channel whose settings shall be ap
93. ced 1 4 TRS connector 10 to 40 dB PAD 20 dB approx 16k 1 kHz 0 02 20 Hz to 20 kHz 20 dB gain 20 dBu at input 24 dBu minimum gain 92 dB 20 Hz to 20 kHz gain 1 0 dBu at input 88 dB 20 Hz to 20 kHz input termination 150 Q lt 90 dB channel 1 against chan nel 2 gain 1 0 dBu at input electronically balanced 1 4 TRS connector 20 to 20 dB approx 20k Q 1 kHz 0 015 gain 1 0 dB at input measured at main out 22 dBu minimum gain 86 dB 20 Hz to 20 kHz gain 1 85 dB 20 Hz to 20 kHz input termination 150 Q lt 85 dB channel 13 against chan nel 14 gain 1 0 dBu at input servo balanced XLR approx 160 1 kHz 16 dBu servo balanced 1 4 TRS connector approx 160 1 kHz 16 dBu servo balanced 1 4 TRS connector approx 160 1 kHz 16 dBu RCA Sample rate converter 32 to 50 kHz RCA 16 20 and 24 bits Noise shaping Wordclock input output Input Connector Input impedance Output Connector Output impedance Signal type SMPTE input Connector Input impedance RS232 port Connector Transmission System specifications Sampling rate Signal delay Frequency response Faders Type Resolution Converters A D converters Resolution Oversampling Dynamic range D A converters Resolution Oversampling Dynamic range MIDI interface Type Connectors Level meters Channel Main Special feature Mono inputs 1 12 microphone
94. ck to display the MONITOR menu in which you can determine the signals to be sent to the control room and or phones outputs You can also adjust the solo level and set the solo function from PFL to AFL and vice versa PFL pre fader listen is pre fader and pan AFL after fader listen is after fader and pan 6 1 1 Mono stereo switching The left master controller in the MONITOR menu controls the mono stereo switching This function is particularly useful to position and align two stereo speakers in MONO mode the signal source must be located precisely between the two speakers to isolate specific signals or to check a mix for its mono compatibility The following options are available Stereo The selected signal source is monitored in stereo Mono L The left channel of the selected signal source is sent at equal levels to both channels of the control room output Mono R The right channel of the selected signal source is sent at equal levels to both channels of the control room output 6 MONITOR SECTION AND LEVEL METERS 31 Mono left and right channels of the selected signal source mixed together The resulting signal is reduced in level by 3 dB to compensate for the higher loudness and avoid clipping Subsequently the signal is routed at equal levels to both channels of the control room output 6 1 2 Monitor switching In addition to the stereo main mix or solo signals any other inputs aux
95. clock signal with the sample rate used by the console TTL level square wave WORDCLOCK IN The wordclock Input is ona BNC coaxial connector and accepts wordclock signals between 40 and 50 kHz I If you encounter problems with the reception of word clock signals you can connect a 75 ohm resistor to the wordclock input of the DDX3216 2 2 3 SMPTE and RS232 inputs 1 6 0 2 HOT 3 COLD Fig 2 7 SMPTE and 5232 inputs SMPTE INPUT The timecode input XLR 3 accepts SMPTE timecode signals for the control of the console s dynamic automation Usually such signals are provided by a computer video or multi track recorder The frame rate and incoming timecode are displayed on the SETUP pages in the MIDI and DYNAMIC AUTOMATION menus 52321 9 RS232 connector enables the DDX3216 to communi cate with a computer For example you can save and load files or update the DDX3216 operating system Of course you will find an appropriate serial cable 1 1 for the connection to the serial interface of your personal computer included with your 00 3216 2 CONTROL ELEMENTS AND CONNECTORS 13 2 2 4 MIDI connections O THRU OUT Fig 2 8 MIDI connections The MIDI connectors on the rear of the console are on internationally standardized 5 pin DIN jacks Use MIDI cables to connect your DDX3216 to other MIDI equipment Such cables are commercially available their length should not exceed 50 feet
96. cluding all snapshots and libraries as well as all preference and dynamic automation settings 9 2 6 Deleting snapshot or library presets When CLEAR ALL is selected all preset memories will be deleted the on screen switch changes to CLEAR Pressing ENTER brings up a dialog prompting you to confirm your delete all command Clearing the snapshot or library presets will irrevocably delete all of your USER presets 38 9 FILE MANAGEMENT 10 SNAPSHOT AUTOMATION The comprehensive snapshot automation of your DDX3216 stores almost all of the console s settings in one of 128 preset memories To save or load these presets just a few operating steps are required so that you can set up the entire console within a few seconds for a completely new mix or project The serial port and the MIDI interface enable you to save your presets to a PC card or personal computer for transfer to another DDX83216 or for backup and archiving Snapshots can also be switched over by means of program change commands see chapter 13 3 RX TX page in the MIDI menu 10 1 Memory contents of a snapshot preset A snapshot automation preset stores almost all of the console s digital audio settings including the fader mute and pan positions channel processing aux and FX sends output configurations as well as the input output routing Solo settings the status of the switches MON 20 dB and ISOLATE as well as the AUTOMATION control elements are no
97. consult your ADAT user s manual for more information on this DDX3216 wordclock slave digital ADAT recorder 1 wordclock master I O 00 06 34 12 O 00063412 _ digital ADAT recorder 2 wordclock slave Fig 15 2 The DDX3216 as a slave locked to two digital ADAT recorders DA 38 DA 78HR as master Since the DDX3216 cannot process the wordclock information contained in a TDIF signal you need to connect the wordclock output of the DA 38 DA 78HR recorder to the wordclock input on the DDX3216 On the FS CLK page in the SETUP menu set the CLOCK to Wordclock 057 Any additional DTRS recorders are supplied with wordclock code via the sync port of the master recorder and are configured as slaves Please consult the user s manual of your DTRS recorder for more information on this connection DDX3216 wordclock slave ery digital DTRS recorder 1 wordclock master 00 06 34 12 O 00 06 34 12 I Ys OOO digital DTRS recorder 2 wordclock slave Fig 15 3 The DDX3216 as a slave locked to two digital DTRS recorders Use channels 1 16 for the connection of musical instruments and microphones Channels 17 32 are configured on the INPUT page in the I O menu so that they accept the digital inputs of the ADAT or TDIF modules i e they are used as the multi track recorder
98. controlled via the display including the general setup channel processing and the built in effects processors By pressing a switch in the switch block you can display whole groups of associated menu pages Each group has a menu bar on the upper right side and each single menu page has a tab along the top left part of the display A thick black line surrounding the tab indicates the active display page Press the keys in the switch block to the left of the display or the PREVIOUS and NEXT switches to scroll through the available pages The contrast knob on the right below the display allows you to adjust the display brilliance to suit the lighting conditions and viewing angle Master control The six master controllers just below the display operate the controls depicted in the display They function like the channel controllers but feature an additional function which is enabled by pressing the respective controller Navigation switches Use the PREVIOUS and NEXT switches to move from page to page within one specific menu Another way to navigate through the various menu pages is to repeatedly press a switch from the switch block located to the left of the display The CANCEL switch activates the CANCEL button in various menu pages and dialog boxes while the ENTER switch performs different functions in the menu pages and dialog boxes 2 6 Snapshot automation switches and displays PREVIOUS STORE RECALL SNAPSHOT AUT
99. ct a new timecode rate TRANSMIT CHANNEL This parameter determines the MIDI channel 1 16 used by the DDX3216 to send MIDI information to an external device RECEIVE CHANNEL Use this parameter to determine the MIDI channel 1 16 on which the DDX3216 receives MIDI information In OMNI mode press master controller MIDI data are received and processed on all MIDI channels MMC DEVICE MMC DEVICE is the device address of the recording machine or MIDI sequencer to be controlled via MIDI Select 7F to communicate with all MMC compatible devices in your equipment setup 13 2 MACHINE CONTROL page in MIDI menu 13 2 1 MIDI machine control The MACHINE CONTROL page provides transport controls for MMC compatible recorders They can also be used to control the internal timecode of the DDX3216 Before the MMC control can be used you need to enter the recorder s correct MMC device number on the SETUP page Additionally you should enable the transmission reception of MMC messages on the RX TX page 13 MIDI CONTROL 45 CONTROL SETUP LOCATE LOCATE TIHE EHTER TAFE TIHE 00 00 00 00 f 00 00 02 HARE i MARK 2 MARK 3 Fig 13 2 MACHINE CONTROL page in the MIDI menu To operate the various transport controls press the master controllers located below them REWIND FFWD STOP PLAY and RECORD Master controller 1 LOCATE transmits a LOCATE command to the connected device
100. cted Signals below the threshold however remain unaffected On the DDX3216 you can adjust a threshold ranging from 0 dBFS FS digital full scale to 60 dBFS The RATIO parameter determines how much the gain is reduced for signals above the threshold A ratio of 2 1 means that with an input signal exceeding the threshold by 2 dB the corresponding output signal is boosted by only 1 dB which corresponds to a reduction of the dynamic range of 50 above threshold With a ratio of 10 1 a signal increase of 10 dB at the input leads to a signal boost of only 1 dB at the output which results in a 90 reduction of the dynamic range On your DDX3216 you can adjust a compression ratio between 1 1 no compression and 20 1 or 1 so called hard limiting The ATTACK time determines how fast the compressor responds to a signal surpassing the threshold Low values make the compressor reduce the gain almost instantly once the signal exceeds the threshold With longer attack times the compressor reacts more gradually Low settings minimize overshoot which is particularly helpful for limiting Extremely short attack times however in particular on low frequencies can produce distortion Longer attack times allow signal transients to pass but minimize the risk of distortion and hence preserve the distinctive attack phase of certain instruments On the DDX3216 the attack time can be adjusted from 0 to 200 ms The release time determines how
101. cy of 256 Hertz the lowest note on a piano is A double contra octave the highest note is gt The lowest pedal tones of a large church organ are around 20 Hz Most musical signals consist not only of a single frequency but of a combination of multiple frequencies Equalizers allow you to adjust the amplitude relationships between the various frequencies of a specific sound In combination with the filter quality Q the frequency para meters determine which frequency range is processed by the equalizer The Q or QUALITY parameter controls the filter bandwidth i e the lower the filter quality the more frequencies are processed In order to shape the color of a sound with an EQ you usually need to use a relatively low filter quality approx 0 3 to 2 With a high Q value on the other hand you can specifically process very narrow frequency bands for example to remove problematic frequencies or tones without affecting the remaining frequencies Additionally certain special effects can be created The GAIN parameter of a filter determines whether a specific frequency range is emphasized or attenuated Gain is measured in decibels dB a logarithmic unit of measurement that compares two values Without going into mathematical details here it should be mentioned though that a boost of 6 dB equals a doubling of amplitude while an attenuation of 6 dB cuts the amplitude by half The gain range of 18 dB provided by the EQs of y
102. d 9 OPERATING MANUAL November 2001 Version 1 1 moa OS OS E e OE SSE L_ SD na lt um rd 0 0 8 9 05 0 5 m BEHRINGER www behringer com E SAFETY INSTRUCTIONS CAUTION WARNING CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION RISQUE DE CHOC ELECTRIGUE NE PAS OUVRIR A To reduce the risk of electric shock do not remove the cover or rear No user serviceable parts inside refer servicing to qualified personnel To reduce the risk of fire or electric shock do not expose this appliance to rain and moisture 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 DETAILED SAFETY INSTRUCTIONS All the safety and operation instructions should be read before the appliance is operated Retain instructions The safety and operating instructions should be retained for future reference Heed warnings All warnings on the appliance and in the operating instructions should be adhered to Follow instructions A
103. d informs you whether or not the unit is receiving timecode that matches the frame rate of the automation file LOCK if yes NO LOCK if no The timecode source can be selected on the SETUP page in the MIDI menu or the SETUP page in the DYNAMIC AUTOMATION menu MEMORY USAGE This display shows you how much of the internal memory of your DDX3216 is being used 11 3 2 SETUP page 00 06 00 00 cd FRH OAUTO SAVE A Z Fig 11 3 SETUP page in the DYNAMIC AUTOMATION menu AUTOMATION ON OFF Master controller 1 turns the dynamic automation on or off This function is the same as the AUTOMATION ON OFF function the AUTOM page see chapter 11 3 1 AUTOM AUTOMATION CLEAR Clears all dynamic automation files in the DDX3216 The flash memory of the console stores one automation file In order to start a new automation this file must be deleted with AUTOMATION CLEAR Multiple automation files can be saved to a PC card or Personal Computer AUTOMATION CLEAR has no effect on these files SOURCE This control selects the timecode source Available options are OFF no timecode displayed SMPTE SMPTE timecode via XLR timecode input on the rear panel MIDI MTC timecode via MIDI IN on the rear panel or CLOCK internally generated timecode as set on the MIDI MACHINE CONTROL page in the MIDI menu TIMECODE RATE The TIMECODE RATE control displays the incoming
