Behringer SX3282 Benutzerhandbuch

EURODESK SX3282 User Manual

In this arrangement you might find that compression tends to soften the

perceived amount of (especially treble) EQ applied. The solution here is to

apply more EQ. This creates a real ‘pressure’ sound, great for high energy

music such as dance.
In the above example, any aux sends to effects should be applied before

the EQ/dynamics processing takes place. If you want the aux sends to be

post-processing, you will need to address the signal to one of the subgroups and

then insert the EQ/dynamics processor between the corresponding subgroup

output (insert send) and a channel input (insert return).
You can now reclaim the channel 2 input as follows: By applying the channel’s

insert send you can route out an instrument’s signal being plugged into the line

input, treat it with an EQ/dynamics processor, and then reroute it via a subgroup

(insert return) to the master section.
An additional patch enables channel EQ to be placed onto a subgroup with

no reduction in the number of line inputs available, as well as providing an

opportunity to lead a signal pre-EQ into a subgroup. By inserting a plug into the

channel insert socket, the channel is interrupted between the gain pot and the

EQ. A signal which is being led into the channel’s mic-or line input is now guided

into the subgroup inserts input. It appears to be 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.

Subgroup 1

Insert Send

Tip

Ring

Channel X

Insert Return

Fig. 5.3: Making use of the channel EQ for shaping subgroup-signal by applying inserts

◊

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
(see section 9 “Patchbay”). Now it is possible to do the incredibly useful
patch shown in fig. 5.3 without having to make up what would amount
to a ring-to-tip, tip-to-ring stereo patch lead.

◊

Insert points may also be used as pre-EQ direct outputs without
interrupting the signal flow. See fig. 7.5 “Direct out connection”.

6. Main Section

6.1 Aux Masters

Aux sends
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.
(This is to help you see exactly what has been solo-ed. Any experienced engineer

will have had occasion to painstakingly search through every solo button on

his / her console trying to find out why one of the main solo lights was flashing,

while the control room monitors remained silent!)

Aux returns
Across from the aux sends are the stereo aux returns. These can be thought of as

eight extra line inputs, configured as four stereo pairs. On these inputs there is up

to 20 dB of gain available. Alternatively, a mono (center-panned) signal may be

returned by plugging into the left aux return jack only.

◊

This feature is disabled if all line-level l/Os from the SX3282 are wired
permanently to a patchbay (see section 9 “Patchbay”).

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.

◊

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.)

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.

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.