Behringer Eurodesk SX3242FX Brochure

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PARALLEL EFFECTS:
Cathedral (01-02) 

Very dense and long reverberation of a 

large cathedral

Plate (03-04)  

Simulates early plate reverb

Concert (05-06) 

Simulates a small theater or large concert hall

Stage (07-08)  

Very dense reverb, especially for live applications

Room (09-10) 

Simulates room’s wall reverb. This particular room 

has two windows and yellow wallpaper

Studio (11-12) 

Adds spaciousness to the sound

Small Hall (13-14) 

Simulates hallway reverberation 

Ambience (15-16) 

Simulates the reverb of a middle-sized room 

without late reflections 

Early Reflections (17) 

Dense reverb with pronounced early reflections

Spring Reverb (19-20) 

Simulates spring reverb

Gated Reverb (21-22) 

Reverb that’s synthetically cut off

Reverse Reverb (23-24)  Reverb that slowly gets louder
Chorus (25-30) 

Slight detuning of the original signal

Flanger (31-35) 

A delayed signal is added to the original signal, 

causing a phase shift

Phaser (36-39) 

Another phase-shift effect

Rotary Speaker (40-42) 

Simulation of a rotating electronic organ speaker

Delay (43-52) 

Delay of the input signal with repetitions

Chorus & Reverb (53-54)  Combination of chorus and reverb
Flanger & Reverb (55-56)  Flanger combined with reverb 
Phaser & Reverb (57-58)  Phaser combined with reverb 
Rotary Speaker &  

Rotary Speaker effect combined with Reverb 

Reverb (59-60) 
Delay & Reverb (61-63) 

Delay combined with Reverb

Delay & Chorus (64-67) 

Widens the signals and produces repetition effects

Delay & Flanger (68-70)  Similar to Delay & Chorus, but with audible 

up/downward modulation

INSERT EFFECTS:
Compressor (71-73) 

Soft or loud passages are raised or lowered in 

level respectively

Expander (74-76) 

Noise and hum is reduced in level

Gate (77-78) 

A gate opens for a specific period of time to make a 

specific signal pass, then closes abruptly

Ultramizer (79-80) 

Compression through automatic adaptation of 

compression parameters

Ultrabass (81-82) 

Combines sub-harmonics processor, bass exciter, 

and limiter

Panner (83-85) 

The signal “wanders” between the sides of the 

stereo basis

Exciter (86-88) 

Adds synthetic harmonics to the signal, resulting in 

increased presence and ”loudness”

Auto Filter (89-91) 

Level-dependent boost of a specific frequency 

band, similar to auto-wah or electric guitars

Tube Distortion (92-93)  Simulates the tube distortion of 

classic guitar amplifiers

Guitar Amp (94-97) 

Guitar amp simulation

Vinylizer (98) 

Adds the clicks and noise of old vinyl records

Test Tone (99) 

1-kHz test tone. Virtually indistinguishable from 

some genres of techno.

Next comes is an insert for connecting 

up individual signal processors or feeding 
a remote broadcast feed or multitrack 
recorder directly.

Trim control and level set LED let 

you adjust the channel’s input level for 
maximum headroom and minimum noise 
— the huge range of this control can 
handle anything from a very timid vocalist 
to a close-miked guitar amp stack.

Each mono channel features a 3-band 

EQ with semi-parametric mids (giving you 
control of the Mid level and a sweepable 
frequency with a boost or cut of 15 dB) 
and a Trim control for adjusting input gain 
via a Level Set LED.

A Low Cut button eliminates the 

frequencies where unwanted infrasonics 
such as mic handling, P-pops or wind 
noise occur.

FX1 and FX2 dials add a blend of up 

to two effects, and AUX1 and AUX2 dials 
help create your monitor mix. Press the 
PRE button to send a raw, EQ-free signal 
to the monitors. 

Near every mono channel’s fader 

you’ll find a 1-2, 3-4 and MAIN button. 
By engaging the MAIN button, the signal 
is sent to the main mix. Or, if you engage 
the 1-2 button, the channel becomes 
part of a bus. Twist the PAN control all the 
way to the left to assign it to Sub 1, or all 
the way to the right for Sub 2. The same 
principle applies to the 3-4 button. 

A Mute button with accompanying 

LED cuts the signal from the channel, 
and a Clip LED helps you dial in a 
distortion-free post-EQ signal. The Solo 
button on individual channels routes 
the subgroup signal to the solo bus 
or Pre-Fader Listen—depending on 
whether the signal has been included 
in a subgroup.

Instead of XLR inputs, stereo 

channels 25-32 have left and right 
balanced/unbalanced line level inputs. 
Channels 25-28 feature the same 
controls as the mono channels, but with 
a four-band EQ that gives you control 
of HIGH, HIGH MID, LOW MID and LOW. 
This is especially useful for EQ’ing the 
critical midrange frequency content 
found in keyboard signals. 

Stereo channels 29 through 32, 

designed for signals that do not 
require EQ, have a simplified interface 
consisting of a Level, AUX1 and AUX2 dial. 
Can you say laptop backing track feeds, 
drum machines, tone modules, DJ mixers 
or CD players?

Finally, all four sub-mix buses feature 

an independent fader (naturally), 
Solo switch with bright LED, and assign 
buttons for routing them to Left or 
Right stereo channels.

Packed with tasty details that make 
your creative life easier.
•  We solved the problem of what to 

do when you want to play music 
during breaks but don’t want to 
have to mute every channel or turn 
down every fader. Just push CD/Tape 
STANDBY button to A) mute all 
mixer channels and B) solo just your 
CD/Tape source.

•  We didn’t just give you a MONO 

output for subwoofers. We gave it a 
built-in variable low pass crossover, 
saving you money on outboard gear.

•  We added a footswitch jack that you 

can use to control either internal or 
external effects.

•  We gave you a complete Phones and 

Control Room assignment matrix so 
you can send mains, buses, CD/Tape or 
auxes out at the touch of a button.

•  We added a routing button to Talkback 

so you can talk directly to either a 
monitor mix or the house mix for 
public announcements.

•  We made the 9-band equalizer 

assignable to either AUX 1 or the 
main mix.

Not every town on the planet uses 

the same voltage common in yours. 
Unfortunately, this sometimes doesn’t 
occur to jet-setting sound technicians 
until they’re 5,000 miles from home. 
With the SX3242FX, this is never an issue. 
The internal autorange power supply can 
run on anything from 100 to 240 V with 
noise-free audio, top-quality transient 
response and low power consumption.