Behringer Car Amplifier SX3282 User Manual
User Manual  
EURODESK SX3282  
Ultra-Low Noise Design 32-Input 8-Bus Studio/Live Mixer with  
XENYX Mic Preamplifiers and British EQs  
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EURODESK SX3282 User Manual  
9. Do not defeat the safety purpose of the polarized  
or grounding-type plug. A polarized plug has two blades  
with one wider than the other. A grounding-type plug  
has two blades and a third grounding prong. The wide  
UNDERTAKING OR REPRESENTATION. THIS MANUAL  
IS COPYRIGHTED. NO PART OF THIS MANUAL MAY  
BE REPRODUCED OR TRANSMITTED IN ANY FORM  
OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,  
Important Safety  
Instructions  
blade or the third prong are provided for your safety. If the INCLUDING PHOTOCOPYING AND RECORDING OF ANY  
provided plug does not fit into your outlet, consult an  
electrician for replacement of the obsolete outlet.  
KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS  
WRITTEN PERMISSION OF MUSIC GROUP IP LTD.  
10. Protect the power cord from being walked on or  
pinched particularly at plugs, convenience receptacles,  
and the point where they exit from the apparatus.  
ALL RIGHTS RESERVED.  
© 2012 MUSIC Group IP Ltd.  
Trident Chambers, Wickhams Cay, P.O. Box 146,  
Road Town, Tortola, British Virgin Islands  
Terminals marked with this symbol carry  
electrical current of sufficient magnitude  
to constitute risk of electric shock.  
11. Use only attachments/accessories specified by  
the manufacturer.  
Use only high-quality professional speaker cables with  
¼" TS or twist-locking plugs pre-installed. All other  
installation or modification should be performed only  
by qualified personnel.  
12. Use only with the  
cart, stand, tripod, bracket,  
or table specified by the  
LIMITED WARRANTY  
§ 1 Warranty  
manufacturer, or sold with (1) This limited warranty is valid only if you purchased  
the apparatus. When a cart the product from a MUSIC Group Authorized Reseller in  
This symbol, wherever it appears,  
alerts you to the presence of uninsulated  
dangerous voltage inside the  
is used, use caution when  
the country of purchase. A list of authorized resellers can  
moving the cart/apparatus be found on BEHRINGER’s website behringer.com under  
enclosure - voltage that may be sufficient to constitute a  
risk of shock.  
combination to avoid  
“Where to Buy”, or you can contact the MUSIC Group office  
closest to you.  
injury from tip-over.  
This symbol, wherever it appears,  
alerts you to important operating and  
maintenance instructions in the  
13. Unplug this apparatus during lightning storms or  
(2) MUSIC Group* warrants the mechanical and  
when unused for long periods of time.  
electronic components of this product to be free of defects  
in material and workmanship if used under normal  
operating conditions for a period of one (1) year from  
the original date of purchase (see the Limited Warranty  
terms in § 4 below), unless a longer minimum warranty  
period is mandated by applicable local laws. If the product  
shows any defects within the specified warranty period  
and that defect is not excluded under § 4, MUSIC Group  
shall, at its discretion, either replace or repair the product  
using suitable new or reconditioned product or parts.  
In case MUSIC Group decides to replace the entire product,  
this limited warranty shall apply to the replacement  
product for the remaining initial warranty period, i.e.,  
one (1) year (or otherwise applicable minimum warranty  
period) from the date of purchase of the original product.  
14. Refer all servicing to qualified service personnel.  
Servicing is required when the apparatus has been  
damaged in any way, such as power supply cord or plug  
is damaged, liquid has been spilled or objects have fallen  
into the apparatus, the apparatus has been exposed  
to rain or moisture, does not operate normally, or has  
been dropped.  
accompanying literature. Please read the manual.  
Caution  
To reduce the risk of electric shock, do not  
remove the top cover (or the rear section).  
No user serviceable parts inside. Refer servicing to  
qualified personnel.  
Caution  
To reduce the risk of fire or electric shock,  
do not expose this appliance to rain and  
15. The apparatus shall be connected to a MAINS socket  
outlet with a protective earthing connection.  
16. Where the MAINS plug or an appliance coupler is  
used as the disconnect device, the disconnect device shall  
remain readily operable.  
moisture. The apparatus shall not be exposed to dripping  
or splashing liquids and no objects filled with liquids,  
such as vases, shall be placed on the apparatus.  
Caution  
These service instructions are for use  
by qualified service personnel only.  
(3) Upon validation of the warranty claim, the repaired  
or replacement product will be returned to the user  
freight prepaid by MUSIC Group.  
To reduce the risk of electric shock do not perform any  
servicing other than that contained in the operation  
instructions. Repairs have to be performed by qualified  
service personnel.  
(4) Warranty claims other than those indicated above  
are expressly excluded.  
PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF  
OF PURCHASE COVERING YOUR LIMITED WARRANTY.  
THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF  
OF PURCHASE.  
1. Read these instructions.  
2. Keep these instructions.  
3. Heed all warnings.  
LEGAL DISCLAIMER  
TECHNICAL SPECIFICATIONS AND APPEARANCES  
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND  
ACCURACY IS NOT GUARANTEED. BEHRINGER IS  
PART OF THE MUSIC GROUP (MUSIC-GROUP.COM).  
ALL TRADEMARKS ARE THE PROPERTY OF THEIR  
RESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NO  
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED  
BY ANY PERSON WHO RELIES EITHER WHOLLY OR  
IN PART UPON ANY DESCRIPTION, PHOTOGRAPH  
OR STATEMENT CONTAINED HEREIN. COLORS AND  
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.  
MUSIC GROUP PRODUCTS ARE SOLD THROUGH  
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.  
FULLFILLERS AND RESELLERS ARE NOT AGENTS OF  
MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY  
TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED  
§ 2 Online registration  
4. Follow all instructions.  
5. Do not use this apparatus near water.  
6. Clean only with dry cloth.  
Please do remember to register your new BEHRINGER  
equipment right after your purchase at behringer.com  
under“Support”and kindly read the terms and conditions  
of our limited warranty carefully. Registering your  
purchase and equipment with us helps us process  
your repair claims quicker and more efficiently.  
Thank you for your cooperation!  
7. Do not block any ventilation openings. Install in  
accordance with the manufacturer’s instructions.  
8. Do not install near any heat sources such as  
radiators, heat registers, stoves, or other apparatus  
(including amplifiers) that produce heat.  
§ 3 Return materials authorization  
(1) To obtain warranty service, please contact the  
retailer from whom the equipment was purchased.  
Should your MUSIC Group Authorized Reseller not be  
located in your vicinity, you may contact the MUSIC Group  
Authorized Fulfiller for your country listed under  
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EURODESK SX3282 User Manual  
“Support”at behringer.com. If your country is not  
listed, please check if your problem can be dealt with  
by our“Online Support”which may also be found under  
“Support”at behringer.com. Alternatively, please submit  
an online warranty claim at behringer.com BEFORE  
returning the product. All inquiries must be accompanied  
by a description of the problem and the serial number  
of the product. After verifying the product’s warranty  
eligibility with the original sales receipt, MUSIC Group  
will then issue a Return Materials Authorization  
(“RMA”) number.  
•
•
connection or operation of the unit in any way  
that does not comply with the technical or safety  
regulations applicable in the country where the  
product is used;  
(3) This warranty does not detract from the seller’s  
obligations in regard to any lack of conformity of the  
product and any hidden defect.  
§ 9 Amendment  
damage/defects caused by acts of God/Nature  
(accident, fire, flood, etc) or any other condition that  
is beyond the control of MUSIC Group.  
Warranty service conditions are subject to change without  
notice. For the latest warranty terms and conditions  
and additional information regarding MUSIC Group’s  
limited warranty, please see complete details online at  
behringer.com.  
(7) Any repair or opening of the unit carried out by  
unauthorized personnel (user included) will void the  
limited warranty.  
* MUSIC Group Macao Commercial Offshore Limited of  
Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau,  
including all MUSIC Group companies  
(8) If an inspection of the product by MUSIC Group  
shows that the defect in question is not covered by the  
limited warranty, the inspection costs are payable by  
the customer.  
(2) Subsequently, the product must be returned in  
its original shipping carton, together with the return  
authorization number to the address indicated by  
MUSIC Group.  
(9) Products which do not meet the terms of this  
limited warranty will be repaired exclusively at the buyer’s  
expense. MUSIC Group or its authorized service center will  
inform the buyer of any such circumstance. If the buyer  
fails to submit a written repair order within 6 weeks after  
notification, MUSIC Group will return the unit C.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.  
(3) Shipments without freight prepaid will not  
be accepted.  
§ 4 Warranty Exclusions  
(1) This limited warranty does not cover consumable  
parts including, but not limited to, fuses and batteries.  
Where applicable, MUSIC Group warrants the valves or  
meters contained in the product to be free from defects  
in material and workmanship for a period of ninety (90)  
days from date of purchase.  
(10) MUSIC Group Authorized Resellers do not sell new  
products directly in online auctions. Purchases made  
through an online auction are on a“buyer beware”basis.  
Online auction confirmations or sales receipts are not  
accepted for warranty verification and MUSIC Group will  
not repair or replace any product purchased through an  
online auction.  