104. des the MAIN MIX signal in a digital S PDIF format The parameters word length and dither for the digital output can be adjusted on the S PDIF page in the I O menu DIGITAL COAXIAL IN This RCA connector allows you to feed in S PDIF signals with a sampling rate between 32 and 50 kHz The input is fitted with a sample rate converter so as to be able to feed in digital signals with a sample rate other than that used by the DDX3216 The S PDIF input can be routed exclusively to channels 13 14 replacing the input signal connected to these inputs see S PDIF in I O menu If the DDX3216 is operated via its digital connectors all digital devices connected to the console must be synchronized to a common wordclock rate With an optionally available I O module installed and devices such as digital multi track recorders connected via digital leads one of these devices must be defined as the wordclock master providing the clock rate for all other units For this purpose the DDX3216 generates internal clock rates of 44 1 or 48 kHz In slave mode the console be clocked via its wordclock input or from an device connected to an I O module The wordclock signal source is adjusted on the FS CLOCK page in the SETUP menu Wordclock signals are usually distributed in a network configuration i using 75 Q coaxial cables BNC T adapters and terminating resistors WORDCLOCK OUT The word clock output is on a BNC connector and provides a word
105. e file from the FILES option The window below SOFTWARE VERSION now reads the version of this file To initiate the updating process press ENTER UPDATE I Be sure to keep the mains connection of the DDX3216 intact while updating the flash ROM During this process the display reads the message ERASING FLASH Please wait followed by BURNING FLASH Please wait 16 2 Recalling the factory presets and auto matic fader calibration To reset the DDX3216 to its default status and at the same time do an automatic fader calibration keep the following switches pressed for about 10 seconds while switching the unit on CH 1 16 and SETUP The process is completed when the faders have returned to their positions 057 Performing this function will erase ALL console settings and restore the factory default settings Be sure to save your user settings to a PC or PC card before you attempt to use this function 50 16 SPECIAL FUNCTIONS 17 INSTALLATION 17 1 Rack mounting The packaging of your DDX3216 contains two 19 rack mounts for installation on the side panels of the console Before you can attach the rack mounts to the DDX3216 you need to remove the screws holding the left and right side panels Then use these screws to fasten the two rack mounts each specifically to one side With the rack mounts installed you can mount the DDX3216 in a commercially available 19 rack Be sure to
106. e left channel of the control room output while the third BUS OUT is assigned to the right channel 057 Solo for the aux FX and bus outputs is always post fader independently of what has been set in the MONITOR menu is not possible to combine input channel FX return solos with aux or FX master bus solos When you activate the solo function for an input or FX return while an aux or FX master bus is soloed all master bus solo settings will be canceled Only the soloed input or FX return will remain 6 3 Level meters With its 16 level meters in the channel strips and a stereo meter in the MAIN strip your DDX3216 offers a comprehensive set of metering options The 16 segment displays give you an accurate indication of all input output levels CHANNEL METERS FOLLOW FADERS HOLD OUTFIT gt Fig 6 2 METERS menu IMF UTS 1 16 IMF UTS 17 22 BUS OUTPUTS Aunt EFFECTS MAIN METER allows you to select either the audio signal set in the MONITOR menu MONITOR or the main mix signal STEREO OUTPUT and send it to the stereo level meter The level meters also feature a variable peak hold time function from OFF to 29 s or infinity which can be controlled with master controller 5 in the METERS menu The peaks are stored not only for the signals displayed but also for the signals that are currently being processed in other fader bank menus The peak memory can be
107. e twelve ultra low noise microphone preamplifiers featuring 24 bit CRYSTAL A D converters can be enhanced by means of additional ADAT or TDIF compliant 8 channel A D converters to make sure that your DDX3216 provides enough connection options even for major scale live applications What is more the DDX3216 features static and dynamic automation functions snapshots to record parameter changes Your DDX3216 is equipped with a large number of ergonomically placed control elements which you can use to operate a variety of functions in a very intuitive way For example the console has 17 faders controlling the levels of 32 input channels 16 master busses four aux sends and four internal effect sends as well as eight effect returns from the on board effects processors The knob or channel controller on each channel is even more flexible as it is always assigned to the same channel as the fader below it but it can control any of nine different parameters on that channel channel pan or the send level for one of the four aux or four FX sends The display with adjustable contrast gives you a Clear picture of various functions such as EQ dynamics routing delay etc The six master controllers below the display control the parameters as shown in the display To give you maximum flexibility and enable you to work quickly and intuitively with the DDX3216 we designed the user interface so that it resembles that of an analog console The
108. ease read chapter 11 DYNAMIC AUTOMATION for a description of the functions performed by these controls 3 DIGITAL CHANNEL PROCESSING Each of the 32 input channels as well as the stereo main mix bus are equipped with a full featured 4 band EQ and a comprehensive set of dynamics including a digital compressor limiter and gate The first 16 inputs also have a delay section All settings for the digital channel processing are stored in the SNAPSHOT AUTOMATION memories enabling you to load or save an entire mix at any time including all EQ dynamics and delay settings The digital channel processing functions are controlled on screen with the help of the corresponding master controllers The EQ compressor gate and delay sections have their own menu pages which can be recalled with the CHANNEL PROCESSING switches PROC A library including a variety of factory presets and a convenient store function is available for specific channels and for individual EQ dynamics and delay sections 3 1 CHANNEL LIBRARIES Use the CHANNEL LIBRARY function to store the complete settings of one channel strip in the form of a single preset 128 memory locations are available 40 of which have been filled with factory presets created by professional audio engineers to give you a Starting point for a wide range of applications The channel library stores the compressor gate EQ and delay settings of one channel strip and can be accessed via the
109. eat deal of responsibility which we assumed by focusing on you the discerning user and musician It also meant a lot of work and night shifts to accomplish this goal But it was fun too Developing a product usually brings a lot of people together and what a great feeling it is when everybody who participated in such a project can be proud of what we ve achieved is our philosophy to share our joy with you because you are the most important member of the BEHRINGER family With your highly competent suggestions for new products you ve greatly contributed to shaping our company and making it successful In return we guarantee you uncompromising quality manufactured under 509000 certified management system as well as excellent technical and audio properties at an extremely favorable price All of this will enable you to fully unfold your creativity without being hampered by budget constraints We are often asked how we manage to produce such high grade devices at such unbelievably low prices The answer is quite simple it s you our customers Many satisfied customers means large sales volumes enabling us to get better conditions of purchase for components etc Isn t it only fair to pass this benefit back to you Because we know that your success is our success too would like to thank the following people whose help on Project DDX3216 has made it all possible allBEHRINGERusers who made valuable contributions wi
110. eature a switchable phantom power supply for condenser mics cf chapter 2 1 3 Phantom power and 2 track inputs outputs LINE IN The line inputs are on balanced 1 4 TRS connectors and function in parallel to the microphone inputs INSERT The insert points are on 1 4 TRS connectors tip send i e connection with input of external device ring return 1 connection with output of external device shaft ground cf chapter 17 2 1 Analog connections In this way you can insert analog signal processing devices before the channel s A D converters Use commercially available insert cables 1 4 TRS on 2 x 1 4 phone connectors for this connection Insert points are very useful when you need to process channel signals with dynamic processors or equalizers The insert points can also be used as tape sends to a multi track recorder PAD This attenuation switch PAD for line level signals or microphones with very high output levels reduces the input gain by 20 SIG and CLIP LEDs These LEDs monitor the analog signal level after the insert point When gain ist closed the SIG LED lights at approx 46 dBu mic 23 dBu line indicating the presence of audio The CLIP LED lights at approx 0 dBu 23 dBu line and warns you of signal distortion 057 Make sure that the CLIP LED does not light up GAIN Use the GAIN control to adjust the mic line input signal gain The setting range is from 10 d
111. ecisely bit by bit you can create complex mixes no musician or audio engineer could accomplish by hand You can store and compare multiple versions of a mix Powerful tools ensure that you can edit your mixes at any time without having to sacrifice anything of what you have achieved before Examples of these are the relative mode which allows you to make moves on top of previous moves or the dedicated automation switches in each channel which enable you to record specific channels while others are played back or controlled manually and finally the UNDO and REDO functions All of these complex tasks can be accomplished with the help of an intuitive user interface After all it is your task to concentrate on the mix not the mixer 11 2 Overview The dynamic automation records the position changes of all control elements in relation to SMPTE or MIDI timecode Almost all audio controls of the console except for the analog level controls setup and monitoring functions are part of the automation Additionally dynamic automation files store a snapshot of the console at the beginning of a mix when the automation is played back all controls including those that were not moved will be reset to their original positions Automated controls are control sensitive the mixer senses when a control is moved away from its pre programmed position and reacts accordingly If a channel is in RECORD READY mode onl
112. ector Connect your headphones to this 1 4 TRS connector The PHONES signal and the CONTROL ROOM signal are identical LEVEL phones This LEVEL control determines the headphones volume and works independently of the control room LEVEL control 2 2 The rear panel of the DDX3216 2 2 1 Control room multi and main outputs MAIN OUTPUTS Ca RING COLD SLEEVE GND 1 GND 2 HOT 3 COLD RING COLD SLEEVE GND Fig 2 5 Control room multi and main outputs CONTROL ROOM OUTPUTS Normally the control room output is connected to the monitor system set up in the control room and provides the stereo main mix or specific solo signals The outputs are on balanced 1 4 TRS connectors with a nominal level of 4 dBu MULTI OUTPUTS The MULTI outputs can carry any of the 28 bus signals in your DDX3216 i e aux outputs FX sends stereo main mix stereo solo bus or one of the 16 master bus signals The outputs must be assigned accordingly on the MULTI page in the I O menu default aux sends 1 4 The MULTI outputs are on balanced 1 4 TRS connectors with a nominal level of 4 dBu MAIN OUTPUTS The MAIN outputs provide the MAIN MIX signal and are on balanced XLR connectors with a nominal level of 4 dBu 2 2 2 Digital S PDIF and wordclock inputs outputs Fig 2 6 Digital S PDIF and wordclock inputs outputs DIGITAL COAXIAL OUT The digital coaxial output RCA provi
113. ed to the currently selected group Once all changes to the existing group have been made press ENTER to finalize the updating process 3 Deleting channels from an existing group Press the GROUP switch in the left switch block to display the GROUP menu Then press an unlit switch from the group from which you wish to delete channels Now the group is selected and any channels belonging to that group are marked by constanily lit switches To delete channels from that group press their lit switches Subsequently all switches pressed start flashing indicating that their channels are no longer members of any group To cancel the entire group press the switches of all channels belonging to the group until they all start flashing Once all changes to the existing group have been made press ENTER to finalize the updating process I If a paired channel is added to or deleted from fader or mute group this will affect both channels belonging to the channel pair When you switch between fader banks while the GROUP menu is displayed you can create groups spanning several fader banks However if the option GROUPS FADERPAGE BOUND on the PREFS page of the SETUP menu is enabled group members can only be recruited from one fader bank I You undo group changes at any time by pressing CANCEL 7 1 2 Viewing groups Groups are displayed in the FADER menu which can be accessed by pressing the corresponding fader bank
