Behringer EURODESK SX3282 Скачать руководство пользователя страница 6

Страница: 6 / 15

EURODESK SX3282

Quick Start Guide

EURODESK SX3282 Controls

(EN)

Controls

Mono Input Channels

Each channel comes with a balanced line input on ¼" TRS
jack, and an XLR mic input. Press the Phantom switch

(71)

at the back panel if required. The mic amp circuit has

an unusually wide gain range

(1)

from 10 dB to 60 dB,

is of extreme low-noise design, and utilizes high-current
conjugate pair vintage transistor circuitry to deliver an
incredibly warm and transparent sound.

When a jack is plugged into the balanced
(self-unbalancing) line input, the gain structure is such
that it can match any line level from +10 to -40 dBu.
The crucial operating 4 dBu and -10 dBV are
clearly and accurately legended (

(1)

Input Level Setting

Channel input level is determined by the GAIN trimpot

(1)

. Use Solo/PFL

(13)

to accurately monitor the channel

input on the left/right master output bargraph meters.
This also sends the Solo/PFL-ed signal to the left and right
speakers. Channel Solo

(13)

has an associated LED

(14)

In addition to switchable Solo/PFL metering, a couple
of channel LEDs (

(10)

(12)

) illuminate when a signal is

present (-20 dB), or if a channel is going into overload.
You do not want the overload light to come on except
very intermittently during a take or a mix. If it does light
persistently, reduce input gain.

Equalizer

All mono input channels are fitted with a semi-parametric
3-band EQ, plus a switchable low-cut filter for eliminating
unwanted subsonics. The upper

(2)

and lower

(5)

shelving controls have their frequencies fixed at 12 kHz
and 80 Hz respectively. The midrange control

(3)

is semi-

parametric with a peaking response, Q fixed at 2 octaves,
sweepable from 100 Hz - 8 kHz (

(4)

). All three bands have

up to 15 dB of cut and boost, with a center detent for “off”.
Thirdly, there is a steep high pass (low-cut) filter

(6)

slope @ 18 dB/oct, for reducing floor rumble, breath noise
and popping, woolly bottom end etc.

Aux Sends

All eight aux sends

(7)

are mono and post-EQ. Aux sends

1 & 2 are fixed to be pre-fader for cueing purposes,
while 3 & 4 are fixed post-fader for sending to effects
etc. A shift switch

(8)

toggles the third pair of aux send

potentiometers between two bus pairs (5 & 6 or 7 & 8).
These four aux sends are switchable pre/post-fader

bloc

using the PRE switch

(9)

For almost all FX send purposes, you will want aux sends
to be post-fader, so that when a fader level is adjusted,
any reverb send from that channel follows the fader.
Otherwise, when the fader is pulled down, the reverb
from that channel would still be audible. For cueing
purposes, aux sends will usually be set pre-fader, i.e.
independent of the channel fader (depress PRE switch

(9)

for aux sends 5/6/7/8).

There is +15 dB of gain on every aux send. Such a high
boost is usually only appropriate where the channel fader
is set around -15 dB or lower.

There are five stereo buses in the SX3282 (plus a stereo
solo bus). Main mix and the four subgroup pairs are
selected by five assign switches

(18)

. Solo/PFL we

encountered in the section on input level setting.

All stereo buses follow channel Pan. Usually, only one of
L-R, 1-2, 3-4 etc. will be selected for a particular channel.

Level to the group and main left and right buses is
ultimately determined by the channel fader

(17)

. The mute

button

(15)

, like that for Solo

(13)

is ergonomically

placed immediately above the channel fader, and has an
associated LED

(16)

for excellent visual status indication of

this much-used feature.

Stereo Input Channels

Each stereo channel comes with two line level inputs on
¼" jacks, for left and right signals. When only the left
input is connected, the channel operates in mono.

Channel input sensitivity is variable between -20 and
+20 dB by adjusting GAIN

(1)

, enabling a perfect match

with all common line-level sources including multitrack
tape outputs, MIDI and other electronic instruments
and effects units, all of which are normally designed to
operate at 4 dBu or -10 dBV.

Equalizer

All stereo input channels are fitted with four-band,
fixed-frequency EQ. Bands 1 and 4 are shelving,
while bands 2 and 3 have a peaking response, with their
Q set at 2 octaves.

The upper

(2)

and lower

(5)

shelving controls have their

turnover frequencies fixed at 12 kHz and 80 Hz, whereas
the midrange controls

(53)

and

(52)

have their bell center

frequencies set at 8 kHz and 800 Hz.