(2) This limited warranty does not cover the product  
if it has been electronically or mechanically modified  
in any way. If the product needs to be modified or  
adapted in order to comply with applicable technical  
or safety standards on a national or local level, in any  
country which is not the country for which the  
product was originally developed and manufactured,  
this modification/adaptation shall not be considered a  
defect in materials or workmanship. This limited warranty  
does not cover any such modification/adaptation,  
regardless of whether it was carried out properly or not.  
Under the terms of this limited warranty, MUSIC Group  
shall not be held responsible for any cost resulting from  
such a modification/adaptation.  
§ 5 Warranty transferability  
This limited warranty is extended exclusively to the  
original buyer (customer of authorized reseller) and is  
not transferable to anyone who may subsequently  
purchase this product. No other person (reseller, etc.)  
shall be entitled to give any warranty promise on behalf  
of MUSIC Group.  
(3) This limited warranty covers only the product  
hardware. It does not cover technical assistance for  
hardware or software usage and it does not cover  
any software products whether or not contained in  
the product. Any such software is provided“AS IS”  
unless expressly provided for in any enclosed software  
limited warranty.  
§ 6 Claim for damage  
Subject only to the operation of mandatory applicable  
local laws, MUSIC Group shall have no liability to the buyer  
under this warranty for any consequential or indirect  
loss or damage of any kind. In no event shall the liability  
of MUSIC Group under this limited warranty exceed the  
invoiced value of the product.  
(4) This limited warranty is invalid if the  
factory-applied serial number has been altered or  
removed from the product.  
§ 7 Limitation of liability  
This limited warranty is the complete and exclusive  
warranty between you and MUSIC Group. It supersedes  
all other written or oral communications related to this  
product. MUSIC Group provides no other warranties for  
this product.  
(5) Free inspections and maintenance/repair work  
are expressly excluded from this limited warranty,  
in particular, if caused by improper handling of the  
product by the user. This also applies to defects caused  
by normal wear and tear, in particular, of faders,  
crossfaders, potentiometers, keys/buttons, guitar strings,  
illuminants and similar parts.  
§ 8 Other warranty rights and  
national law  
(1) This limited warranty does not exclude or limit the  
buyer’s statutory rights as a consumer in any way.  
(6) Damage/defects caused by the following conditions  
are not covered by this limited warranty:  
(2) The limited warranty regulations mentioned herein  
are applicable unless they constitute an infringement of  
applicable mandatory local laws.  
•
improper handling, neglect or failure to operate the  
unit in compliance with the instructions given in  
BEHRINGER user or service manuals;  
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5
EURODESK SX3282 User Manual  
1. Introduction  
1.1 The manual  
Important notes concerning installation  
◊
The sound quality may diminish within the range of powerful  
broadcasting stations and high-frequency sources. Increase the  
distance between the transmitter and the device and use shielded  
cables for all connections.  
◊
Reading this manual will make you aware of the many possibilities the  
SX3282 offers you. Please keep this manual safely for future reference.  
1.1.1 Nomenclature  
1.2.3 Online Registration  
Most specialist subjects are not really all that difficult provided you understand  
the language used, and the vocabulary of mixing is pretty straight-forward.  
Nevertheless it is as well to be clear about what certain terms mean. A “slot” in a  
recorder will always be referred to as a track, while that in a mixer will invariably  
be a channel. A group will always refer to a sub-mix of channels. Similarly the  
term band will be mentioned only in conjunction with frequency.  
Please register your new BEHRINGER equipment right after your purchase  
by visiting http://behringer.com and read the terms and conditions of our  
warranty carefully.  
Should your BEHRINGER product malfunction, it is our intention to have it  
repaired as quickly as possible. To arrange for warranty service, please contact  
the BEHRINGER retailer from whom the equipment was purchased. Should your  
BEHRINGER dealer not be located in your vicinity, you may directly contact  
one of our subsidiaries. Corresponding contact information is included in  
the original equipment packaging (Global Contact Information/European  
Contact Information). Should your country not be listed, please contact the  
distributor nearest you. A list of distributors can be found in the support area of  
our website (http://behringer.com).  
1.2 Before you get started  
1.2.1 Shipment  
Your product was carefully packed at the factory to ensure safe transport.  
Nevertheless, if the box is damaged inspect the unit immediately for  
signs of damage.  
Registering your purchase and equipment with us helps us process your repair  
claims more quickly and efficiently.  
◊
If the unit is damaged please do NOT return it to us, but notify your  
dealer and the shipping company immediately; otherwise, claims for  
damage or replacement may not be granted.  
Thank you for your cooperation!  
◊
◊
◊
◊
We recommend that you use a flight case to give the unit optimum  
protection during use or transport.  
Always use the original box to prevent damage during  
storage or transport.  
Make sure that children cannot play unsupervised with the  
unit or its packaging.  
Please ensure proper disposal of all packing materials.  
1.2.2 Initial operation  
Ensure adequate air supply and to avoid overheating do not place the unit  
near radiators etc.  
!!  
Caution  
◊
Before you change the fuse, switch off the device and pull the plug to  
avoid electric shock or damage to the device.  
◊
Blown fuses must be replaced by fuses of the correct rating!  
Please refer to the “Specifications” section for the applicable rating.  
For connection to the mains use the enclosed power cord with cold connector  
which complies with the relevant safety regulations.  
◊
Please make sure that all devices are properly grounded. For your own  
safety, never remove or disable the ground conductors from the devices  
or on the power cords. The unit must always be connected to the mains  
outlet with a protective grounding connection.  
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EURODESK SX3282 User Manual  
2. SX3282 Overview  
2.1 Architecture  
Aux returns  
Four line-level stereo aux returns, each with Solo and Gain, are located above the  
subgroup faders. Note that AUX RETURNS 1 and 2 are assignable to any mix bus.  
The SX3282 is a conventional split console. By this we mean that the inputs and  
outputs occupy separate areas of the board. This makes for easier visualization  
of signal path compared to an in-line design, which uses combined input/output  
channels. The main section on the right hand side handles all the outputs  
(as well as 4 stereo aux returns and a 2-track tape input), input channels are  
located on the left.  
Stereo aux returns  
At the main section’s top end (middle) you will find four stereo aux returns,  
each with Solo and Level control. AUX RETURN 3 and 4 are hard-wired to the  
main mix, while AUX RETURNS 1 and 2 can be switched to either main mix or the  
subgroups and therefore are equipped with a BALANCE control.  
The configuration is 32 into 8 into 2. This means that there are 32 channel inputs  
in total (there are 24 mono and 4 stereo channels), assignable to 8 subgroup  
buses (plus the main mix) which in turn may be blended into the main mix stereo  
output. The subgroups (configurable as stereo pairs if required) are provided  
for connecting to a multitrack tape recorder, or for use as a mixing aid during  
mix-down or during a live concert. Every channel, and two out of four stereo  
aux returns included in the SX3282, can access any or all of these subgroups  
or the main mix directly, via comprehensive routing matrices. All channels  
also have access to eight aux send buses. Each channel can access 6 aux sends  
simultaneously. For each channel the 8 aux sends are switchable between two  
configurations: six pre- and two post-, or six post- and two pre-fader, for live or  
studio operating environments respectively.  
Main mix output / additional features  
Main mix output level is being controlled via a pair of high-quality 60 mm faders.  
The main section also includes an assignable headphones output with LEVEL,  
a 2-track tape return assignable to the control room/monitors, and a solo output,  
adjustable for audition level and switchable between the solo and PFL function.  
The monitor (or control room) output is independently adjustable for level,  
and the integral talkback mic is routable to 6 of the 8 aux buses, i.e. all possible  
pre-fader (cue) sends. A BNC connector is provided for a gooseneck lamp for  
those dark winter’s night mixes.  
Inserts  
Input channels  
Mono channels, subgroups and the main mix all have insert points for patching in  
dynamics processors etc.  
The first 24 input channels are mono, with a choice of balanced mic  
(XLR, +48 V phantom power switchable) or line (¼" TRS) inputs, both with  
exceptional gain architecture. A further 8 line inputs are configured as 4 stereo  
input channels, accepting all line level signals. Every channel has mute, Solo/PFL  
and comprehensive EQ. A high-quality 60 mm fader feeds the main mix and/or  
subgroup buses via subgroup- and mix-assign switches. A constant-power  
channel Pan also selects between odd and even-numbered subgroup buses.  
2.2 Metering  
All input channels have signal and overload LEDs, while the L and R output has a  
pair of 12 digit bargraph meters. The main mix (L/R) meters also have clip LEDs  
(+28/22 dB: balanced/unbalanced), and double up as mono PFL or stereo solo  
meters, or 2-track return meters (in general, what you hear is what you see).  
During Solo/PFL only the main mix bargraph meters illuminate.  
Subgroups  
◊
The master clip LEDs (+22 dBu) should never be allowed to illuminate.  
If they do, reduce either the MAIN MIX fader or the group(s) and/or  
channel fader(s), or (as a last resort) the channel input gain(s).  
Maybe it’s time to do a round of PFL metering.  
For ease and flexibility of mixing, eight mono subgroups with Pan and Solo are  
provided. Each has its own individual output, and each may also be assigned to  
the main mix.  