114. effects and other peripheral devices Your DDX3216 can be integrated easily into such a studio environment The MIDI connectors on the rear panel are internationally standardized 5 pin DIN jacks To connect your DDX3216 to other MIDI equipment you need dedicated MIDI cables which are commercially available in various lengths However you can also use two conductor shielded cables e g microphone cables and two rugged 180 DIN plugs to make your own MIDI cables pin 2 center shielding pins 4 amp 5 right and left of pin 2 internal conductor pins 1 amp 3 the two outer pins are not used MIDI cables should not be longer than 50 feet I Make sure that pins 4 and 5 one plug are connected to the corresponding pins on the other MIDI IN receives MIDI controller information MIDI THRU provides an identical copy of the signal received at the MIDIIN MIDI OUT the MIDI OUT allows you to transmit data to a computer or other MIDI equipment connected 52 17 INSTALLATION 18 APPENDIX 18 1 MIDI Implementation MIDI IMPLEMENTATION CHART Function Transmitted Recognized Remarks Default OFF 1 16 Changed OFF 1 16 OFF 1 16 Default 1 2 X Messages Altered Note Number True Voice Note ON Note OFF Keys Channels Velocity After Touch Pitch Bender Control Change Program Change Song Pos System Song Sel Tune System Clock Real Time Commands Local ON OFF Aux Message
115. encies to pass but suppresses high frequency signals The high pass filter allows high frequencies to pass but suppresses low frequency signals The band pass filter leaves an adjustable frequency range unprocessed but suppresses all frequencies above and below that range As this effect is actually an insert effect we recommend that you route the effect post fader but disable the channel s main routing In this way only the processed signal will be audible via the FX return path 0 50 FILTER SLEWING FILTER 21 BA Fig 5 24 Parameters of LFO Filter algorithm Speed 0 05 to 40 This parameter adjusts the LFO frequency i e the speed of the filter modulation Wave Tri Sin or Squ The Wave parameter controls the shape of the modulating waveform triangle sine or square Slewing 1 to 50 ms This parameter is available only for the SQU wave and allows you to smooth sharp edges of the square wave Base Frequency 100 Hz to 10 kHz This parameter defines the cutoff frequency of the filter Filter Mode LP HP or BP Use this parameter to determine the type of the LFO filter Available types are LP Low Pass HP High Pass or BP Bandpass Depth 0 to 100 The Depth parameter controls the modulation depth of the filter Filter Q 1 to 20 This parameter controls the filter resonance and allows you to accentuate the frequencies close to the cutoff frequency 5 2 24 Auto
116. ency of the modulating oscillation and thus the panning speed Depth 0 to 100 Depth governs the modulation depth i e the amplitude of the modulating oscillation High values produce a more pronounced effect 5 2 21 Enhancer Enhancers are based on a psychoacoustics principle in that they add artificial harmonics to the original signal thereby increasing its presence and transparency Also the signal loudness the perceived volume level is raised without increasing the actual signal level at least to a considerably minor extent The Enhancer algorithm provides dedicated controls for the bass and treble ranges and also includes a noise reduction gate As this effect is actually an insert effect we recommend that you route the effect post fader but disable the channel s main routing In this way only the processed signal will be audible via the FX return path ENHANCER E eee BA Ger Fig 5 22 Parameters of Enhancer algorithm High Freq 1 to 14 kHz Use this parameter to adjust the cutoff frequency of a high pass filter acting on the high frequency range Signals below that frequency remain unprocessed Bass Freq 50 to 500 Hz This parameter adjusts the cutoff frequency of a low pass filter acting on the low frequency range Signals above that frequency remain unprocessed High Q 1 to 4 The High Q parameter controls the resonance of the high pass filter treble enhancer High values
117. epending on the active fader bank this meter reads the pre fader or pre processing levels inputs or the post fader output level outputs such as bus aux and FX Normally the channel meter follows the fader bank settings and reads the level of its associated fader However it can also display the levels of a fader bank preset in the METERS menu For example the meters can read channels 1 16 while the faders actually control channels 17 32 Always use the highest levels possible but make sure that the red CLIP LED does not light up Clipping can be the source of unpleasant digital distortion in the input output sections of a digital console where the signals are converted into analog or fixed point digital signals CHANNEL CONTROL The channel controller above the faders is basically assigned to the same channel as the fader located below it Depending on what has been selected in the CHANNEL CONTROL bank it can adjust up to nine different parameters of the channel pan or the send level for one of the four aux or FX sends The eleven LEDs grouped around the controller read its current position The channel controller functions are not enabled for all channels in the various fader banks For example the bus output have no aux FX send or pan controls In this case the channel controllers are inoperative their LEDs do not light up SELECT switch Use the SELECT switch to select a channel for on screen editing and for pairing
118. es are often compressed to increase their apparent loudness 20 3 DIGITAL CHANNEL PROCESSING because loud mixes seem to sound better Compression usually involves thresholds well below the peak level of the music signal so that a substantial part of the signal is processed and ratios between 1 1 and 10 1 The attack and release times depend on the program material processed Many compressors including those in the DDX3216 can also be used as limiters Whereas a compressor limits the dynamic range of the signal a limiter makes sure that the signal does by no means exceed a Certain level which is of particular importance in radio broadcasting to ensure that the signal from one station does not interfere with that from another In live applications limiters are used to prevent the power amps from going into clipping and in studios limiters avoid digital clipping Limiters work with thresholds that are close to the highest expected levels and very high ratios of 10 1 or even higher The attack and release times are usually relatively short Finally we should discuss the parameters needed to control a compressor or limiter The THRESHOLD is the level above which the signal is compressed or limited Above the threshold the gain is progressively reduced as the signal level increases This routine is like an automatic fader which goes down when the signal level exceeds the threshold The lower the threshold the more the signal is affe
119. es of the selected file type are displayed below FILES where they can be selected with master controller 3 Subsequently press LOAD to load the file of your choice When you select the file type UPDATE the display reads all operating system update files stored on the PC card How to update the operating system of your DDX3216 is described chapter 16 1 Updating the DDX3216 operating system 9 2 4 Loading snapshot and library files Snapshot and library files contain all of the preset memories used when the file was saved So when you load such a file you will also load all the presets it contains The DDX3216 offers two options to define the preset memories used for storing the presets loaded with a file When REPLACE is selected the files will be written to their Original memory locations overwriting any presets stored there When APPEND 15 selected the presets will be stored in free memory locations only and no existing presets will be over written If there is not enough preset memory available some presets from the file may not be loaded 9 2 5 Loading ALL files Loading ALL files returns the console to almost the same state as when the file was saved re establishing all snapshots libraries user preferences setup and dynamic automation settings Any unused snapshot and library presets will be deleted gt Loading an ALL file overwrites the entire memory contents of your DDX3216 in
120. ession characteristic curve at the threshold KNEE Finally master controller 5 performs the A B function see above and master controller 6 switches the compressor IN or OUT The graphic on the right side of the display shows the curves and meters for the entire dynamics processor including the gate Displayed are the compressor characteristic curve based on the adjusted parameters threshold ratio knee and gain as well as the gate parameters threshold and range In particular the GAIN controller can be adjusted conveniently with the graphic display and also the position of the IN OUT switches is shown clearly when the compressor and gate are off the display shows a 45 straight line indicating no processing The far right part of the display shows two level meters for the input level 1 Input and the gain reduction applied GR Gain Reduction The GR value is the sum of the compressor and gate gain reduction 3 5 3 Compressor parameters Compressors are used to limit the dynamic range of a signal for technical or musical reasons For example you can compress a symphony orchestra recording to make background music allowing the soft passages to be heard and keeping the loud passages from overwhelming all conversation Vocal and instrumental tracks are often compressed to give them more punch and presence the overall mix Thus compressors reduce the need to ride the faders during the mixdown Complete mix
121. faders made by ALPS are motorized i e are automatically set to the correct position The channel controllers have LEDs around them showing their current position The switches above the faders are always assigned to the same channel as their faders and give you direct access to the solo mute and select functions In addition there is even a dedicated automation switch per channel So even when the display is used for other control functions up to six parameters can be controlled simultaneously using the rotary controls or master controllers You will find that the user interface of your DDX3216 can be operated even more quickly than that of a huge studio console with hundreds of controls 057 This manual first describes the terminology used so that you can fully understand the DDX3216 and its functions Please read the manual carefully and keep it for future reference 1 1 Digital vs analog For quite a long time the mixing of audio signals has been the domain of analog mixing consoles Not only were digital consoles extremely costly and hence beyond the means of ambitious amateurs or free lance owners of project studios but they were also looked down upon for lacking the warmth of analog devices While digital technologies have found widespread use in effects processors over the past few years their prices have gone down and the concepts of digital mixing consoles have been reconsidered Latest research findings in digital sign
122. filter HSh Simply press the Q control master controller 4 once or twice respectively Pressing this controller a third time will reset the filter to its fully parametric configuration 5 7 0 Fig 3 3 EQ in the EQUALIZER menu Select the band you wish to edit by turning or pressing the left controller Then turn the second controller to adjust the frequency Press this controller to reset the frequency to its default value The GAIN value boost cut for the selected band can be edited with master controller 3 Press this controller to set the GAIN to 0 Controller 4 determines the factor filter quality Controller 5 controls the A B function so that you can easily compare two different settings The parametric EQ can be switched IN or OUT by turning or pressing the controller located on the far right When the EQ is switched on the graphic display on the right gives you a visual indication of the current EQ setting including the high pass filter The broken vertical line shows the center frequency of the currently selected band When the EQ is out the graphic will show a flat response The IN OUT and A B functions on this page are effective only on the equalizer of the selected channel The HIGH PASS menu page has its own A B and IN OUT functions 3 4 2 HIGH PASS menu page In addition to the parametric equalizer each channel has a dedicated high pass or low cut filter which is contro
123. hat has all inputs of the I O modules assigned to channel strips 1 32 The MODULE page see chapter 8 2 4 MODULE page in the I O menu assigns the 16 available outputs to the optional I O modules Fig 14 2 MODULE page in the I O menu Each I O modules is fitted with 8 or 16 outputs and each group of 8 outputs can be assigned to the internal outputs 1 8 9 16 or to the MULTI MR outputs Figure 14 2 shows one ADAT module installed in the first option slot and one TDIF module in the second I O outputs 1 16 are specific outputs for the I O modules which can carry almost any mixer signal OUTPUT page in the I O menu The default assignment is mix busses 1 16 46 14 EXPANSIONS 14 1 AES EBU The AES EBU interface Audio Engineering Society and European Broadcasting Union is mainly used in professional studio environments and broadcasting applications for the transmission of digital signals over greater distances The connections are made using balanced XLR cables with a specific cable resistance of 110 ohms The cables may be 300 1500 feet long With some minor adaptations even cable lengths of more than 0 5 miles are possible which is not unusual in TV and broadcasting applications The interface complies with the 53 format which allows for the two channel transmission of signals with a resolution of up to 24 bits The signals are auto clock and auto sync which is important for the connection of multiple digital
