Behringer SX3282 用户手册

EURODESK SX3282 User Manual

Each channel comes with a balanced line input on ¼" TRS jack, and an XLR mic 

input. Press the Phantom switch 

(71)

 at the back panel if required. The mic amp 

circuit has an unusually wide gain range 

(1) 

from 10 dB to 60 dB, is of extreme 

low-noise design, and utilizes high-current conjugate pair vintage transistor 

circuitry to deliver an incredibly warm and transparent sound.
When a jack is plugged into the balanced (self-unbalancing) line input, the gain 

structure is such that it can match any line level from +10 to -40 dBu. The crucial 

operating levels +4 dBu and -10 dBV are clearly and accurately legended (

(1)

).

Channel input level is determined by the GAIN trimpot 

(1)

. Use Solo/PFL 

(13)

  

to accurately monitor the channel input on the left/right master output bargraph 

meters. This also sends the Solo/PFL-ed signal to the left and right speakers. 

Channel Solo 

(13)

 has an associated LED 

(14)

.

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

(10)

 / 

(12)

) 

illuminate when a signal is present (-20 dB), or if a channel is going into overload. 

These LEDs are particularly useful when using extreme EQ settings, or adding a 

dynamics processor via an insert.
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”).

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.

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)

.

For almost all FX send purposes, you will want aux sends to be post-fader, so that 

when a fader level is adjusted, any reverb send from that channel follows the 

fader. Otherwise, when the fader is pulled down, the reverb from that channel 

would still be audible. For cueing purposes, aux sends will usually be set 

pre-fader, i.e. independent of the channel fader (depress PRE switch 

(9)

 for aux 

sends 5/6/7/8). 

There is +15 dB of gain on every aux send. Such a high boost is usually 

only appropriate where the channel fader is set around -15 dB or lower. 

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.
Channels may be altered for pre-EQ aux sends (see section 13 “Modifications”).

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).
Channel PAN 

(11)

 positions the output of the channel in the stereo field. 

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

selected for a particular channel.

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

channel fader 

(17)

. 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.
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.

Each stereo channel comes with two line level inputs on ¼" jacks, 

for left and right signals. When only the left input is connected, 

the channel operates in mono.

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

GAIN 

(1)

, enabling a perfect match with all common line-level sources including 

multitrack tape outputs, MIDI and other electronic instruments and effects units, 

all of which are normally designed to operate at either +4 dBu or -10 dBV.

This is exactly as for a mono channel (see section 3.1).

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.
All bands have up to 15 dB of cut and boost, with a center detent for “off”.