◊
In Solo/PFL mode a 0 dB meter reading matches an internal operating  
level of 0 dBu (0.775 V). However, when looking at the mix, 0 dB is  
referenced to +4 dBu, the 2-track operating level. I.e. if only one signal  
is present in the main mix bus, soloing that signal will cause the meter  
reading to increase by +4 dB.  
Aux sends  
There are eight master aux send outputs, each with Solo and Gain.  
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EURODESK SX3282 User Manual  
(53)  
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EURODESK SX3282 User Manual  
(54)  
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9
EURODESK SX3282 User Manual  
3. Mono Input Channels  
There is +15 dB of gain on every aux send. Such a high boost is usually  
only appropriate where the channel fader is set around -15 dB or lower.  
Here, an almost exclusively wet signal will be heard. In most consoles, such a  
wet mix requires the use of a pre setting for the channel aux send, losing fader  
control. With the SX3282 you can have a virtually wet mix with fader control.  
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.  
Channels may be altered for pre-EQ aux sends (see section 13 “Modifications”).  
When a jack is plugged into the balanced (self-unbalancing) line input, the gain  
structure is such that it can match any line level from +10 to -40 dBu. The crucial  
operating levels +4 dBu and -10 dBV are clearly and accurately legended ((1)).  
3.4 Routing & Muting  
Routing means selecting which bus you want a channel to address. 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 (3.1).  
3.1 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 Channel PAN (11) positions the output of the channel in the stereo field.  
meters. This also sends the Solo/PFL-ed signal to the left and right speakers.  
Channel Solo (13) has an associated LED (14).  
Its constant-power design ensures there are no level discrepancies whether a  
signal is hard-panned, center-stage, or somewhere in-between. Such pin-point  
accuracy will be a revelation if you have been working on consoles with lower  
quality circuits.  
◊
For level-setting (as opposed to localized listening) choose to use the  
Mono PFL bus rather than the post-fader (post-channel pan) stereo solo  
bus (Channel MODE switch (38) not depressed). Solo/PFL never interrupts All stereo buses follow channel Pan. Usually, only one of L-R, 1-2, 3-4 etc. will be  
the mix at the main recording outputs. It follows that aux sends and  
subgroups must also be unaffected, since they contribute directly to  
the main mix.  
selected for a particular channel.  
◊
An exception to this rule is when laying down voice takes. It is often  
convenient to have the mic channel(s) routed to all potential take  
tracks simultaneously, since you are often dropping in quickly between  
four or more tracks. It means one less button to press each time you  
switch tracks.  
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.  
These LEDs are particularly useful when using extreme EQ settings, or adding a  
dynamics processor via an insert.  
Level to the group and main left and right buses is ultimately determined by the  
channel fader (17). This is designed to give a smooth logarithmic taper of a type  
more usually associated with megabuck consoles. The low level performance  
particularly is far smoother than that of a “normal budget” fader.  
You do not want the overload light to come on except very intermittently during  
a take or a mix. If it does light persistently, reduce input gain (see also the  
essential section 8 “Setting up”).  
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. Engaging mute is equivalent to setting a  
fader level of minus infinity. It follows that pre-fader aux sends are unaffected by  
application of mute.  
3.2 Equalizer  
All mono input channels are fitted with a semi-parametric 3-band EQ, plus a  
switchable low-cut filter for eliminating unwanted subsonics. The upper (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.  
4. 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.  
◊
The combination of shelf boost at 80 Hz together with low-cut at  
75 Hz results in a peaking response, useful for adding warmth to  
vocals and instruments, and a firm bottom to kick drums and basses,  
without losing control of low frequency speaker cones.  
◊
This feature is disabled, if the inputs and outputs of the SX3282 are  
wired permanently to a patchbay (see section 9 “Patchbay”).  
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 either +4 dBu or -10 dBV.  
3.3 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 en bloc using the PRE switch (9).  
4.1 Input Level Setting  
This is exactly as for a mono channel (see section 3.1).  
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).  
4.2 Equalizer  
All stereo input channels are fitted with four-band, fixed-frequency EQ.  
Bands 1 and 4 are shelving, while bands 2 and 3 have a peaking response,  
with their Q set at 2 octaves.  
The upper (2)and lower (5)shelving controls have their turnover frequencies  
fixed at 12 kHz and 80 Hz, whereas the midrange controls (53) and (52) have their  
bell center frequencies set at 8 kHz and 800 Hz.  
◊
Most reverbs etc. internally sum up the left and right inputs. The very  
few that do not may be driven in true stereo by using 2 aux sends.  
All bands have up to 15 dB of cut and boost, with a center detent for “off”.  
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◊
A stereo equalizer is generally preferable to using two mono equalizers  
when EQ-ing a stereo signal, as often discrepancies between left and  
right settings can occur.  
Keyboard  
4.3 Aux Sends  
These are the same as for mono channels (see section 3.3).  
4.4 Routing & Muting  
ULTRACURVE PRO DEQ246  
The only difference here from the mono channel described in 3.4 is in the  
implementation of the pan control. When a channel is run in mono, there is no  
difference at all.  
Stereo Channel/Input  
In stereo operation however, this control functions as a BALANCE control (19),  
determining the relative balance of the left and right channel signals being  
sent to the left and right main mix buses, or odd and even subgroup buses.  
For example, with the balance control turned fully clockwise, only the  
right portion of the channel’s stereo signal will be routed to any or all of  
buses R, 2, 4 etc.  
SX3282  
5. Subgroups and Inserts  
Fig. 5.1: Inserting into a stereo channel  
5.1 Subgroups  
◊
◊
Please note that we didn’t draw the ground/screen connection in the  
following graphics to keep them as simple as possible.  
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)).  
If you want to insert an external EQ or dynamics processor post-EQ,  
a subgroup insert should be used as follows:  
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).  
◊
Try inserting compression/de-essing/an exciter or a noise gate across  
grouped signals (e.g. backing vocals, drums, layered synths).  
◊
Try merging a dry signal with a little wet, then compressing the sum  
heavily. Though the reverb proportion will be low when a signal is  
present, the resultant reverb tail pumped up by the compressor at the  
start of each silence will give the illusion that the reverb was massive  
at the time. (The listener will be left wondering how the singer could  
sound so clear in such a wet acoustic!)  
Channel 1  
Input  
Subgroup 1  
Insert  
5.2 Insert Points  
Insert points are useful for adding dynamic processing or equalization to a  
channel, a group, or the mix. Unlike reverbs etc., which are usually added to  
the dry signal, dynamic processing is normally applied across an entire signal.  
Here an aux send would be inappropriate. Instead the signal is intercepted  
somewhere along the channel, fed through the dynamics processor and/or EQ,  
then returned to the console at the same point where it left. The insert point is  
normalized, i.e. the signal is only interrupted when a jack is plugged into it.  
Send  
Return  
All mono input channels have got insert points, as have the subgroups and the  
main mix. Each insert point is accommodated on a single TRS jack socket wired  
tip = send, ring = return, sleeve = ground/screen. Inserts are always pre-fader,  
and also pre-EQ/pre-aux sends for channels.  
ULTRACURVE PRO DEQ2496  
◊
If you want to insert a dynamics processor etc. into one of the stereo  
channels, it must be done between the source output and the SX3282,  
as these channels have no bona-fide insert point.  
Fig. 5.2: Inserting an external EQ / dynamics processor post channel EQ  
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In this arrangement you might find that compression tends to soften the  
perceived amount of (especially treble) EQ applied. The solution here is to  
apply more EQ. This creates a real ‘pressure’ sound, great for high energy  
music such as dance.  
6. Main Section  
6.1 Aux Masters  
Aux sends  
In the above example, any aux sends to effects should be applied before  
the EQ/dynamics processing takes place. If you want the aux sends to be  
post-processing, you will need to address the signal to one of the subgroups and  
then insert the EQ/dynamics processor between the corresponding subgroup  
output (insert send) and a channel input (insert return).  
Much of the main section (situated left and below the bargraph meters) is taken  
up by master aux sends and returns.  
Stacked in a vertical column are eight master AUX SEND LEVEL pots (51), one for  
each bus. Each has a gain structure of -oo to +15 dB. The extra 15 dB of gain  
comes in once a knob passes a center detent (representing the ‘normal’ unity gain  
position), enabling insensitive outboard FX to be properly driven. Each aux send  
has a Solo button (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.  
You can now reclaim the channel 2 input as follows: By applying the channel’s  
insert send you can route out an instrument’s signal being plugged into the line  
input, treat it with an EQ/dynamics processor, and then reroute it via a subgroup  
(insert return) to the master section.  
An additional patch enables channel EQ to be placed onto a subgroup with  
no reduction in the number of line inputs available, as well as providing an  
opportunity to lead a signal pre-EQ into a subgroup. By inserting a plug into the  
channel insert socket, the channel is interrupted between the gain pot and the  
EQ. A signal which is being led into the channel’s mic-or line input is now guided  
into the subgroup inserts input. It appears to be sensible to use this signal path  
preferably for readily edited signals (e.g. tape tracks or post-EQ DI-outs from  
instruments amplifiers), as there is no EQ in the subgroup signal path.  
(This is to help you see exactly what has been solo-ed. Any experienced engineer  
will have had occasion to painstakingly search through every solo button on  
his / her console trying to find out why one of the main solo lights was flashing,  
while the control room monitors remained silent!)  