124. he routing to the stereo main bus _ DESTINATION BUS Fig 4 1 ROUTING menu Each input channel can be routed to any of the 16 busses and the stereo main mix The feed to the stereo main mix is always via the faders and the pan control the feed to the multi track busses can be set pre or post fader Independent level and pan controls for the multi track busses are exclusively available in the ROUTING menu of the channels Master controller 2 LEVEL determines the level that is sent to the multi track busses and controls the pre post fader assignment Turn the controller to adjust the level to the multi track busses independently of the level sent to the stereo main mix Press the controller to change the pre post fader switching When set to pre the signal sent to the multi track busses is pre fader when set to post it is post fader If the CHANNEL MUTE AFTER FADER function on the PREFS page in the SETUP menu is activated the pre fader signal of a muted channel will not be muted when it is sent to a bus Master controller 3 PAN controls the pan of the signals routed to the multi track busses If the FOLLOW CHANNEL function is on the bus pan is the same as the channel If this function is disabled the multi track bus 15 independent of the stereo main bus pan The switches below DESTINATION BUS route the signal to the 16 multi track busses You can select more than one pair of multi track busses Master
125. ht when phantom power is on CH 1 6 This switch activates the phantom power supply for microphone channels 1 6 CH 7 12 This switch activates the phantom power supply for microphone channels 7 12 057 Please mute your audio system before you activate the phantom power supply so as to prevent switch on thumps from being passed on to your monitor speakers and or headphones 12 2 CONTROL ELEMENTS AND CONNECTORS These RCA connectors nominal level 10 dBV are used to return the signals from a stereo master recorder 057 Press the 2 TK TO CTRL switch to monitor the TAPE INPUTS via the control room and or phones outputs TAPE OUT These RCA connectors are wired in parallel to the MAIN OUT and provide the main mix signal with a nominal level of 10 dBV unbalanced TO CH 15 16 This switch sends the signal present at the TAPE IN connectors to channels 15 16 and disables line inputs 15 16 2 1 4 Control room and phones sections PHONES CONTROL ROOM 2 TK T0 CTRL R LEVEL MIN MAX MIN MAX Fig 2 4 Control room and phones sections 2 TK TO CTRL R Press this switch to route the signal applied to the TAPE IN to the control room and phones outputs LEVEL control room This LEVEL control adjusts the control room output level 057 You can also select other signals in the MONITOR menu see chapter 6 1 MONITOR menu and route them to the control room output PHONES conn
126. igital copies and at the same time convert their digital formats 4 Digital router and distribution amplifier A single signal from the console can be routed to several outputs arranged in any order required Thus the console software alone allows you to realize complex patches The I O menu includes two pages for the control of the output routing the OUTPUT page provides the routing controls for the 16 outputs of the I O module and also controls the dither for these outputs on the MODULE page you can determine which outputs are used by which I O module 8 2 3 OUTPUT page in the I O menu The OUTPUT page in the I O menu controls the output routing and provides the routing controls for the 16 I O module outputs which are assigned in groups of 2 Available signal sources are the stereo main mix and monitor busses the 16 mix busses four aux and four FX sends as well as all of the 32 input channels INFUT POUTPUT MOOULE MULTI ALLe 24 ACCEPT CANCEL Fig 8 3 OUTPUT page in the I O menu Master controller 1 OUTPUT selects the output to be edited and shows the current signal source for the selected output Turning or pressing this controller does not change the routing but displays the current routing for each single output Master controller 2 SOURCE selects the signal source for the selected output Press or turn this controller to scroll the list of available
127. is configuration the level adjusted with the faders of channels 17 32 is independent of the level of channels 1 16 Such a routing configuration is also suitable for TV applications For example when doing a live TV show the FOH and TV mixes are always separate because the equalization of e g clip on microphones must be adjusted differently for the P A and TV transmission systems which is no problem when using the DDX3216 as this console can be used for both tasks 15 2 2 Sound reinforcement As the operation of digital consoles has been anything but intuitive until now such consoles have certainly not been considered the first choice of A people The pioneering DDX3216 opens up a new dimension in this area as its parameters can be operated quickly and intuitively which is ideal for sound reinforcement applications Fader and mute groups snapshots and dynamic automation are just some of the advantages no affordable analog console can offer but which make the daily routines of P A technicians much easier Below please find three examples of complex sound reinforcement applications Top 40 band Top 40 bands must be able to perform a comprehensive and often quickly changing repertoire What counts is to be able to play the latest hits and chart breakers and having a good sound is a must Different musical styles require different sounds and effects Often a rock song is followed by a techno or dance hit W
128. iscretion either repair or replace the product 2 If the warranty claim proves to be justified the product will be returned to the user freight prepaid 3 Warranty claims other than those indicated above are expressly excluded 3 RETURN AUTHORIZATION NUMBER 1 To obtain warranty service the buyer or his authorized dealer must call BEHRINGER see enclosed list during normal business hours BEFORE returning the product All inquiries must be accompanied by a description of the problem BEHRINGER will then issue a return authorization number 2 Subsequently the product must be returned in its original shipping carton together with the return authorization number to the address indicated by BEHRINGER 3 Shipments without freight prepaid will not be accepted 4WARRANTY REGULATIONS 1 Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer s invoice Any product deemed eligible for repair or replacement by BEHRINGER under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER 2 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 The
129. ith an analog console such quick changes are often impossible to realize with the DDX3216 problems like these are a thing of the past as you can create dedicated snapshots for each song These snapshots can be recalled within seconds including all stored EQ dynamics and effect settings And as it is possible to recall snapshots via MIDI you can even control them from a master keyboard or MIDI sequencer which is a convenient way to remotely control your DDX3216 Music festival is your job to manage the sound system for a music festival Five bands will be performing on stage one after the other You ve got 30 minutes to change the equipment on stage but no time for sound checks The audiences at such a festival are often disappointed because of the poor sound which is primarily due to the fact that it is almost impossible to re adjust the mixing console and effect settings in the short period of time between the performances of two bands With the DDX3216 however you will accomplish this task in the most easy and straightforward way you could imagine As all console parameter can be frozen and recalled when required you only need a few seconds to re configure the entire equipment for a new band entering the stage For example in the run up to the festival you could agree with each band on their specific setup and can pre program the console accordingly Often the EQ and effects library will be of valuable help to
130. ks can be accessed with the fader bank switches in the left switch block Once a channel has been chosen its SELECT switch is lit constantly SS CHANNEL COPY Choose items to copy COPY CANCEL Fig 7 8 Third CHANNEL COPY page E COMPRESSOR lt SATE Once all of the desired DESTINATION channels been selected press ENTER next to DONE to display the last CHANNEL COPY page Here you can determine the elements to be copied The default setting is COPY ALL Use the master controllers below the list to select the elements you wish to copy turn to select press to change Any changes made here will be stored until you power off your DDX3216 or change them next time you use the copy function 34 7 GROUPS PAIRS AND COPY FUNCTIONS 8 INPUT OUTPUT ROUTING 8 1 MULTI outputs Your DDX3216 is equipped with four freely assignable analog MULTI outputs These outputs are on balanced 1 4 TRS connectors with a nominal level of 4 dBu but can also be connected to unbalanced phone connectors The MULTI outputs allow you to send any signal from the console via one of the analog outputs e g for monitor mixes as analog FX sends monitor paths etc By default the MULTI outputs are assigned to aux 1 4 8 1 1 Assigning signals to the MULTI outputs The signals routed to the MULTI outputs are controlled on the MULTI page in the I O menu
131. lity and of course noise affected signals on the input will be processed with all the noise components they contain while clean signals will stay clear throughout the entire console Analog consoles however always suffer from the basic noise floor produced by their com ponentry which inevitably adds noise to the audio signal 4 Since all parameters and operating steps are realized the form of discrete values they can be easily stored and automated in the analog world this feature can be provi ded by sophisticated and costly consoles only A weak point of many digital consoles is their operating concept Often the entire console and all its functions must be operated from just a few control elements As you will see in this manual it can be done differently The DDX3216 allows you to operate each single parameter quickly and intuitively using separate and dedicated controls Seeing is believing 1 2 Concept 1 2 1 Architecture In its basic version the DDX3216 is equipped with 16 2 analog inputs and ten analog outputs and can be expanded to 32 inputs and 32 outputs 16 at the same time Each expansion card contains 8 16 digital inputs outputs for the integration digital multi track or hard disk recorders samplers MIDI modules external digital effects or additional A D and D A converters Expansion cards are available for the standard digital formats AES EBU 8 I O 16 I O and TDIF 16 I O
132. ll operation and user instructions should be followed Water and moisture The appliance should not be used near water e g near a bathtub washbow l kitchen sink laundry tub in a wet basement or near a swimming pool etc Ventilation The appliance should be situated so that its location or position does not interfere with its proper ventilaton For example the appliance should not be situated on a bed sofa rug or similar surface that may block the ventilation openings or placed in a built in installation such as a bookcase or cabinet that may impede the flow of air through the ventilation openings Heat The appliance should be situated away from heat sources such as radiators heat registers stoves or other appliances including amplifiers that produce heat Power source The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance Grounding or polarization Precautions should be taken so that the grounding or polarization means of an appliance is not defeated Power cord protection Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them paying particular attention to cords and plugs convenience receptacles and the point where they exit from the appliance Cleaning The appliance should be cleaned only as recommended by the manufacturer Non use periods
133. lled on a separate menu page The high pass filter has a slope of 6 dB oct and can be tuned from 4 through 400 Hz It is mainly used to eliminate unwanted low end noise such as rumble microphone handling noise etc Fig 3 4 HIGH PASS the EQUALIZER menu This menu page has its own A B and IN OUT functions which work independently of those found on the EQ menu page The high pass filter is placed directly after the input i it is wired before the equalizer in the signal path 3 4 3 EQ LIBRARY menu page The EQ LIBRARY menu page offers a selection of EQ presets with descriptive names Of course you can name and store your own presets as well Use the control below the preset list to select a preset then press RECALL to load it HIGH Fass LIE CURRENT PRESET GUITOR HoT EDITED STORE RECALL Fig 3 5 LIBRARY page the EQUALIZER menu Loading an EQ library will change the contents of both the EQ and HIGH PASS menu pages and overwrite the settings A and B 3 4 4 EQ parameters Frequency is measured in Hertz Hz oscillations or cycles per second In musical terms frequency corresponds to pitch i the higher the frequency the higher the pitch The interval of one octave corresponds to a doubling of frequency The range of human hearing is from approximately 20 Hz through 20 kHz 20 000 Hz The musical note of middle C corresponds to a frequen
134. lp of a MIDI sequencing software 13 1 SETUP page in the MIDI menu COHTROL SETIF 00 00 00 0014 FRE TRAH MIT CHANNEL 24 25 FRM FF 204 FRM FRE 1 Or 1 TF ALL Fig 13 1 SETUP page in the MIDI menu 13 1 1 Timecode The DDX3216 uses timecode for the automation and MMC control MIDI Machine Control The timecode source can be adjusted on the SETUP page in the MIDI or DYNAMIC AUTOMATION menu SOURCE This control selects the source providing timecode Available choices are OFF no timecode displayed SMPTE SMPTE timecode via XLR timecode input on the rear panel MIDI MIDI full frame timecode via MIDI IN on the rear panel or CLOCK internally generated timecode as adjusted on the MIDI MACHINE CONTROL page in the MIDI menu SMPTE selects the timecode input XLR for receiving any type of SMPTE timecode format e g 24 25 and 30 frames as well as drop frame TIMECODE RATE The TIMECODE RATE control displays the incoming timecode format and allows for selecting a timecode format 24 25 30 NDF non drop frame and 30 DF drop frame when using CLOCK as the timecode source Once dynamic automation has been switched on this control is firmly locked to the timecode rate of the corresponding automation file Erasing this file with AUTOMATION CLEAR allows you to sele
