Behringer SX3282 Manual De Usuario

EURODESK SX3282 User Manual

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.
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.

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).
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.
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”.
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.
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.

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.

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.)
The effects used in the FOH mix will not be recorded to multitrack. These can be 

added later during mixdown.

1

Vocals

1

M

m

2

Backing Vocals

2

M

m

3

Backing Vocals

2

M

m

4

Backing Vocals

2

M

m

5

Kick Drum

3 & 4 (Stereo Mix)

M

m

6

Snare Drum

3 & 4 (Stereo Mix)

M

m

7

Hi-Hat

3 & 4 (Stereo Mix)

M

m

8

Tom 1

3 & 4 (Stereo Mix)

M

m

9

Tom 2

3 & 4 (Stereo Mix)

M

m

10

Tom 3

3 & 4 (Stereo Mix)

M

m

11

Tom 4

3 & 4 (Stereo Mix)

M

m

12

Overhead L

3 & 4 (Stereo Mix)

M

m

13

Overhead R

3 & 4 (Stereo Mix)

M

m

14

Bass Guitar

5

M

m

15

Bass Guit. DI

5

L

m

16

Guitar

6

M

m

17

Brass 1

7

M

m

18

Brass 2

7

M

m

19

Brass 3

7

M

m

20

Brass 4

7

M

m

21

Keyboards 1

8

L

m

22

Keyboards 2

8

L

m

23

Keyboards 3

8

L

m

24

Keyboards 4

8

L

m

25/26

Effects 1

Mix (stereo)

L

s

27/28

Effects 2

Mix (stereo)

L

s

29/30

Intro Tape

Mix (stereo)

L

s

31/32

CD

Mix (stereo)

L

s

Aux Return 1

Effects 3

Mix (stereo)

L

s

Aux Return 2

Effects 4

Mix (stereo)

L

s

Aux Return 3

Effects 5

Mix (stereo)

L

s

Aux Return 4

Effects 6

Mix (stereo)

L

s

Subgroup 

Outputs

—

> Main Mix / tracks 1 to 8

—

—

Aux Output 1

—

> Cue 1 (pre fader) >  

Floor monitors 1

—

—

Aux Output 2

—

> Cue 2 (pre fader) >  

Floor monitors 2

—

—

Aux Output 3

—

> Effects 1

—

—

Aux Output 4

—

> Effects 2

—

—

Aux Output 5

—

> Effects 3

—

—

Aux Output 6

—

> Effects 4

—

—

Aux Output 7

—

> Effects 5

—

—

Aux Output 8

—

> Effects 6

—

—

Mix Output L

—

> Graphic EQ (Insert) > FOH

—

—

Mix Output R

—

> Graphic EQ (Insert) > FOH

—

—

Monitor Out L

—

> Sidefills (Main Stereo Feed)

—

—

Monitor Out R

—

> Sidefills (Main Stereo Feed)

—

—

Tab. 10.1: SX3282 tracksheet for live concert and simultaneous recording