Aux returns  
Across from the aux sends are the stereo aux returns. These can be thought of as  
eight extra line inputs, configured as four stereo pairs. On these inputs there is up  
to 20 dB of gain available. Alternatively, a mono (center-panned) signal may be  
returned by plugging into the left aux return jack only.  
Subgroup 1  
Insert Send  
◊
This feature is disabled if all line-level l/Os from the SX3282 are wired  
permanently to a patchbay (see section 9 “Patchbay”).  
Tip  
Aux returns 1 & 2  
Ring  
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.  
◊
As always, there are exceptions to the rule above. Some short stereo  
delay effects (say 30 ms to left, 50 ms to right) cause a psycho acoustic  
effect where the earlier delay seems louder. A similar effect is  
noticeable when harmonizing in stereo: a slight pitch shift upwards  
will seem louder than one that goes down. In both cases use Balance  
(48) to compensate. (An analogy comes from Greece: the columns of the  
Parthenon in Athens are slightly bowed so as to appear straight.)  
Channel X  
Insert Return  
When carrying out the setup mentioned above or any other stereo imaging  
exercise, don’t just rely on the control room monitors. Get a pair of headphones  
and listen in stereo and in reverse stereo, to allow for any hearing discrepancy  
between your ears.  
Fig. 5.3: Making use of the channel EQ for shaping subgroup-signal by applying inserts  
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.  
◊
SX3282 insert points are, of course, simultaneously inputs and outputs.  
For goodness sake, get them onto a patchbay, where they can appear  
as independent sockets, and do away with all these fiddly Y-leads  
that always seem to be the first to get knotted in the flightcase  
Solo  
(see section 9 “Patchbay”). Now it is possible to do the incredibly useful Below the aux returns 1/3 and 2/4 lies a local Solo LED (42). This flashes whenever  
patch shown in fig. 5.3 without having to make up what would amount a solo button in the column above is pressed.  
to a ring-to-tip, tip-to-ring stereo patch lead.  
◊
Insert points may also be used as pre-EQ direct outputs without  
interrupting the signal flow. See fig. 7.5 “Direct out connection”.  
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◊
There is no absolute reason why the send from aux 1 should feed into  
a processor whose outputs are sent to the aux return 1. The processor  
could just as easily be patched into the aux return 3, or even a pair of  
channels. For many purposes, however, it is sensible to set up a default  
patch where the aux sends and returns correspond. It is logical to  
put your premier FX units into the aux 1 and aux 2 loops, since these  
returns enable you to record to tape without repatching.  
6.5 2-Track Input and Output  
The 2-track input is on unbalanced RCA phono plugs, and is primarily made for  
auditioning mix playback from tape. The 2-TRACK switch (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.  
◊
Sometimes an engineer wants to narrow the stereo width of a reverb  
field. To do this you will have to come back on channels, because they  
have full panorama facilities.  
◊
The 2-track input could usefully be connected to the output of a hi-fi  
pre-amp or integrated amplifier, allowing you to easily audition a  
variety of sources (e.g. CD, phono etc.).  
6.2 Monitoring  
2-track output  
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 meters  
won’t make much sense if more than one source is selected).  
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.  
◊
Altering what goes into the control room monitors does not affect  
the signal from the main mix recording outputs. That offers to you  
the opportunity to do a quick solo during a mix whenever you want  
without having to start again!  
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. This is  
important: Connecting a compressor or gate after the 2-track output would  
disrupt any attempt to acquiring a smooth fade using the output faders.  
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.  
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!  
Don’t rely on a single pair of loudspeakers to audition your mix. You’d better use a  
variety of different speakers.  
6.6 Talkback  
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.  
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.  
6.3 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.  
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  
The headphone mix level is controlled by a LEVEL pot (24), and the gain is sufficient or personal stage mixes.  
to drive headphones directly. This is fine for a MIDI suite with overdub booth,  
Sometimes you will want a much higher rejection of feedback than a  
but for the bigger studio’s headphone network using a separate headphones  
distribution amplifier like the Behringer POWERPLAY PRO-XL HA4700 is  
recommended. This can offer the added advantage of independent headphones  
level control for every performer.  
flush-mounted talkback mic could ever provide. When running a live concert mix,  
a dynamic mic plugged into a spare channel and routed to all the pre-fader sends  
only will do the job.  
6.4 Solo/PFL  
7. Connections  
7.1 SX3282 Back Panel  
Solo  
Solo is short for Solo-in-Place, and is the preferred method for auditioning  
an isolated signal, or group of signals. Whenever a Solo button is pressed,  
all unselected channels are muted in the monitors. Stereo panning is maintained.  
The solo bus is derived from the output of the channel pans, aux sends,  
stereo line inputs and subgroups, and is always post-fader.  
Phantom power switch  
When using capacitor mics, +48 V DC can be switched globally on or off by (71).  
7. 2 Patchfield and Plug Wiring Scheme  
PFL  
Most of the inputs (inserts being the major exception) are balanced. Refer to  
section 9 “Patchbay” if you are not sure what this means.  
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.  
◊
Unbalanced equipment may be connected to balanced inputs/outputs.  
Either use mono ¼" jacks or connect ring and barrel of TRS jacks  
(or pin 1 and 3 of XLR plugs).  
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  
(see also the essential section 8 “Setting up”).  
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Mono input channels 1 - 24  
Main output (TRS sockets)  
•
Insert points: unbalanced send and return on a single ¼" TRS socket,  
wired tip = send, ring = return, sleeve = ground/screen.  
Unbalanced ¼" TRS sockets, wired tip = hot (+ve), sleeve = ground/screen.  
Main outputs (XLR)  
•
Line inputs: balanced ¼" TRS sockets, wired tip = hot (+ve),  
ring = cold (-ve), sleeve = ground/screen.  
Balanced XLR, wired pin 1 ground/screen, pin 2 hot (+ve), pin 3 cold (-ve).  
Maximum level is +28 dBu.  
•
Mic inputs: XLR-type connectors, wired pin 1 = ground/screen,  
2 = hot (+ve), 3 = coid (-ve), for balanced low-level operation.  
◊
Care should be taken NOT to plug mics into the console (or stagebox)  
while the phantom power (71) is on. Also mute the monitor / PA speakers  
when turning phantom power on or off. Allow 1 minute after powering  
up for the system to equilibrate before setting input gains.  
Stereo input channels 25 - 32  
Four stereo pairs. Unbalanced ¼" TRS sockets, wired tip = hot (+ve),  
sleeve = ground/screen.  
Aux sends  
Unbalanced ¼" TRS sockets, wired tip = hot (+ve), sleeve = ground/screen.  
Stereo aux returns  
Fig. 7.1: ¼" TS connector  
Four stereo pairs on balanced ¼" sockets, wired tip = hot (+ve), ring = cold (-ve),  
sleeve = ground/ screen.  
Subgroup inserts  
For inserting into a subgroup signal. Unbalanced send and return on a single  
¼" TRS socket, wired tip = send, ring = return, sleeve = ground/screen.  
Subgroup outputs  
Primarily designed for feeding a multitrack recorder. Unbalanced ¼" TRS sockets,  
wired tip = hot (+ve), sleeve = ground/screen.  
2-track in / out  
RCA sockets for use with tape recorders etc., signal = main mix. Use custom-  
made RCA cables for the 2-Track in/out traffic (center post = signal (+ve),  
sleeve = ground/screen).  
Fig. 7.2: ¼" TRS connector  
Monitor & control room outputs  
Will feed a pair of speakers (via an amp, of course). Balanced ¼" TRS sockets,  
wired tip = hot (+ve), ring = cold (-ve), sleeve = ground/screen.  
Phones outputs  
Will feed two headphones. ¼" TRS socket, wired tip = left signal,  
ring = right signal, sleeve = ground/screen.  
Main inserts  
For inserting into the main mix signal. Unbalanced send and return on a single  
¼" TRS socket, wired tip = send (out), ring = return (in), sleeve = ground/screen.  
Fig. 7.3: Insert send and return ¼" TRS connector  
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◊
◊
All outputs are ground-compensated (decoupled from the mains supply  
earth) to eliminate the possibility of ground loops.  
Please make sure that every part of your equipment is connected to the  
mains earth. To avoid any risk of electric shock never disconnect the  
mains earth from any part of your equipment!  
◊
Please ensure that only qualified personnel install and operate the  
SX3282. During installation and operation the user must have sufficient  
electrical contact to earth. Electrostatic charges might affect the  
operation of the unit.  
8. Setting Up  
8.1 Selecting Inputs  
Fig. 7.4: ¼" TRS connector for headphones  
1) Mono channels accept mic or line inputs. If you are using the mic input,  
make sure nothing is connected to the line input (and vice-versa).  
Please note that mic inputs are many times more sensitive than line inputs!  
◊
Do not connect mics with phantom power switched on. NEVER use  
unbalanced mic cables with the phantom power switched on ever!  
Shorting +48 V DC to earth can cause serious damage.  
2) Stereo channels accept line level signals. Any stereo channel can be run in  
mono simply by connecting into the left jack socket only.  
◊
This feature is disabled if all line level in-/outputs from the SX3282 are  
wired permanently to a patchbay (see section 9 “Patchbay”).  