135. m or preset Then use master controllers 3 amp 4 to assign the various algorithms or presets to the selected effects processor Preset 1 BYPASS disables the selected processor while presets 2 27 contain various effect algorithms and cannot be overwritten Finally press master controller 2 RECALL to confirm the algorithm or preset selected with SELECT PRESET When you edit a preset the display below CURRENT PRESET will change from NOT EDITED to EDITED To store an edited effect program press master controller 1 STORE which displays the STORE FX PRESET page on which you can select memory location 28 128 name your preset Press ENTER to store the preset or CANCEL to return to the LIB page Memory locations 28 50 contain 22 effect presets created by professional audio engineers which can however be overwritten to store your own settings 057 Deleted factory effect presets 28 50 can restored only by loading a new operating system software or by resetting the unit to its default configuration see chapter 16 2 Loading factory presets and automatic fader calibration 5 2 Editing effect algorithms The selected effect algorithms can be edited on the corresponding FX pages FX 1 4 5 2 1 Cathedral This algorithm emulates the extremely dense and long reverb of a cathedral and is ideal for solo instruments or vocals in slow songs A CATHEDRAL FREDELAY DENSITY DIFFUSIOH HHISHY
136. m your DDX3216 to a PC card equipped with a flash memory 057 Only use PC cards of the 5 V ATA Flash Card type any memory capacity permitted 9 2 1 Formatting a PC card Before you can save data to a PC card it must be formatted which is done on the FORMAT page in the FILES menu CARD FORMAT EXCHANGE TIE FORMAT Fig 9 4 FORMAT page in the FILES menu Master controller 6 formats the PC card inserted into the PC card slot I Formatting will erase all data on the PC card 9 2 2 Saving files to a PC card After formatting files can be stored on a PC card using the PC CARD page in the FILES menu Turn the master controller on the left JOB select SAVE and the file type of your choice TYPE and assign a name to the file Press ENTER to save the file to the card When you select the file type UPDATE the DDX3216 will store a copy of its current operating system on the PC card which can then be used to update other DDX3216 consoles without a PC involved FC CARO FORMAT EXCHANGE FILES HODE CLEAR ALL Lon CANCEL Fig 9 5 PC CARD page in the FILES menu 9 2 3 Loading files from a PC card Files saved on a PC card can be loaded back via the PC CARD page in the FILES menu Turn the master controller on the left JOB select LOAD and the file type to be loaded TYPE All existing fil
137. meter the level of the solo bus NO 7 Left switch block 17 32 BUS OUT 1 16 AUX FX CH 1 16 RECORD RELATIVE SETUP Fig 2 17 Left switch block 2 7 1 Fader bank om CH 17 32 BUS OUT 1 16 Fig 2 18 Fader bank FADER CH 1 16 AUX FX The 16 channel strips are used to control all 32 inputs and 16 master busses the four aux and four effect masters as well as the eight returns from the built in effects units To this end your console has four fader banks with 16 channel strips each The master fader always controls the stereo main mix The fader bank switches CH 1 16 CH 17 32 BUS OUT 1 16 and AUX FX select the active fader bank The switches and controls in the channel strips are always assigned to the same channel as the faders The fader menu reads the levels of all faders in the current fader bank If faders or mutes have been organized in groups each group has a specific letter assigned to it in the square field above the faders mute groups on top of fader groups All faders or mutes with the same letter are grouped together 16 2 CONTROL ELEMENTS AND CONNECTORS Groups span more than one fader menu page A second press on the fader bank switches CH 1 16 or CH 17 32 displays the CHANNEL LIB page where you can save and recall all channel processing settings for the selected channel To navigate between the two menu pages either press the corresponding fader ba
138. nated to see the faders move as if by magic For the first time ever it was possible to record play back and if need be correct complete mixes Later on Rupert Neve built on his Necam 1 system to develop the flying faders which are today world famous and used in many of his big studio consoles Yet as the consumers audio expectations rose and new audio dimensions were opened up with the introduction of the compact disk in the 805 it soon became clear that automating just the faders would not be enough Rather all other control movements and positions had to be made recordable as well Not rarely assistants were asked to take a photograph of the console with all its control elements once a successful mix had been completed so as to have at least a basic idea of the settings in case the mix had to be restored Even today the dream of a total recall i e of storing all settings of a console can be realized only with enormous cost when using analog technology which is often beyond the budgets of even renowned studios Only since the advent of digital technology in this domain of analog equipment has it been possible to store and automate all parameters of a recording console easily and affordably Your DDX3216 features a comprehensive and flexible dynamic automation system The movements of almost all audio controls on the console can be recorded and played back in relation to timecode Step by step or more pr
139. nels control the SNAPSHOT SAFE function 11 DYNAMIC AUTOMATION 41 When automation is activated even though no automation data have been recorded automation is used for the first time or after AUTOMATION CLEAR the console takes a snapshot of the current mixer state and uses this snapshot as a starting point for the dynamic automation At this point the timecode format for the automation is set and can then no longer be edited on the AUTOM or MIDI SETUP pages without clearing the entire dynamic automation before AUTOMATION CLEAR on SETUP page in DYNAMIC AUTOMATION menu RECORD SWITCH Master controller 2 determines how the various switches work in dynamic automation mode as long as they are activated NORMAL The switches perform their normal function Pressing the control once sets it to RECORD and activates its function 2 x CLICK Pressing a switch once also on the display sets it to RECORD but does not activate its function Once set to RECORD it works as usual The 2 x CLICK function will be required only if a switch press shall not be recorded or deleted as part of a dynamic automation RELEASE mode Master controller 3 determines which mode a control element enters after leaving RECORD mode Three options are available In FADEBACK mode the control element is gradually reset to its previous automation value depending on the adjusted FADEBACK time and once it leaves RECORD mode either by stopping the m
140. nitor output The SOLO ENABLE switch starts flashing as soon as you solo one or several channels If you press this switch now all solos will be canceled 6 2 1 Soloing input channels and FX returns The input channels be soloed both PFL and AFL pre or post fader and pan respectively The PFL AFL setting affects all channels and is selected in the MONITOR menu Output channel solos are always post fader master bus 1 16 aux 1 4 and FX 1 4 You can solo any number of input channels and effect returns at the same time However no inputs can be soloed together with aux and FX paths or BUS outputs master busses If the input channels are soloed and the fader bank is set to BUS OUT 1 16 all active solos will be canceled 6 2 2 Soloing aux FX and master busses Solo for the aux FX and BUS OUTs works slightly differently than for the input channels Here the signal is always post fader and it is impossible to monitor more than two channels at the same time If only one BUS OUT is set to solo it is sent at equal levels to the left and right channels of the control room output If two channels are soloed the first channel is sent to the left and the second channel to the right channel of the control room output If you add a third BUS OUT the channels are assigned as follows The first channel activated is disabled the second channel activated assumes the role of the first channel activated and is routed to th
141. nk switch or use the PREVIOUS and NEXT switches to the right of the display 2 7 2 Channel control bank I Fig 2 19 Channel control bank The channel controller above the fader is always assigned to the same channel as the fader below it and can be used to control one of nine channel parameters channel pan or the send level of one of the four aux or four FX sends The eleven LEDs surrounding the controller indicate its current position The parameter assigned to the controller is selected by means of nine dedicated switches located in the switch block in the left console section These switches also display the menu page for the selected function When the function DISPLAY FOLLOWS CHANNEL CONTROL PREFS page in SETUP menu is enabled the first press of the CHANNEL CONTROL switch also displays the associated menu page send FX 1 4 or LIB page When this function is off the menu page will be displayed only by pressing the CHANNEL CONTROL switch a second time in this mode only the channel controller function will be changed As with all display pages multiple presses of the CHANNEL CONTROL switch display the available menu pages which can also be done with the PREVIOUS and NEXT switches to the right of the display The FADER functions for the rotary control are not available for all channels For example the bus outputs have no aux or effect sends nor do they have a pan p
142. ny time by selecting a preset with the PREVIOUS and NEXT switches and pressing RECALL or ENTER The switches RECALL PREVIOUS or NEXT also display the SNAPSHOT menu which shows the name and number of the current preset as well as the name and number of the selected preset which is loaded when you press RECALL or ENTER Pressing the CANCEL switch returns you to the previous menu without affecting the snapshot presets or current mixer settings SELECT RECALL EDITED ENTER Ta FECALL CANCEL Fig 10 1 SELECT page the SNAPSHOT menu CURRENT PRESET 1 SELECT PRESET 1 The FADE time can be adjusted with master controller 2 This parameter allows for a gradual crossfade between the current mixer settings and the stored snapshot settings which includes all faders pan controls as well as the aux and FX send levels All other control elements including the mute channel routing and channel processing settings are loaded instantly With the UNDO switch above master controller 6 you can undo a preset load command and reset all contro elements to their positions before loading a snapshot preset SELECT RECALL Channel items to Recall e Recall E COMPRESSOR AWA SENOS 0 ROUTING FAIRS GROUPS Fig 10 2 RECALL page the SNAPSHOT menu The RECALL page in the SNAPSHOT menu allows you to select all
143. or isolates all groups but has no effect on paired channels The LED in the ISOLATE switch lights up as long as all groups are disabled When the ISOLATE switch is engaged all members from one group can be set independently of each other for example to re adjust the balance between grouped channels When ISOLATE is turned off all groups are re activated using the new mute and fader positions as link values SETUP OSC Displays the SETUP menu for controlling the parameters word clock user preferences and oscillator Details on this can be found in chapter 12 SETUP Displays the menu pages for the input output and multi output routing S PDIF input output and dither for the digital outputs of optional I O modules on these menu pages be found chapter 8 2 I O Routing FILES Displays the menu pages for saving loading and deleting files and for updating the operating system Details on these functions can be found in chapter 9 FILE MANAGEMENT MMC MIDI Displays the menu pages for the MIDI and MMC settings MIDI Machine Control For detailed information please read chapter 13 MIDI CONTROL 2 CONTROL ELEMENTS AND CONNECTORS 17 E 2 7 5 Auto mation bank Fig 2 22 Auto mation bank In combination with the AUTO REC switches in the channel strips the AUTOMATION switches are used to control the dynamic automation of your mixing console Pl
144. or grouping several channels Normally only one channel can be selected at a time When you select a channel that belongs to a channel pair the SELECT switch of the other channel starts flashing Now all changes made to the selected channel will affect the other channel as well When you select a channel that belongs to a group of channels only the fader setting will be transferred to the other group channels AUTO REC switch AUTO REC controls the dynamic automation see chapter 11 DYNAMIC AUTOMATION When automation is off AUTOMATION menu via SETUP switch the AUTO REC switch activates the SNAPSHOT SAFE function which is indicated by a flashing green LED in the switch A channel in SNAPSHOT SAFE mode remains unaffected when you load a stored snapshot RECALL SOLO switch The SOLO switch sends the signal of the selected channel to a solo bus that is routed to the control room and or phones outputs The MAIN MIX signal is unaffected by this switch Both PFL pre fader listening and AFL after fader listing modes are available and displayed in the MONITOR menu For solo to function the SOLO ENABLE switch in the main channel strip must be pressed and the 2 TK TO CTRL R switch must be off All channels even those muted can be soloed The solo function is available for all input channels effect returns master busses and aux FX masters Any number of input channels and FX returns can be routed simultaneously
145. orresponding menus will be displayed as soon as you press a switch If this function is disabled the pages will be displayed only after pressing a switch in the channel control bank a second time The 11 LEDs surrounding the channel controllers in the channel strips indicate the level of the selected aux send which can be adjusted by turning the channel controller The LED ring will display the updated level Aun Ald Alun Fig 4 2 AUX SENDS page The displayed aux and FX sends are the send parameters available on the selected channel Any changes made to the send values with the channel controllers are immediately shown in the display 057 If the AUTO CHANNEL SELECT function on the PREFS page in the SETUP menu is enabled and you operate a channel controller or fader the display will instantly switch to the associated channel i e you do not need to switch over with the SELECT switches in the channels CATHEDRALET CHORUS AUTOFAH FEER aaa Fost Fig 4 3 FX SENDS page In addition to the channel controllers in the individual channels you can also turn master controllers 1 4 to adjust the levels and press them to switch over from pre to post fader and vice versa Master controllers 5 amp 6 control the overall level of the aux and FX sends Master controller 5 selects the master