Subgroups

The principal routes to multitrack are via the subgroup
outputs. There are eight mono (or four stereo) subgroups.
All channels can access all of them, as can aux returns
1 and 2 (

(47)

). Subgroup level is determined by the

Subgroup fader

(20)

, while the signal level may be

accurately checked by solo-ing (

(22)

Subgroup outputs can also be assigned to the main mix
during mixdown by pressing the MAIN MIX switch

(21)

, in

which case stereo position in the L R mix is determined by
the subgroup’s PAN pot

(23)

Aux Sends

Stacked in a vertical column are eight master AUX
SEND LEVEL pots

(51)

, one for each bus. Each has a gain

structure of -∞ to +15 dB. The extra 15 dB of gain comes
in once a knob passes a center detent (representing
the ‘normal’ unity gain position), enabling insensitive
outboard FX to be properly driven. Each aux send has a
Solo button

(50)

, and, as with other areas of the mixer,

a local Solo light

(49)

, which starts flashing when any of

the aux master sends are solo-ed.

Aux Returns

Across from the aux sends are the stereo aux returns.
These can be thought of as eight extra line inputs,
configured as four stereo pairs. On these inputs there
is up to 20 dB of gain available. Alternatively, a

mono

(center-panned) signal may be returned by plugging into
the

left

aux return jack only.

Aux Returns 1 & 2

Aux returns 1 and 2 have full group routing matrices
to enable returning FX to be sent to tape, plus main
mix bus assignment. The functions for aux return 1
(mirrored by aux return 2) are: routing-switches

(45)

Level

(47)

, Balance

(48)

and Solo

(46)

. Level controls the

amount of signal being blended into the mix or a group,
while balance controls the relative amounts of left and
right processed signal. Be sure to have balance control in
center-position, if you’re not actually working with it.

Aux Returns 3 & 4

Aux returns 3 and 4 are the poor relations, with only a
level pot

(44)

and Solo switch

(43)

each. These are always

assigned to the main bus.

Solo

Below the aux returns 1/3 and 2/4 lies a local Solo LED

(42)

. This flashes whenever a solo button in the column

above is pressed.

Monitoring

Though most of you will want to audition the main mix
most of the time, there are exceptions. These include
Solo/PFL and 2-track playback

(30)

. The bargraph meters

follow whatever source is being auditioned.

The Monitor/Ctrl Level pot

(28)

sets the level to the

control room monitors. This is sourced post the main
mix stereo fader setting. Your fades couldn’t be heard
otherwise. Lastly, there is a Mono button

(29)

, useful for

checking the phase correlation and/or coherence of a stereo
signal. Again, this does not affect the main mix output.

Headphones

The headphones may be sourced from the monitor/
control room mix

(27)

, and/or from pre-fader aux sends

1/2

(26)

or switchable pre/post aux sends 5/6

(25)

for

artist cueing. Two headphones sockets are provided on
the back panel. The headphone mix level is controlled
by a LEVEL pot

(24)

, and the gain is sufficient to drive

headphones directly.

Solo

Whenever a Solo button is pressed, all unselected
channels are muted in the monitors. Stereo panning
is maintained. The solo bus is derived from the output
of the channel pans, aux sends, stereo line inputs and
subgroups, and is always post-fader.

PFL

Pressing the channel mode switch

(38)

once disengages

the stereo solo bus, and replaces it with a separate mono
PFL (Pre-Fader Listen) bus. Now any channel which is
solo-ed, isn’t. It is PFL-ed instead. PFL should always be
used for gain-setting.

The channel mode (PFL or Solo) is indicated by a pair of
status LEDs (located below the bargraph meter

(40)

), pot

(39)

controls the solo level, which will normally be set to

unity gain (center detent) to match the in-the-mix level.

2-Track Input and Output

The 2-track input is on unbalanced RCA phono plugs,
and is primarily made for auditioning mix playback from
tape. The 2-TRACK switch

(30)

routes this signal to the

control room monitors.

With the MON/CTR Level control

(28)

fully clockwise, your

2-track input will be matched to the semi-professional
level -10 dBV. For higher output recording sources (e.g.
+4 dBu) turn the level of

(28)

down.

2-track output

A pair of balanced XLR and jack connectors deliver the
mix output to your 2-track recorder (or PA system) at
+4 dBu. Alternative RCA phono (-10 dBV) connectors are
provided, too.

Level to tape is ultimately determined by precision faders

(31)

. Main mix insert points are provided for patching a

gate, a compressor etc. pre-fader.

Although the 2-track output is primarily designed
for recording, it can also be used as a PA feed, or as a
send to the input of your sampler. In fact up to three
simultaneous destinations can be serviced without
resorting to a patchbay or splitter leads—there are
three separate 2-track outputs on your SX3282!

Talkback

The built-in flush-mounted mic

(33)

is activated by

depressing the non-latching talk switch

(32)

just above

the MAIN MIX faders. Engaging talkback dims the control
room monitors, (not lights!) by -20dB to avoid feedback.
This does not affect the other talkback routes.

Talkback level is set by

(37)

, and the mic can be routed to

any or all of auxes 1/2, 5/6 or 7/8 (

(36)

(35)

(34)

)—in other

words every possible pre-fader (cue) aux send—
to enable you to talk to artists remotely through their
headphones or personal stage mixes.

Phantom Power Switch

When using capacitor mics, +48 V DC can be switched
globally on or off by

(71)