The stereo channels are suitable for a variety of line-level sources including  
MIDI instruments, effects outputs, and tape returns from multitrack.  
3) Stereo aux inputs are primarily designed for returning effects  
units, though these too may be given over to multitrack returns or  
MIDI instrument outputs.  
Fig. 7.5: Direct out connection  
8.2 Initializing Channels for Gain Setting  
1) Set gain to minimum and all aux sends to “off” (fully counterclockwise).  
2) Set EQ to flat (all knobs at 12 o’clock).  
3) Where applicable, set LO CUT switch (6)on for most mics, off for signals with  
desired very low frequency content.  
4) Set Channel Mode to PFL ((38) up).  
5) Depress Solo switch (13).  
8.3 Auditioning a Signal and Setting  
Up a Channel  
1) Make a typical noise, or roll the tape. There should now be some activity at  
the main bargraph meters, indicating the PFL level.  
Fig. 7.6: XLR connectors  
2) Adjust the gain control (1)until transient peaks are regularly hitting +2 dB.  
Continuous signals should not exceed 0 dB.  
3) With FX units, MIDI instruments and multitrack tape recorders (pro +4 dBu,  
semi-pro -10 dBV), it is important to match the operating level of the  
desk to that of your machine. If you are not sure which level your external  
equipment requires, try a 0 dB setting first. If the signal is too low, turn the  
gain pot to the right.  
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◊
A -10 dBV nominal operating level for an effects processor is almost  
certainly referenced to 0 dB on the unit’s input or output meter. If the  
FX processor has indication only for input level, ensure that the output  
gives comparable, i.e. ‘unity’, gain.  
9.1 Half-normalled:  
4) If EQ is adjusted at any time, repeat steps 8.3 1) & 2).  
5) If an insert is used to patch in a compressor, gate, EQ etc., use the outboard  
processor’s bypass or effect off switch to A/B monitor the effected and  
bypassed signals, which should be level matched. (If the unit does not  
have a bypass switch or equivalent, you will have to keep connecting and  
disconnecting the device until you achieve unity gain.)  
6) Solo switch (13) up. Move onto next channel.  
8.4 Desk Normalization  
All board settings should be set to the normal default condition before or  
after every session. Usually faders are set to zero (minus infinity) EQs set flat,  
trimpots and channel aux sends turned fully anticlockwise etc. Many controls  
have a natural initial setting. For EQ cut and boost this is unity gain.  
However, some settings, such as selecting pre or post for channel aux sends,  
will depend on the operating environment (e.g. studio or live), or on a particular  
engineer’s preferred way of working.  
9. Patchbay  
Fig 9.1: Patchbay mode “half-normalled”  
A patchbay allows you to patch the audio signals of most components in your  
studio from a central point and send them to other units, which makes your  
entire cabling better structured and is indispensable for professional work. If you  
want to use your studio as effectively as possible then it is preferable to use a  
complete patchbay wiring scheme. But even smaller studio configurations will  
benefit from less sophisticated patchbay solutions.  
In this configuration, the contacts of the two jacks on the rear are interconnected.  
When you insert a plug into the upper front jack, the signal routed through the  
rear path is not interrupted. Only when the lower front jack is used will the rear  
panel route be split up, so that the two upper and the two lower phone jacks are  
connected to one another. This configuration is called “input break” and is used  
mainly for insert paths. So you can easily patch the signal from a mixing console  
channel at the Patchbay without interrupting the signal flow in the channel.  
The majority of commercially available patchbays include two rows with  
24 phone jacks each in a 19" 1 U rack panel. On the rear, either a corresponding  
number of phone jacks or contacts for soldering signal leads can be found.  
Each group of four of these phone jacks forms one module. The configuration  
of some Patchbays can be changed by inserting jumpers or turning  
individual modules.  
9.2 Normalled  
With the help of our ULTRAPATCH PRO PX3000, an easy-to-use 24-patchbay  
offering phone jacks throughout, you can easily understand the different  
modes. With the ULTRAPATCH PRO PX3000 you can select between the  
different operating modes simply by setting a switch on the upper panel  
(example: module 17).  
Fig 9.2: Patchbay mode “normalled”  
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Here, and in contrast to the “half-normalled” setup, the signal route of the rear  
phone jacks is interrupted when you insert a plug both into the upper and lower  
front jacks.  
Basically, the inputs are routed to the bottom and the outputs to the top  
rear-wall connectors. Avoid routing digital signals over a patchbay as the pulse  
signal used for the transmission of such signals causes heavy interference  
in analog signals. Additionally, normal patchbays change the impedance of  
the digital cable route, which causes interference in the digital path. Use the  
BEHRINGER ULTRAMATCH PRO SRC2496 specifically designed for this and other  
digital signal-related functions.  
9.3 Open  
Microphone inputs operate at a level several orders of magnitude lower than line  
levels (+4 dBu or -10 dBV). Therefore, they should never be routed via a patchbay.  
In any case, patching in a field with 48 V DC (phantom power) flying about is to  
be avoided at all costs. It is best to plug mics directly into the mixing console or  
via special XLR-type wall boxes connected to the mic inputs of the console by  
good-quality balanced multicore cables (2-cond. + shield).  
Fig 9.3: Patchbay mode “open”  
This mode is used to connect devices such as sound modules or CD players having  
no inputs of their own. This saves space, as you can route the left and right  
outputs to one module (left - top; right - bottom) or patch two devices to one  
module (top and bottom). Effects devices and 2-tracks can be configured this  
way, so the inputs and outputs are positioned on top of each other.  
9.4 Patchbay Organization  
Fig. 9.4: Patchbay 1  
Fig. 9.5: Patchbay 2  
Fig. 9.6: Patchbay 3  
Let us give you an example configuration that shows how you can most  
effectively use your patchbays. We assume you own a mixing console with  
accordingly. Modules 19 & 20 (tape deck) are open, because it does not make  
sense connecting the inputs and outputs of the tape deck. 21 & 22 are normalled  
16 mic/line inputs plus inserts, 8 direct outputs, 8 subgroups with 4 inserts, 4 aux and route the DAT recorder outputs to the 2-track inputs of the mixing console.  
paths with 2 stereo returns and one stereo master output including insert jacks.  
Added to this we have an 8-track recorder (digital or analog), a few pieces of  
outboard equipment (FX, dynamics & EQ’s), a CD player, tape deck, HiFi system  
and a headphones amp:  
So it always is possible to control the recorded data on the 2-track from the  
mixing console. The CD player and the HiFi system are connected to modules  
23 & 24, which are open, because they only serve as a source.  
In patchbay 2 the first 16 modules are normalled (1 through 8 IN could also be  
used to connect the corresponding monitor inputs—if the console has a separate  
monitor section). MIDI devices such as samplers, expanders, keyboards, etc. are  
usually set up in every corner of the room. To make the cabling better structured  
we route these units to modules 9 through 16. This allows further workmanship  
In the first eight modules of patchbay 1 the subgroup outputs are directly  
connected to the corresponding multitrack inputs. In addition to that it is also  
possible to record the signals coming from a subgroup on a different track of  
the multitrack. To save space and provide a clearly structured configuration,  
the direct outputs are connected both to the top and bottom jacks. Modules 17 & of the MIDI devices at the mixing console. Modules 17 through 20 are normalled  
18 are the stereo master output, which is half-normalled and thus allows for  
recording both to the DAT recorder and the tape deck, simply by patching it  
and have the FX inputs and the aux sends connected, 21 through 24 are also  
normalled and are patched to the two stereo aux returns with the FX outputs.  
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Channel  
Inputs  
Mic/  
Line  
mono/  
stereo  
In patchbay 3, modules 1 through 16 are for the channel insert. These modules  
are half-normalled, so that you have an additional route for the channel  
signals. The same applies to the insert paths of the subgroups and the master  
output. The headphones amp is connected to 23 & 24, which are normalled and  
connected to the control room outputs of the mixing console. Of course, you can  
also use pre-fader aux paths for the headphones mix.  
Source  
Subgroup/Track  
1
Vocals  
1
M
M
M
M
M
M
M
M
M
M
M
M
M
M
L
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
s
2
Backing Vocals  
Backing Vocals  
Backing Vocals  
Kick Drum  
Snare Drum  
Hi-Hat  
2
3
2
4
2
5
3 & 4 (Stereo Mix)  
It should be noted that patchbays should be placed one below the other in such a  
way that the patch cords won’t hang all over the patchbays. In our example you  
don’t have to span great distances, for instance, to patch the dynamics and EQ’s  
to the insert paths.  
6
3 & 4 (Stereo Mix)  
7
3 & 4 (Stereo Mix)  
8
Tom 1  
3 & 4 (Stereo Mix)  
9
Tom 2  
3 & 4 (Stereo Mix)  
10  
Tom 3  
3 & 4 (Stereo Mix)  
9.5 Looming Problems  
11  
Tom 4  
3 & 4 (Stereo Mix)  
Loom wiring is an art unto itself, and it is worth taking time out to get it right.  
First off, it is important to avoid earth loops (a looped wire acts an aerial,  
picking up hum and electromagnetic radiation). Think of a tree. Every part of  
that tree is connected to every other part, but only by one route. That’s how  
the total earth picture for your entire studio should look. Don’t take the earth  
off your power cable plug to reduce audible 50 Hz mains hum. Rather you  
should be looking at disconnecting the signal screen somewhere (one or several  
audio cables).  