146. osed up and down by one octave Use this effect to create intervals and harmonies or simply to widen single voices Heavy detuning of vocals by several semitones upward gives you the well known Mickey Mouse effect PITCH GEHTS DELAY 5 12 SHIFTER ERE Fig 5 15 Parameters of Pitch Shifter algorithm Semitone 12 to 12 The Semitone parameter allows you to detune the input signal up and down in semitone steps The maximum interval is one octave or 12 semitones Cents 50 to 50 Use this parameter to fine tune the detune effect Delay 0 to 800 ms The Delay parameter controls the delay time of the effect signal Feedback 0 to 80 This parameter feeds the effect signal back to the effect input Higher values lead to distinctive pitch shifter effects greatly exceeding the 1 octave interval 5 2 15 Delay The Delay algorithm allows you to delay the input signal by as much as 1 8 s Use it to create rhythmic patterns a FEEDEACK FEEDE HF FEEDE LF 20 3803 DELAY DELAY 900 z Fig 5 16 Parameters of Delay algorithm Delay 0 to 1 800 ms This parameter controls the delay time for the effect channel Feedback 0 to 99 Feedback controls the number of repetitions Feedback HP 20 Hz to 10 kHz This parameter controls the cutoff frequency of a high pass filter acting on the feedback signal Feedback LP 100 Hz to 20 kHz Feedback LP
147. our DDX3216 means that you can boost or cut a certain frequency range to 8 times its original value In the bottom band of the EQ reducing the filter quality beyond its minimum value gives you two further options low cut and low shelf which are effective on all frequencies below the selected cutoff frequency 3 DIGITAL CHANNEL PROCESSING 19 CS2216 The low cut filter has only one frequency parameter which controls the frequency at which the signal is cut by 3 dB cutoff frequency All frequencies below that value are attenuated with a slope of 12 dB per octave So when you select a frequency of 100 Hz it will be cut by 3 dB at 50 Hz itis 15 dB and as much as 27 at 25 Hz The low shelf filter too is effective on all frequencies below the selected cutoff frequency however here you can also adjust the filter GAIN The cutoff frequency is the frequency at which the filter attenuates or emphasizes the signal by dB Frequencies below that value are gradually cut or boosted until the maximum filter attenuation boost is reached which depends on the GAIN setting Normally it corresponds to a range of one octave above or below the selected cutoff frequency The top band of the EQ 15 also equipped with high cut or high shelf filters which function like the cut and shelf filters in the low section with the exception that they process the range above the selected cutoff frequency 3 5 Dynamics processing Each of the
148. ously recorded movements which are overwritten as soon as you enter RECORD mode The switch can be enabled disabled at any time during an automation pass as long as the global AUTOMATION ON switch iS 11 2 6 AUTO REC switches in the channel strips For the control of individual channels each channel has an AUTOMATION switch with a two color LED and can be set individually to the various automation modes The LED indicates the channel status Fig 11 1 shows how the four operating modes are enabled by multiple presses of the AUTO REC switch MANUAL LED is not lit RECORD LED lights up red only possible if timecode is present PLAY LED lights up green RECORD READY LED flashes red Fig 11 1 Various modes of the channel specific AUTO REC switch 11 3 DYNAMIC AUTOMATION menu 11 3 1 AUTOM page RECORD RECORD RELEASE MoLock 24 AUTO SWITCH MEMORY USAGE 1 0 HORMAL OFFSET 8 pena ex GLICK EHD 00 LEVEL Fig 11 2 AUTOM the DYNAMIC AUTOMATION menu AUTOMATION ON OFF Master controller 1 switches the dynamic automation on or off If itis on it can be controlled with the AUTO REC switches in the channel strips or the RECORD PLAY and RELATIVE switches in the left switch block If automation is off the AUTO REC switches in the chan
149. ow please find just a few examples of what is possible 1 Fora24 track mixdown you could use 24 digital input signals from a digital recorder and still have eight analog inputs available for synthesizers analog effect returns etc 2 apply some extra processing to submixes using the busses you could assign channels 1 16 to the 16 analog inputs and channels 17 24 to the digital inputs of an I O module These could then be mixed to busses 1 8 Then assign busses 1 8 to channels 25 32 so as to transform these channels into 8 master busses complete with EQ and dynamics Finally channels 25 32 could be routed to the aux paths for monitoring or mix down via the stereo main mix Busses 9 16 could be used to feed a P A system or recording machine For a live gig with recording you could assign channels 1 16 and 17 32 to the analog inputs 1 16 to make completely independent recording and P A mixes The aux sends would still be available for several independent monitor mixes The input routing is controlled on the INPUT page in the I O menu press the I O switch in the left switch block until the INPUT page is displayed with the help of the four left master controllers Various audio signals can be assigned to the 32 channel strips by using this four groups of 8 configuration see table 8 1 IHF UT OUTPUT MODULE MULTI dar CHEE Fig 8 2 INPUT page
150. own built in clock generating rates of 44 1 or 48 kHz This configuration will also work with most DAT mini disc and CD recorders as these are automatically configured as slaves at the S PDIF output while recording When you connect digital recorders or effects devices to an optional I O module one device must be defined as the master and all other devices as slaves Typically the console will be adjusted so that it uses its internal clock 44 1 or 48 kHz to control all slave devices connected via a wordclock connection For this purpose connect the wordclock output of the console to the wordclock inputs of the connected equipment and adjust them to lock in to an external clock Some devices may not support the wordclock format or have no wordclock interface In most cases they can still be synchronized via the digital interface used FE CLOCK f OSC GEH FREF To DETECTED INTERHAL 44 KHZ INTERHAL 4 4 0 KHZ ACCEPT CANCEL Fig 12 1 FS CLK page in the SETUP menu WORD CLOCK IM 1 MODULE In certain applications it may be desirable to synchronize console to an external clock e g video applications To this end you can adjust another clock source on the FS CLOCK page in the SETUP menu master controllers 1 or 2 Press the SETUP switch in the left switch block to display this menu The display informs you on the availability of the selected source
151. page in the I O menu When you enable this input on the S PDIF page in the I O menu master controller 1 its signal will be routed to channels 13 14 In this case the two channels are no longer available for other internal audio signals The digital S PDIF output provides a copy of the main mix signal On the S PDIF page master controller 5 adjusts the word length and dither The noise shaping function which can be activated with master controller 6 shifts the dither generated noise to a less audible frequency range 36 8 INPUT OUTPUT ROUTING 9 FILE MANAGEMENT The DDX3216 stores files and settings in an internal flash memory i all files and setup settings are preserved when the mixing console is switched off except for the UNDO and REDO files for the dynamic automation which are stored in a so called DRAM and will get lost after power down The current automation parameters are preserved as are the setup parameters libraries and snapshot memories What is more your DDX3216 stores the last snapshot used and recalls it after power up All files stored in the DDX3216 can be saved to a PC card ora Windows PC using the MIDI or RS232 interfaces These files can be used as backups or to transfer data from one DDX3216 to another The DDX8216 stores and loads the following file types ALL Single file containing the complete mixer settings including setup user preferences snapshot channel library EQ library dyn
152. played Then select the RS232 port with master controller 1 FILE EXCGHAHGE Fig 9 1 EXCHANGE page On the PC run the program DDX3216 File Exchange A connection setup dialog should be displayed you can also select the RS232 option in the CONFIGURATION menu Select the menu option PORT SETUP and then the appropriate COM port If your computer has only 5232 interface you can skip the selection Once the connection has been established the status line will read the message Connected via COM MIDI Connect the MIDI OUT port on the console to the MIDI IN port on the computer the MIDI OUT on the PC to the MIDI IN on the DDX3216 057 Please note that both connections are required even if you are going to transfer data in one direction only Press the FILES switch in the left switch block until the EXCHANGE page is displayed Now select the MIDI port with master controller 1 On the PC run the program DDX3216 File Exchange connection setup dialog should be displayed you can also select the MIDI option in the CONFIGURATION menu Select the menu option PORT SETUP and then the appropriate MIDI port If your computer has only one MIDI port you can skip the selection Once the connection has been established the status line will read the message Connected via MIDI I The SEARCH DDX3216 option in the CONFIGURATION menu of the PC software
153. plied to the stereo pair When the first channel of a pair has been selected its SELECT switch lights constantly and the SELECT switches of the adjacent channels start flashing showing you which channels can be used for pairing Choose a second channel by activating its SELECT switch and press the ENTER switch to finalize the pairing routine The settings of the first channel are automatically transferred to the second channel of the selected pair You can exit at any point in the process without saving by pressing CANCEL 05 When you work with channel pairs pressing the SELECT switch of one channel will always make the SELECT switch of the second channel start flashing as well so as to show that both channels are being edited at the same time On the individual fader bank pages in the display channel pairs are always marked by a diamond located between the two members of a pair Fig 7 4 Channel pairs as displayed on a fader bank page In fig 7 4 channels 1 2 7 8 and 11 12 are linked as pairs 7 2 2 Unpairing channels To unpair existing channel pairs press the PAIR switch and select one channel of the corresponding stereo pair if PAIR is enabled the SELECT switches of the corresponding channels are out as they belong to a stereo pair soon as you select one channel from a channel pair the CHANNEL UNPAIR page is displayed Press ENTER to unpair the channels To UNFAIR channel s U
154. purpose without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH BEHRINGER is a registered trademark ALL RIGHTS RESERVED AKM ALESIS ALPS ANALOG DEVICES CRYSTAL TASCAM WINDOWS ADAT DTRS and SHARC are all registered trademarks of their respective owners which are in no way associated or affiliated with BEHRINGER 2001 BEHRINGER Spezielle Studiotechnik GmbH BEHRINGER Spezielle Studiotechnik GmbH Hanns Martin Schleyer Str 36 38 47877 Willich Munchheide II Germany Tel 49 0 21 54 92 06 0 Fax 49 0 21 54 92 06 30 56 20 WARRANTY
155. r but disable the channel s main routing In this way only the processed signal will be audible via the FX return path TREMOLO WAVE FEED DEF TH CPSU 130 100 Fig 5 20 Parameters of Tremolo algorithm Wave Sine Tri Squ The Wave parameter defines the type of the modulating oscillation sine triangle square Speed 0 05 to 20 Hz This parameter adjusts the frequency of the modulating oscillation and thus the speed of the amplitude modulation Depth 0 to 100 Depth governs the modulation depth i e the amplitude of the modulating oscillation High values produce a more pronounced effect 5 2 20 Autopan The Autopan effect produces a constant displacement of the audio signal with reference to the stereo basis e the signal wanders from the left to the right and vice versa This effect is widely used for house and techno tracks and you should experiment with both percussive and pad sounds As this effect is actually an insert effect we recommend that you route the effect post fader but disable the channel s main routing In this way only the processed signal will be audible via the FX return path AUTOPAN FEED ar 60 ERE Fig 5 21 Parameters of Autopan algorithm Wave Sine Tri Squ The Wave parameter defines the type of the modulating oscillation sine triangle square Speed 0 05 to 20 Hz This parameter adjusts the frequ
156. rd Hi Damp 0 to 100 This parameter controls a low pass filter which is effective on the reverb tail only If used moderately the filter makes the reverb sound more natural ER Stereo Width 0 to 20 Controls the basic stereo width of the early reflections 5 EFFECTS PROCESSORS 25 3227265 ER REV 0 to 100 Use this parameter to adapt the ratio of early reflections and reverb tail to suit the audio signal processed Diffusion 0 to 20 The Diffusion parameter allows you to edit the density of the reverb tail Size 1 to 50 Size determines the room size with regard to the early reflections The number of early reflections is always the same HiShv Cut 0 to 30 dB Use this parameter to determine the attenuation of the low pass filter wired to the input of the algorithm 5 2 6 Stage The Stage algorithm emulates the Live Concert character of a stadium The early reflections ensure a particularly live atmosphere aa DECAY BAL SIZE T 58 25 SEC DELANSDIFFUSIOHEST WIDTH 1 13 jae Ga Fig 5 7 Parameters of Stage algorithm Decay 2 to 20 s The Decay parameter controls the duration of the reverb tail which is the time needed for the level of the reverb tail to drop to 60 PreDelay 0 to 500 ms This parameter controls the delay in ms until early reflections and reverb tail can be heard Hi D