12  
Overhead L  
Overhead R  
Bass Guitar  
Bass Guit. DI  
Guitar  
3 & 4 (Stereo Mix)  
13  
3 & 4 (Stereo Mix)  
14  
5
15  
5
16  
6
M
M
M
M
M
L
17  
Brass 1  
7
18  
Brass 2  
7
19  
Brass 3  
7
It is good practice to ensure that all screens are commoned at the patchbay,  
in which case all unearthed equipment would pick up earth from this point via  
a single screen (more than one route = an earth loop), while mains-earthed  
equipment would have all screens cut at the equipment end.  
20  
Brass 4  
7
21  
Keyboards 1  
Keyboards 2  
Keyboards 3  
Keyboards 4  
Effects 1  
Effects 2  
Intro Tape  
CD  
8
22  
8
L
23  
8
L
Some quality equipment has an independent signal and mains earth. In this case  
at least one screen should carry earth to the equipment. Sometimes the only way  
to find out is “suck and see”.  
24  
8
L
25/26  
Mix (stereo)  
Mix (stereo)  
Mix (stereo)  
Mix (stereo)  
Mix (stereo)  
Mix (stereo)  
Mix (stereo)  
Mix (stereo)  
L
27/28  
L
s
29/30  
L
s
Take care to ensure that using the patchbay does not disturb the studio’s earth  
architecture. Always use short as possible patch leads with the screen connected  
at both ends.  
31/32  
L
s
Aux Return 1  
Aux Return 2  
Aux Return 3  
Aux Return 4  
Effects 3  
Effects 4  
Effects 5  
Effects 6  
L
s
L
s
Having designed mains hum out of the system, make up your cable looms  
from the patchbays outwards, and use cable ties, flexible sheaths, multicores,  
etc. to keep the back of your racks tidy.  
L
s
L
s
Subgroup  
Outputs  
—
—
—
> Main Mix / tracks 1 to 8  
—
—
—
—
—
—
> Cue 1 (pre fader) >  
Floor monitors 1  
Aux Output 1  
Aux Output 2  
10. Applications  
10.1 Keyboard Submixing  
MIDI keyboard sub-mixing, live or in the studio, sequenced and/or played. This is  
relatively simple to achieve. Simply use the line inputs to mix stereo or mono  
outputs from your keyboards. Subgrouping may be useful en route to the mix,  
e.g. to control the level of drums versus music. Aux sends may be used either to  
feed on-stage monitors, artists headphones or effects units. You might want  
to use the stereo aux inputs for instruments with built-in EQ, since there is no  
EQ on these inputs. Effects could be brought back on any line input. The main L R  
output should feed the front-of-house or main studio console.  
> Cue 2 (pre fader) >  
Floor monitors 2  
Aux Output 3  
Aux Output 4  
Aux Output 5  
Aux Output 6  
Aux Output 7  
Aux Output 8  
Mix Output L  
Mix Output R  
Monitor Out L  
Monitor Out R  
—
—
—
—
—
—
—
—
—
—
> Effects 1  
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
> Effects 2  
> Effects 3  
> Effects 4  
> Effects 5  
> Effects 6  
> Graphic EQ (Insert) > FOH  
> Graphic EQ (Insert) > FOH  
> Sidefills (Main Stereo Feed)  
> Sidefills (Main Stereo Feed)  
10.2 Live Concert with Simultaneous  
8-Track Recording  
Tab. 10.1: SX3282 tracksheet for live concert and simultaneous recording  
Here some or all mono channels are likely to be tied up with stage mics.  
Carefully choose the right position so as to minimize feedback. Try to keep the  
stage volume as low as possible, as stage sound can cause a muddy front-of-  
house (FOH) sound. Don’t forget to notch out troublesome frequencies using  
a graphic or parametric equalizer, or Feedback Destroyer (see the BEHRINGER  
FEEDBACK DESTROYER PRO DSP1124P and the ULTRACURVE PRO DEQ2496 which  
does all of these and more.)  
◊
◊
Use the LO CUT filters ( 6 ) to eliminate floor rumble, mics popping etc.  
Try using a compressor and noise gate on vocals, bass guitar and even  
drums via channel insert.  
◊
◊
Effects may be a little over-the-top for a live band (not so for a dance  
act!). You might want to have 2 effects sends, but six independent cue  
feeds for on-stage monitoring.  
The effects used in the FOH mix will not be recorded to multitrack. These can be  
added later during mixdown.  
Record the FOH mix to DAT (or to 1 or 2 channels of the multitrack)  
as a listening aid during mixdown (or to blend with dry submixes).  
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Channel  
Inputs  
Mic/  
Line  
mono/  
stereo  
10.3 8-Track Studio Recording  
Source  
Subgroup/Track  
8-track MIDI project studio with sampler, 8-track recording system, one vocal  
mic and several effects units. With largely computer-generated dance music  
you will want to have plenty of line inputs, and an ability to take vocals quickly,  
efficiently, and with minimal desk disturbance. Often a vocal line is added after  
the music is almost complete. For this we try not to use a valuable aux send as a  
cue feed.  
1
Tape 1  
—
—
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
L
—
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
S
2
Tape 2  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
Mix  
3
Tape 3  
4
Tape 4  
5
Tape 5  
6
Tape 6  
Once you have finished taking vocals, the subgroups may be used to submix  
keyboards, drums etc. into the main mix. You might want, for instance, to apply  
creative keyed gating to a portion of the mix. Use a subgroup insert to do this.  
7
Tape 7  
8
Tape8  
9
Sampler 1  
Sampler 2  
Sampler 3  
Sampler 4  
Sampler 5  
Sampler 6  
Sampler 7  
Sampler 8  
Drum Computer Kick  
Drum Computer Snare  
Drum Computer Hi-Hat  
Drum Computer Clap  
Synthesizer 1  
Synthesizer 2  
Synthesizer 3  
Vocal Mic  
Effect 1  
10  
Auxless headphones mix  
11  
12  
In a dance production, effects are often of paramount importance in creating  
interesting/evolving sounds, and aux sends are usually all dedicated to this  
purpose. Also it is also not unusual for a vocalist to be drafted in to add some  
colour to the mix at a late stage. The simplest solution here is to feed the main  
mix into the artist’s cans. If you (or they) are uncomfortable working with the  
mix, try using a simple line mixer to blend the output of the mic channel (via a  
subgroup; possibly via a dedicated FX unit to keep the vocalist happy) with the  
main mix, the combined stereo signal then being fed into the vocalists cans.  
13  
14  
15  
16  
17  
18  
19  
20  
If you need to hear the harmonies, but they’re putting the vocalist off key,  
you’ll want to be able to delete channels from the headphone mix. If you still  
don’t want to assign a couple of aux buses to headphones monitoring because  
this would disturb the main mix, the following suggestion might prove useful:  
Set up a separate channel assignment on a subgroup pair, omitting the offending  
channels, and use that output instead of the main mix to drive the headphones  
either directly or via a line mixer as illustrated above.  
21  
22  
23  
24  
25/26  
27/28  
Effect 2  
S
29/30  
Effect 3  
S
◊
In all cases the wet/dry balance of the supplementary vocal signal  
takes place within the FX processor.  
31/32  
Effect 4  
S
Aux Return 1  
Aux Return 2  
Aux Return 3  
Aux Return 4  
Effect 5  
S
Effect 6  
S
Effect 7  
S
Effect 8  
S
Subgroup  
Outputs  
> Main Mix/Tracks  
1 to 8  
—
—
—
Aux Output 1  
Aux Output 2  
Aux Output 3  
Aux Output 4  
Aux Output 5  
Aux Output 6  
Aux Output 7  
Aux Output 8  
Mix Output L  
Mix Output R  
Effect 1  
Effect 2  
Effect 3  
Effect 4  
Effect 5  
Effect 6  
Effect 7  
Effect 8  
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
> DAT  
> DAT  
—
> CTRL-R./  
Monitor Out L  
Monitor Out R  
—
—
—
—
—
—
Headphones  
> CTRL-R./  
Headphones  
Tab. 10.2: 8-track studio recording  
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Channel  
Inputs  
Mic/  
Line  
mono/  
stereo  
10.4 16-Track Studio Recording  
Source  
Subgroup/Track  
This set-up is for a multipurpose studio capable of recording live bands.  
The following layout is for a bass & drum take while other artists also perform  
guides to give correct feel for the song. Mic channels are used to record to tape,  
eight tracks at a time (max.) via the subgroup outputs. Since there are no tape  
returns to monitor from tape when input channels are unavailable, you might  
have to temporarily patch the tape outputs into other line inputs, e.g. stereo  
input channels, if you want to audition a take before placing tape tracks onto  
their final destination desk channels. We suggest that during playback you  
audition in mono (27) as listening to hard-panned kick and snare drum will be  
irritating. If you are using analog tape with timecode, leave track 15 free as a  
guard band. Place timecode on track 16.  
1
(Kick Dr.) Tape 1  
(Snare Dr.) Tape 2  
(Hi-Hat) Tape 3  
(Tom 1) Tape 4  
(etc.) Tape 5  
mix*  
L
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
s
2
mix*  
L
3
mix*  
L
4
mix*  
L
5
mix*  
L
6
Tape 6  
mix*  
L
7
Tape 7  
mix*  
L
8
Tape 8  
mix*  
L
9
Tape 9  
mix*  
L
10  
Tape 10  
mix*  
L
11  
Tape 11  
mix*  
L
Channel  
Inputs  
Mic/  
Line  
mono/  
stereo  
Source  
Subgroup/Track  
12  
Lead Vocals Guide  
Back Vocals Guide 1  
Back Vocals Guide 2  
Back Vocals Guide 3  
Guitar Guide  
Brass Guide 1  
Brass Guide 2  
Brass Guide 3  
Brass Guide 4  
Sequence Guide 1  
Sequence Guide 2  
Effects 1  
mix*  
M
M
M
M
M
M
M
M
M
L
13  
mix*  
1
Kick Drum  
Snare Drum  
Hi-Hat  
1
M
M
M
M
M
M
M
M
M
M
L
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
m
s
14  
mix*  
2
2
15  
mix*  
3
3
16  
1 (Track 9)  
4
Tom 1  
4 & 5 (stereo mix)  
17  
2 & 3 (Tracks 10 & 11)  
5
Tom 2  
4 & 5 (stereo mix)  
18  
2 & 3 (Tracks 10 & 11)  
6
Tom 3  
4 & 5 (stereo mix)  
19  
2 & 3 (Tracks 10 & 11)  
7
Tom 4  
4 & 5 (stereo mix)  
20  
2 & 3 (Tracks 10 & 11)  
8
Overheads L  
Overheads R  
Bass guitar  
Bass guit. DI  
Lead Vocal Guide  
Back Vocals Guide 1  
Back Vocals Guide 2  
Back Vocals Guide 3  
Guitar Guide  
Brass Guide 1  
Brass Guide 2  
Brass Guide 3  
Brass Guide 4  
Sequence Guide 1  
Sequence Guide 2  
Effect 1  
6
21  
mix  
mix  
mix  
mix  
mix  
mix  
mix  
mix  
mix  
mix  
mix  
mix  
9
7
22  
L
10  
8
23  
L
11  
8
24  
Effects 2  
L
12  
mix  
M
M
M
M
M
M
M
M
M
L
25/26  
27/28  
29/30  
31/32  
AuxRtn1  
AuxRtn2  
AuxRtn3  
AuxRtn4  
Tape Mon 1/2  
Tape Mon 3/4  
Tape Mon 5/6  
Tape Mon 7/8  
Tape Monitor 9/10  
Tape Monitor 11/12  
Tape Monitor 13/14  
Tape Monitor 15/16  
L
s
13  
mix  
L
s
14  
mix  
L
s
15  
mix  
L
s
16  
mix  
L
s
17  
mix  
L
s
18  
mix  
L
s
19  
mix  
L
s
20  
mix  
21  
mix  
Outputs remain unchanged (temporary)  
22  
mix  
L
Tab. 10.4: SX3282 example: 16-track studio recording “overdubs”  
23  
mix  
L
24  
Effect 2  
mix  
L
The layout shown in tab. 10.4 corresponds to the music overdub situation once all  
bass & drum takes have been completed. We have re-patched tape tracks onto  
main channels.  
25/26  
Tape Monitor 1/2  
Tape Monitor 3/4  
Tape Monitor 5/6  
Tape Monitor 7/8  
Tape Monitor 9/10  
Tape Monitor 11/12  
Tape Monitor 13/14  
Tape Monitor 15/16  
—
mix  
L
27/28  
mix  
L
s
29/30  
mix  
L
s
Remember to disconnect (from the wall boxes or desk XLR inputs)  
any microphones not in use. Otherwise the line inputs of channels 1-24 won’t  
work properly (live mics picking up extraneous noise etc.).  
31/32  
mix  
L
s
AuxRtn1  
AuxRtn 2  
AuxRtn 3  
AuxRtn 4  
Subgroup Out  
Aux Output 1  
Aux Output 2  
Aux Output 3  
Aux Output 4  
Aux Output 5  
Aux Output 6  
Aux Output 7  
Aux Output 8  
Mix Output L  
Mix Output R  
Monitor Out L  
Monitor Out R  
Mix (stereo)  
Mix (stereo)  
Mix (stereo)  
Mix (stereo)  
> Main Mix / Tracks 1-16  
> Cue 1  
> Cue 2  
> Effects 1  
> Effects 2  
> Cue 3  
> Cue 4  
> Cue 5  
> Cue 6  
> DAT  
L
s
L
s
*: The temporary tape monitor returns become redundant as and when tape  
tracks are able to be patched into main channels. You could begin to spread  
your FX and sequenced music returns over these stereo channels as they  
become available.  
L
s
L
s
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
At last it is time for vocal overdubs and touch-ups like percussion parts.  
—
(Tab. 10.4): Once overdubbing is complete the subgroups may be used in mono  
(or stereo pairs) as an aid to mixdown, e.g. to control multiple backing vocals,  
or drum kit tracks such as tom-toms and overhead mics.  
—
—
—
—
10.5 Multitrack Initialization  
—
Set up the multitrack so that any track in “record ready” condition has its input  
monitored when the tape is stationary. Place all tracks to be recorded into “record  
ready” status (once a recording has been made, these tracks should automatically  
switch to tape playback).  
—
—
> DAT  
—
> Control Room  
> Control Room  
—
Check that the input levels to each track are optimized before recording commences.  
Tab. 10.3: SX3282 example: 16-track studio recording, bass guitar and drum tracks  
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10.6 Recording Levels  
For “advanced equalization”, EQ might be applied to a signal as follows:  
First, trim the LF and HF shelves to achieve the required slope or “loudness”.  
Now use a parametric EQ band to boost the most significant frequency for each  
instrument or tape track. Over all channels, if two or more of these frequencies  
coincide, then you might have to settle for second best in some cases, if you want  
to achieve optimum separation in the mix. Really nasty frequencies will need  
notching out.  
When recording to digital, it’s a good idea to keep the recorder’s peak meters  
below 0 dB. Most (not all, esp. samplers) read 0 dB with some headroom left.  
This is because, unlike with analog, the onset of digital distortion is as sudden  
as it is horrible. If you really want to take your recording level to the limit  
(and fully exploit 16-bit digital’s 96 dB dynamic range), you’ll have to do some  
calibrating. How to do it? Well, you could run a tone at 0 dB from the mixer and  
use that as your DAT reference. But your DAT may be way under its maximum  
input limit. Probably a better way to work out just how hard you can drive your  
recorder is to incrementally increase the record level until the onset of digital  
distortion, subtract, say, 5 or 10 dB, and never exceed that level. Engage “peak  
hold” on your recorder before recording if you want to confirm that you haven’t.  
A vocal signal can be enhanced by applying a significant boost in the 12 kHz  
region or higher, above the nasty sibilance region. This is especially effective if  
you’ve got a de-esser patched post-EQ.  
◊
Use the low-cut filter to tighten up channels in a mix: maybe  
remove it only for the bass, kick drum, toms, tablas, didgeridoo and  
other deliberate subsonics (when recording classical music ignore  
this advice).  
When recording to analog, the tape machine’s VU meters should show around  
+3 dB on bass, but only around -10 dB for hi hat. Although analog distortion  
is more like compression at modest overload levels (often desirable on bottom  
end), higher frequencies cause saturation even at modest levels (an unpleasant  
“crunchiness”). Also, VU meters tend to progressively under-read above 1 kHz,  
due to their sluggish response time. Hi-hats should read about -10 dB on a  
VU meter, as against 0 dB for a typical snare drum, and +3 dB or more for a  
kick drum.  
With the LF set to boost and the low-cut switch activated, you have got a peak  
response rather than shelving at the bottom. Good for tight but deep bass.  
Remember EQ contouring can be done with cut as well as with boost.  
Cutting away the top and bottom, then pushing up the gain is equivalent to  
mid range boost! EQ is not a one way street!  
Peak meters read more-or-less independent of frequency. Aim for 0 dB recording Always reset a channel’s input gain (or external devices’ output level)  
level for all signals.  
after altering the amount of desk EQ cut or boost applied.  
10.7 Track Sheet  
11.1.2 Gain Optimization  
When laying out channels for recording or mixing, try to be sensible.  
Keep tom-toms together, etc. Work out a scheme that suits you & stick to it.  
A common order is: kick drum, snare, hi-hat, tom-toms (as the audience sees  
the kit), cymbals (ditto), bass, guitars, keyboards, other instruments, vocals.  
From session to session and gig to gig you will soon know where you are without  
ever having to look at a track sheet.  
PFL (Pre-Fader-Listen) is the way to set a desk level. Master aux send levels are  
fixed at unity gain. As the mix progresses, more and more channels are likely to  
be sending to effects via the aux buses, and it’s best to PFL all sends just before  
setting up for the final mix.  
Outboard reverbs etc. should all be made to work hard. There’s no point in  
having an 85 dB dynamic range if the input meter of your reverb is barely  
flickering. On the other hand, digital distortion is not one of the nicer noises  
around. You’ll have to rely on your ears to detect digital distortion, since different  
outboard processors calibrate their meters differently.  
11. Technical Background  
11.1 Mixing  
If you hear distortion, turn down the input on the FX unit, and turn up the desk’s  
aux return input.  