157. rical devices or power cords or render them inopera tive 2 Please ensure that only qualified personnel install and operate the DDX3216 During installation and operation the user must have sufficient electrical contact to earth otherwise electrostatic charges might affect the operation of the unit 1 3 3 Warranty Please take the time to fill out and return the warranty card within 14 days after the date of purchase so as to be entitled to benefit from our extended warranty Or use our online registration option available on the World Wide Web at www behringer com 1 INTRODUCTION 11 2 CONTROL ELEMENTS AND CONNECTORS This chapter describes the various control elements of your DDX3216 Analog controls and connectors will be discussed in full detail 2 1 Connection interfaces and control elements on the top side of the DDX3216 The connectors and controls for the analog inputs are located in the upper section of the DDX3216 Ex factory the analog inputs are assigned to channels 1 16 2 1 1 Microphone and line inputs 1 12 The inputs 1 12 are mic line inputs and have analog insert points ISR Insert Send Return 12 LINE IN BAL OR UNBAL INS TIP SEND RING RET me 20 12 SIG CLIP 10u MIC 10 60 dB LINE 140 40 dBu Fig 2 1 Connectors and controls of analog mic line inputs MIC The microphone inputs are on balanced XLR connectors and f
158. s which allows you to monitor the soloed PFL or AFL signal of the input channels or all aux and bus outputs What is more you can monitor almost any input or output via the control room and or phones outputs The control room output is usually connected to the monitoring system and normally carries the stereo main mix or solo signals outputs are on balanced 1 4 TRS connectors with a nominal level of 4 dBu but can also be used with unbalanced connectors The output level is controlled with the CONTROL ROOM LEVEL potentiometer The MON 20 dB switch in the MAIN strip can be used to reduce the level at the control room or phones output by 20 gt Please note that this switch is not effective on the 2 track signal The 2 TRACK TAPE IN connectors allow you to return the signals from a stereo recorder and play them back via the control room and or phones outputs They are on RCA connectors with a nominal level of 10 dBV Enable the 2 TK TO CTRL R switch to monitor the 2 TRACK TAPE IN via the control room bus and phones outputs The signal applied to the 2 TRACK IN can be routed to input channels 15 16 with the TO CH 15 16 switch The PHONES output basically carries the same signal as the control room output The headphones volume can be adjusted independently of the control room level with the associated LEVEL control 6 1 MONITOR menu Fig 6 1 MONITOR menu Press the MONITOR switch in the left switch blo
159. s All notes OFF X Active Sense Reset X YES X 1 2 Tab 18 1 MIDI Implementation see table 18 2 0 127 Snapshots X X X X X X 50810 X X A lt 18 APPENDIX 53 54 18 2 MIDI Control Changes MiDIcontrolierno Description of Value range Channel olo Channel 52 olo 0 187 olo 27 Auxsend maser 0 127 Auxsend maser 0 127 FX send master 0 127 ofo xsena mastera 0 187 ofo FXretum 1 0127 010 rematan fofo kerone vanm fofo 264 Panoramavalue Channeli 0 127 64 mid 0 9 32 0 127 64 0 p96 FX return 1 L of pair 0 127 64 mid O 0 ee p99 Panoramavalue FX return 4 L of pair 0 127 64 mid O 0 10 Balance Master 0 127 64 mid O 0 re 12 1 14212 14 4502 2 11 14 Channelmuteon fo 160 OL 105 Channelmuteoff o 16 1216 Snapshotsaveon 2 2 1600 OX 2147 Srapshotsaveof o ter 108 Automation rec play Settomanualmode 1 40 O X 109 Automation rec play _Setto rec ready mode 1 65 110 Automation rec play Settorecordmode 1 60 O X tit Automation rec play
160. s shown above the master controller and can be edited by turning the knob The FADEBACK function is available even if RELEASE MODE is set to OFFSET or WR TO END 11 DYNAMIC AUTOMATION 43 12 SETUP The SETUP menu controls several basic functions of the console including the wordclock source various user specific settings and the controls for the built in test oscillator 12 1 FS CLOCK page When using the digital connections AES EBU TDIF or ADAT it is imperative that all devices connected use the same sample rate Within the overall system one single device works as the master controlling the remaining slave equipment Failure to follow this rule can lead to clicks in the audio signal level shifts or even high level interference gt S PDIF input of the DDX3216 is an exception to this rule mentioned above as it is fitted with a sample rate converter accepting S PDIF signals with a rate between 32 and 50 kHz regardless of whether or not these signals are in sync with the console The built in clock of your DDX3216 44 1 48 kHz be locked to external wordclock signals or to digital signals fed in via optional I O modules 057 An exception is the optional TDIF module as it only sends wordclock signals to the connected equip ment but does not allow for locking the DDX3216 to a device connected to the TDIF module When the DDX3216 has no I O modules installed it usually follows its
161. send to be controlled and master controller 6 controls its level Press master controller 6 to set the overall level of the selected master send to 0 I Some channels such as the BUS OUT 1 16 and AUX FX master have no aux or FX sends On these channels the LEDs around the channel controller will be blank and turning the controller will have no effect All of the eight aux and FX masters can be adjusted with the faders upon selection of the fader bank AUX FX Thus you can not only control all aux and FX master sends at the same time with the faders but you can also use the level indicators next to the faders to display the overall levels Channel strips 1 4 function as the aux masters 1 4 faders 5 8 as the FX masters 1 4 and faders 9 16 as the stereo FX returns 1 4 Fig 4 4 AUX FX Faders menu With the help of the PAIR and GROUP functions in the AUX FX faders menu you can organize the aux master sends in pairs or groups In this case they function as stereo sends also in the input channels see chapter 7 2 3 Pairing aux master sends The master FX sends cannot be organized in groups or form a pair respectively 4 CHANNEL ROUTING AND BUSSES 23 5 EFFECTS PROCESSORS A very special feature of your DDX3216 are the four built in multi effects processors loaded with effect algorithms that were specifically designed for the DDX3216 These four multi effects processors offer 26 different groups of first cl
162. sly on all channels in automation mode Basically RECORD mode should be activated only when timecode is being fed to the DDX3216 3 If no timecode is available RECORD mode cannot be enabled RECORD When you press the RECORD switch in the left switch block its LED flashes red meaning that all channels enter RECORD READY mode Pressing the switch a second time will set all channels to RECORD mode as long as timecode is being fed to the console see above PLAY When you press the PLAY switch all channels enter PLAY mode If specific channels are set to RECORD they will be reset depending on the FEEDBACK or OFFSET values entered and on the settings made in the DYNAMIC AUTOMATION menu see chapter 11 3 DYNAMIC AUTOMATION menu If PLAY mode has already been enabled pressing the PLAY switch will return the channels to MANUAL mode If either RECORD READY or RECORD mode is enabled pressing the PLAY switch will activate PLAY mode RELATIVE When this switch is enabled the console is in relative mode i the faders move to the 0 dB position and do not follow any previously recorded movements Changing to RECORD mode will not overwrite any previously recorded movements but will add an offset to them The display and channel controllers however will continue to read absolute parameter values If the switch is disabled the DDX3216 is in absolute mode all control elements follow the previ
163. switch Fig 7 2 FADER menu with mute and fader group display Each page in the FADER menu comprises two rows of switches The letters displayed in these switches refer to the members of fader mute groups The upper row displays the mute groups the lower row shows the fader groups If no letter is displayed the associated channel belongs to no group at all If a letter is displayed the channel belongs to the same group as all other channels displaying the same letter 057 Please note that fader and mute groups are completely independent of each other 7 1 3 ISOLATE switch The ISOLATE switch allows you to temporarily disable all fader and mute groups It has however no effect on paired channels When the ISOLATE switch is engaged all members from one group can be set independently of each other for example to re adjust the balance between grouped channels When ISOLATE is turned off all groups are re activated using the new mute and fader positions as link values 7 GROUPS PAIRS AND COPY FUNCTIONS 33 7 2 Pair function 7 2 1 Pairing channels The PAIR function was designed for processing stereo signals When two channels are defined as one channel pair all changes made to one of them will also be copied to the other member of the pair except for the pan position This includes all channel processing functions the faders and the routing configuration In the dynamics processing section the mix signal of
164. t stored The analog settings of the console 1 inputs gain controls PAD switches headphones volume control room volume display contrast and the phantom power switches 2 TK TO CTRL R and 2 TR 15 16 can neither be saved nor loaded 10 2 Snapshot automation control elements The primary control elements for the snapshot automation are the four switches and the preset number LED display which are all located to the right of the main display Preset number display The preset number display shows the number of the currently used preset or the preset memory location to from which you wish to save load a preset A dot in the lower right corner of the display lights up indicating that the selected snapshot preset is not the same as the current mix PREVIOUS and NEXT switches Use the PREVIOUS and NEXT switches to select a snapshot preset Pressing one of these two switches will also display the SNAPSHOT menu STORE switch The STORE switch displays the STORE SNAPSHOT menu in which you can save the current mixer settings in the selected preset memory by pressing the STORE switch Depending on the user settings made on the PREFS page in the SETUP menu you will be prompted to confirm your store command before the stored preset can be overwritten RECALL switch The RECALL switch displays the SNAPSHOT menu in which you can load the settings stored in a snapshot preset 10 3 Loading snapshots Snapshots can be loaded at a
165. t is more we will establish a forum on our web site at www behringer com from where you can download a wealth of additional information on your DDX3216 g user manual updates presets for various libraries etc Also you can share your experience with other users and keep yourself informed about latest modifications and upgrades for your DDX3216 1 3 Before you begin 1 3 1 Shipment Your DDX3216 was carefully packed in the factory and the packaging is designed to protect the unit from rough handling Nevertheless we recommend that you carefully examine the packaging and its contents for any signs of physical damage which may have occurred during transit 057 If the unit is damaged please do not return it to BEHRINGER but notify your dealer and the shipping company immediately otherwise claims for damage or replacement may not be granted Shipping claims must be made by the consignee 1 3 2 Initial operation Be sure that there is enough space around the unit for cooling and please do not place the DDX3216 on high temperature devices such as radiators or power amps etc to avoid overheating Please use the enclosed power cord to connect the unit to the mains The cord complies with all applicable safety standards Blown fuses may only be replaced by fuses of the same type and rating 057 Please note that all units must be grounded properly For your own safety you should never remove any ground connectors from elect
166. tart the timecode source The appropriate timecode format will be selected and displayed automatically Setup the console as desired for the beginning of the mix 42 11 DYNAMIC AUTOMATION Adjustments always be made later on but the mixer will use the status of the controls as the basis for the new mix when automation is turned on Activate the dynamic automation on the SETUP page in the DYNAMIC AUTOMATION menu Press the RECORD switch in the left switch block to set all channels to RECORD READY mode Start the timecode source MIDI sequencer multi track recorder etc and start with the mix If you make a mistake rewind the timecode source and repeat the passage in question Once the basic mix has been completed rewind the timecode source to the starting point set all channels to PLAY mode PLAY switches in the left switch block and play back your automated mix All movements recorded will be played back as well including changes in the EQ dynamics routing and effects sections and you can add additional movements at any time 11 4 2 Perfecting a mix Once a basic mix has been created it is often easier to work in relative mode Press the RELATIVE switch while dynamic automation is on The faders of all channels in RECORD READY or PLAY mode will move to their O dB position while the channel controllers keep their normal positions Now if you start the timecode source the faders will not move even