11.1.1 Equalization  
99 times out of 100 distortion in the aux send > FX > aux return loop will come  
from the FX unit (FX gain too high), and the same goes for a high noise level  
(FX gain too low).  
In the beginning, EQ was an instrument for removing unwanted frequencies,  
or compensating for imperfect microphone response curves, or bumps in a  
studio’s acoustic. It was a corrective device. Tamla Motown turned that notion  
upside down in the sixties with the novel idea that you try to find for each  
instrument a characteristic frequency not shared by the other instruments in the  
mix. Then you whack up its gain. This makes individual voices punch through a  
mix in a slightly unnatural but exciting way.  
Analog multitrack tape should be driven quite hard, since its dynamic range  
(without noise reduction) is likely to be 20 to 30 dB worse than other elements  
in the recording chain. Try to record bright. You can always mix back duller.  
Brightening up an off-tape signal will bring up the level of tape noise.  
With digital tape or hard disk you have plenty of dynamic range, and treble  
pre-emphasis is not often necessary. Just don’t let the signal distort!  
In general, corrective EQ usually involves broadband (slope) contouring,  
together with narrowband notching of unwanted resonances. The narrower the  
notch or “Q”, the less the total signal will be affected.  
When mixing or recording, keep the channel fader levels around or below 0 dB.  
If you do find the faders creeping up or down, apply a suitable offset over all  
channel faders, and try to control your bad habit in future!  
Finding bad resonances is made easier by first frequency sweeping in  
BOOST mode.  
“Motown” EQ is achieved by applying boost in a fairly broadband way.  
The broader the band, the more musical but less instrument-specific the effect.  
Applying boost over a narrow bandwidth will sound “honky”. For sounds which  
require drastic corrective EQ, it is advisable to have a couple of channels of fully  
comprehensive parametric equalization in your rack. (You can always bounce  
tracks through the outboard EQ, freeing up the unit for the next task).  
Check out the ULTRACURVE PRO DEQ2496, a superlative digital stereo equalizer  
and much, much more.  
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21 EURODESK SX3282 User Manual  
12. Expanding  
When the SX3282 is your main mixer, you may find that you run out of inputs as  
your system expands. It is possible to expand your mixing system by combining  
two or more mixers.  
Aux sends > pre EQ  
All channel aux sends are post-EQ. If you want to convert them, carry out the  
modification described below to each channel. The right PCB area is indicated by  
a yellow printing (see figures below).  
Adding extra line inputs to your Eurodesk  
1) Disconnect power supply.  
2) Cut the ‘post’ track.  
A small line mixer can inexpensively add extra line inputs to your console.  
With the ULTRALINK PRO, any stereo, line-level input on your SX3282 can become  
a stereo line input plus a further 6 pan-able mono line inputs. Great for adding  
tape monitor returns etc.  
3) Add in a ‘pre’ link.  
4) Repeat for all channels you want to be modified.  
Linking the SX3282 to a master console  
AUX  
Feed any or all of the main mix, subgroup outputs and aux outputs from your  
SX3282 into separate input channels of the master console. The aux outputs  
should be routed only to individual aux send buses on the master console.  
Now the aux sends from the SX3282 can access effects currently used by the  
master console.  
PRE EQ  
POST EQ  
Cut the ‘post‘ track  
JPn  
Before  
The SX3282 outputs are essentially submixes of several channels of sound,  
and are therefore likely to be considerably higher than the typical source signals  
(coming from mics, MIDI instruments or tape) seen by the master console.  
Therefore, we recommend a reduction of gain in those channels of the master  
console that are fed by the SX3282’s outputs.  
AUX  
Add a ‘pre‘ link  
PRE EQ  
POST EQ  
JPn  
13. Modifications  
The following modifications require you to do some soldering. Only attempt  
that if you are experienced in using an iron on PCBs. Otherwise, refer to qualified  
personnel. After modification the Behringer warranty becomes void.  
After  
Fig. 13.1: Aux send > pre-EQ-modification on channels 1 to 24  
Links should not be threaded into holes on the PCB. They should be soldered to  
the tinned areas around the holes, and bowed slightly upwards in between.  
AUX  
PRE EQ  
POST EQ  
Cut the ‘post‘ track  
JPn JPn  
Before  
AUX  
Add a ‘pre‘ link  
PRE EQ  
POST EQ  
JPn JPn  
After  
Fig. 13.2: Aux send > pre-EQ-modification on channels 25/26 to 31/32  
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22 EURODESK SX3282 User Manual  
14. Specifications  
Input Channels  
Main Mix Section  
Mic input  
Noise2  
Type  
electronically balanced,  
discrete input circuit  
bus noise @ fader 0 dB  
-102.0 dBr  
-92.0 dBr  
all input channels assigned &  
set @ 0 dB gain, channels muted  
Mic E.I.N.1 (22 Hz - 22 kHz)  
@ 150 Ω source  
-129.0 dBu / -117.3 dBqp  
-132.0 dBu / -122.0 dBqp  
all input channels assigned &  
set @ 0 dB gain  
-87.0 dBr  
input shortened  
Max. output level  
+28 dBu, balanced /  
+22 dBu, unbalanced  
Distortion (THD + N)  
0.007 % @ +4 dBu, 1 kHz,  
bandwidth 80 kHz  
Aux returns gain range  
0 dB to +20 dB / off  
+22 dBu  
Gain range  
Max. input level  
Line input  
+10 dB to +60 dB  
+12 dBu  
Aux sends max. output level  
System Data  
Type  
electronically balanced  
0 dB to +40 dB  
+22 dBu  
Distortion (THD + N)  
0.007 % @ +4 dBu, 1 kHz,  
bandwidth 80 kHz  
Gain range  
Max. input level  
Channel fader range  
Aux send gain range  
Frequency response  
20 Hz to 40 kHz  
+10 dB to -85 dB  
0 dB to +15 dB / off  
1 dB (any input to any output)  
3 dB  
10 Hz to 120 kHz  
Equalizer  
Power Supply  
Hi shelving  
12 kHz, 15 dB, Q fixed at 2 oct.  
3 kHz, 15 dB, Q fixed at 2 oct.  
100 Hz to 8 kHz, 15 dB, Q fixed at 1 oct.  
500 Hz, 15 dB, Q fixed at 2 oct.  
80 Hz, 15 dB, Q fixed at 2 oct.  
75 Hz, 18 dB/oct.  
Power consumption  
Mains voltage  
Fuse  
65 W  
Hi Mid Bell (Ch 25-32)  
Mid Sweep (Ch 1-24)  
Lo Mid Bell (Ch 25-32)  
Lo shelving  
100 - 240 V~ (50/60 Hz)  
T 2 A H 250 V  
Mains connector  
standard IEC receptacle  
Physical/Weight  
Lo cut (HPF)  
Dimensions (H x W x D)  
approx. 3.5 x 40 x 20.7"  
approx. 90 x 1015 x 527 mm  
Channel Inserts  
Weight  
1 Equivalent Input Noise  
2 ref. +4 dBu  
approx. 37.2 lbs / approx. 16.9 kg  
Max. in/out  
+22 dBu  
Channel to channel crosstalk  
-95 dB @ 1 kHz  
Subgroup Section  
Noise2  
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.  
bus noise @ fader 0 dB  
-105.0 dBr  
-92.0 dBr  
all input channels assigned &  
set @ 0 dB gain, channels muted  
all input channels assigned &  
set @ 0 dB gain  
-87.0 dBr  
Submaster output  
max. output level  
+22 dBu, balanced / unbalanced  
+10 dB to -85 dB / off  
Fader range  
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23 EURODESK SX3282 User Manual  
FEDERAL COMMUNICATIONS  
COMMISSION COMPLIANCE  
INFORMATION  
EURODESK SX3282  
Responsible Party Name:  
Address:  
MUSIC Group Services US Inc.  
18912 North Creek Parkway,  
Suite 200 Bothell, WA 98011,  
USA  
Phone/Fax No.:  
Phone: +1 425 672 0816  
Fax: +1 425 673 7647  
EURODESK SX3282  
complies with the FCC rules as mentioned in the following paragraph:  
This equipment has been tested and found to comply with the limits for a Class B  
digital device, pursuant to part 15 of the FCC Rules. These limits are designed  
to provide reasonable protection against harmful interference in a residential  
installation. This equipment generates, uses and can radiate radio frequency  
energy and, if not installed and used in accordance with the instructions, may cause  
harmful interference to radio communications. However, there is no guarantee that  
interference will not occur in a particular installation. If this equipment does cause  
harmful interference to radio or television reception, which can be determined  
by turning the equipment off and on, the user is encouraged to try to correct the  
interference by one or more of the following measures:  
•
•
•
Reorient or relocate the receiving antenna.  
Increase the separation between the equipment and receiver.  
Connect the equipment into an outlet on a circuit different from that to which the  
receiver is connected.  
•
Consult the dealer or an experienced radio/TV technician for help.  
This device complies with Part 15 of the FCC rules. Operation is subject to the  
following two conditions:  
(1) this device may not cause harmful interference, and  
(2) this device must accept any interference received, including interference that may  
cause undesired operation.  
Important information:  
Changes or modifications to the equipment not expressly approved by MUSIC Group  
can void the user’s authority to use the equipment.  
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We Hear You  
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