167. th their suggestions and ideas Joost Jean Jos J rg Thomas and Christian whose passionate work made the DDX3216 a really out of the ordinary digital mixing console Thorsten and Markus who designed this excellent manual gt Ina and Volker for the sophisticated mechanics everybody who contributed with great enthusiasm to this project My friends it s been worth the trouble Thank you very much Uli Behringer CAUTION 05 Please note that extreme volume levels can damage your hearing and or headphones Be sure to use appropriate volumes levels CS2216 Ultra flexible automated 32 channel 16 bus digital mixing console gt State of the art 32 channel digital mixing console with 16 internal busses and 8 aux sends for extreme routing flexibility High power floating point DSP technology ensures virtually unlimited internal dynamic range Ultra high resolution 24 bit AKM A D and CRYSTAL D A converters 12 ULN Ultra Low Noise microphone inputs with analog inserts and switchable phantom power 4 band fully parametric equalizer low cut filter gate compressor and phase inverter on all 32 channels with additional delay function on the first 16 channels Four built in effects processors with first class algorithms such as reverb chorus flanger phaser delay pitch shifter tremolo lo fi LFO filter ring modulator and more 17 ultra precise low noise 100 mm motorized ALPS faders
168. the LoFi algorithm Buzz Freq 50 60 Hz This parameter adjusts the frequency of the hum noise 5 2 26 Ring Modulator This effect allows you to shape audio signals quite drastically Similar to medium wave radio the signal is multiplied by a carrier frequency The resulting effect is ideal for robot voices etc LFOSFEED AM FREG BANDLIM 302 437 RING Hz Hz OR Fig 5 27 Parameters of Ring Modulator algorithm Mod Mode Tri Sin Squ or Env This parameter controls the shape of the modulating waveform triangle sine square or envelope Mod Depth 0 to 100 Mod Depth controls the modulation depth i e the amplitude of the modulating oscillation High values produce a more pronounced effect LFO Speed 0 1 to 100 Hz The LFO Speed parameter adjusts the speed frequency of the modulating signal Env Response 10 to 1 000 ms Defines the envelope attack and release times AM Carrier Freq 100 Hz to 10 kHz Use this parameter to adjust the carrier frequency AM Depth 0 to 100 The AM Depth parameter determines the AM modulation depth Bandlimit 100 Hz to 20 kHz Use this parameter to adjust the cutoff frequency of a subsequent low pass filter used to cut hard high frequency content 2 6 6 MONITOR SECTION AND LEVEL METERS The DDX3216 gives you powerful monitoring features such as a dedicated solo bu
169. though their previously recorded value changes are being played back acoustically However their current positions are displayed on the FADER page accessible through the FADER bank switches in the left switch block As soon as you move a control it enters RECORD mode without overwriting previously recorded movements Rather an offset value is added to the recorded control value 1 everything is played back as recorded but with a higher or lower overall level The faders reproduce this offset directly on the console as it is the difference between the current position and the O dB position Only the switches will remain in absolute mode Relative mode can be entered and exited on the while recording an automation file It does however always apply to all channels on the console i e it is impossible to have some channels in relative mode and some in absolute mode The AUTO REC switches in the channel strips function as in absolute mode 11 4 3 Disabling RECORD FADEBACK OFFSET and WR TO END The RELEASE MODE option on the AUTOM page in the DYNAMIC AUTOMATION menu controls the operating mode which a channel enters upon leaving RECORD mode There are several ways to deactivate RECORD mode stopping the timecode source pressing the AUTO REC switch of a channel in RECORD mode or pressing the PLAY switch in the switch block RELEASE MODE can be changed at any time while recording a dynamic automation
170. time Master controller 5 performs the A B function and master controller 6 activates the gate The HOLD time is the length of time which the gate stays open after the signal has dropped below threshold The shorter this time the faster the gate closes but this may cut off the decay phase of the signal or cause the gate to open and close all the time The hold time can be adjusted from 10 to 1 000 ms The ATTACK time is the time which the gate needs to open completely once the signal has exceeded threshold The shorter this time the faster the gate opens but this may cause clicks Longer times produce no clicks but may cut off part of the signal s attack phase The attack time can be adjusted from 0 to 200 ms The RELEASE time is the time which the gate needs to close completely once the signal has dropped below threshold and after the hold time has passed Short release times make the gate close faster but can affect the signal s decay phase Long release times make the gate close less abruptly The release time can be adjusted from 20 ms to 5 s The RANGE is the amount of gain reduction applied when the gate has closed Here the setting range is from 0 no gain reduction to 60 dB 0 means maximum gain reduction i the audio signal is faded out completely below threshold The graphic displays on the right are described in chapter 3 5 2 COMP RESSOR menu page
171. to the solo bus but only two output channels master bus and aux FX master When you select a third channel the first channel soloed will be disabled automatically More information on the solo function can be found in chapter 6 2 Solo function MUTE switch The MUTE switch mutes the channel The GROUP function allows you to create MUTE groups Muted channels can still be soloed The MUTE switch has two operating modes pre or post fader PREFS page in SETUP menu When CHANNEL MUTE AFTER FADER is on the MUTE switch is effective only on the post fader send signals or the post fader bus routing When CHANNEL MUTE AFTER FADER is off all sends and the entire bus routing both pre and post fader are muted 2 6 2 4 2 SELECT AUTO REC SOLO ENABLE MON dB MAIN Fig 2 13 MAIN fader MAIN fader The MAIN fader controls the level of the stereo main mix which is also indicated by the MAIN meter in the display CHANNEL CONTROL The channel controller in the MAIN strip works like the channel controllers in the channel strips It controls the BALANCE of the left right main signals As long as MAIN CONTROL AS AUX FX MASTER is activated on the PREFS page in the SETUP menu the channel controller additionally adjusts one of the aux FX master send levels Use one of the CHANNEL CONTROL buttons in the left switch block in order to select the relevant aux FX master send see chapter 12 3
172. trols the delay in ms until early reflections and reverb tail can be heard Damping 0 to 100 This parameter controls the attenuation of high frequencies in the reverb tail If used moderately damping makes the reverb sound more natural Diffusion 0 to 20 The Diffusion parameter allows you to edit the density of the reverb tail Bass Multiply 10 to 10 Use this parameter to control the decay time in the low frequency range of the reverb tail HiShv Freq 1 kHz to 10 kHz Adjusts the cutoff frequency for the low pass filter controlled with the HiShv Cut parameter Reverb Modulation 1 to 50 Reverb Modulation defines the modulation depth of the reverb tail HiShv Cut 0 to 30 dB Use this parameter to determine the attenuation of the low pass filter which is controlled with the HiShv Freq parameter and wired to the input of the algorithm 5 2 4 Room This program emulates a small to medium sized room You can clearly hear the sound as it bounces off the walls whose surface structure can be changed from reflective tiles marble to absorbent carpet curtains Use this program to create acoustic rooms of any size from a cramped storeroom to a luxurious living room ee DIFFUSION 11 18 Fig 5 5 Parameters of Room algorithm Decay 1 0 to 3 s The Decay parameter controls the duration of the reverb tail which is the time needed for the level of the reverb tail
173. ur aux paths with a complete set of channel processing functions 8 2 2 Output routing The output routing system is a virtual digital patchbay for the outputs of optionally available digital I O modules In this way you can route almost any mixer signal to the outputs of an I O module Below please find a few examples of what is possible the possibilities are almost endless 1 Live recording The 16 outputs of an I O module are assigned to channels 1 16 i e you can make a 16 track recording of the input signals fed into the console eliminating the need to use the busses and ensuring that clean signals without equalization or compression are recorded If back up is required you can assign two I O modules to the same output even if they are using different formats 8 INPUT OUTPUT ROUTING 35 Mixdown The aux and FX sends are assigned to the outputs of an I O module so as to feed the digital effects devices with a digital signal provided by the I O card Further copies of the stereo main mix can be routed to the I O modules for recording on digital recorders As an alternative you can create a surround mix comprising the stereo main mix and aux send or bus signals and record this mix to a digital multi track recorder 3 Digital format conversion If two I O modules supporting different digital formats are installed you can route the outputs of one card to the inputs of the second so as to make d
174. usic lover misses the charm of the good ol LPs and tapes The latest trend is called lo fi instead of hi fi To take account of this trend we offer you this weird effect algorithm Your recordings will definitely have an 8 bit sound as well as the same noise floor as a real vinyl record like in the good ol days As this effect is actually an insert effect we recommend that you route the effect post fader but disable the channel s main routing In this way only the processed signal will be audible via the FX return path Fig 5 26 Parameters of LoFi algorithm Bits 6 to 16 The Bits parameter reduces the quality of the audio signal to the adjusted resolution Signal HP 20 Hz to 16 kHz The Signal HP parameter adjusts the cutoff frequency of the high pass filter Noise Gain 0 to 100 This parameter determines the volume of the noise generated Signal LP 100 Hz to 20 kHz The Signal LP parameter adjusts the cutoff frequency of the low pass filter Noise HP 20 Hz to 16 kHz This parameter adjusts the cutoff frequency of a high pass filter which is effective exclusively on the noise generated by the LoFi algorithm 30 5 EFFECTS PROCESSORS Buzz Gain 0 to 100 The Buzz Gain parameter determines the volume of the hum noise generated Noise LP 200 Hz to 20 kHz This parameter adjusts the cutoff frequency of a low pass filter which is effective exclusively on the noise generated by
175. warranty does not cover any such modification adaptation irrespective of whether it was carried out properly or not Under the terms of this warranty BEHRINGER shall not be held responsible for any cost resulting from such a modification adaptation 3 Free inspections and maintenance repair work are expressly excluded from this 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 potentiometers keys buttons and similar parts 4 Damages defects caused by the following conditions are not covered by this warranty A misuse neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals A connection or operation of the unit in any way that does comply with the technical or safety regulations applicable in the country where the product is used damages defects caused by force majeure or any other condition that is beyond the control of BEHRINGER 5 Any repair or opening of the unit carried out by unauthorized personnel user included will void the warranty 6 If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty the inspection costs are payable by the customer 7 Products which do not meet the terms of this warranty will be repaired exclusively at the buyer s expense BEHRINGER will inform
176. xes At last the era of automated sound reinforcement has begun 15 APPLICATIONS 49 2 16 SPECIAL FUNCTIONS 16 1 Updating the DDX3216 operating system It is very easy to update the operating software for your DDX3216 Information on firmware updates are available from your BEHRINGER Customer Support team or our Internet web site at www behringer com The EXCHANGE page in the FILES menu indicates the current version of the operating system implemented in your DDX3216 Basically the DDX3216 operating system may also be replaced by older versions To update the OS use the Windows software DDX3216 File Exchange or a PC card 057 Updating the firmware of your DDX3216 will erase ALL console settings Be sure to save them to a PC or PC card before you update the operating system 16 1 1 OS update with PC software Download the DDX3216 firmware update file from the Internet and save it to the hard disk of your PC unzip the file before if necessary The update file should have the extension BEX Connect the DDX3216 to your PC and run the software DDX3216 File Exchange on your PC see chapter 9 1 1 Communications settings a DDX3216 File Exchange File Configuration Info Internal Files Card Files Name Desktop Project all Arbeitsplatz BCH Channel Library 9 05 3 5 Diskette Library 0 63 SYSTEM
177. y those controls will be set to RECORD mode that are actually moved All other controls stay in PLAY MODE This means that there is no need to define which controls will be moved before an automation run is started Simply start the multi track recorder and mix and the DDX3216 will play back exactly what has been recorded before or will record what is being added The SETUP switch in the AUTO section in the left switch block gives you access to the three DYNAMIC AUTOMATION menu pages on which you can adjust the global record functions e g automation enable disable data to be recorded automation source etc Three additional switches in the switch block RECORD PLAY and RELATIVE allow you to directly access frequently used automation functions in order to set the controls to playback record or manual mode or switch over between the absolute and relative modes Thus you have two basic automation modes available absolute mode and relative mode Use the RELATIVE switch in the switch block to switch over from the default absolute mode to relative mode and vice versa 11 2 1 Absolute mode Use this mode when you start a new console automation All control movements will be recorded as they are made During playback you can see the parameter and fader positions change according to the recorded data As soon as a control enters record mode all previous movements will be overwritten and replaced by the new positions Also you can

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