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User Manual
X32 DIGITAL MIXER
40-Input, 25-Bus Digital Mixing Console with 32 Programmable
MIDAS Preamps, 25 Motorized Faders, Channel LCDs,
FireWire/USB Audio Interface and iPad/iPhone Remote Control
Version 5.0, 2013-01-03
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  • Hallo in die Gruppe,
    ist es möglich eine gespeicherte Szene vom X18 zum x32 zu übertragen?
    M. Eingereicht am 1-6-2018 14:15

    Antworten Frage melden

Inhalt der Seiten


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    User Manual

    X32 DIGITAL MIXER
    40-Input, 25-Bus Digital Mixing Console with 32 Programmable
    MIDAS Preamps, 25 Motorized Faders, Channel LCD’s,
    FireWire/USB Audio Interface and iPad/iPhone Remote Control

    Version 5.0, 2013-01-03



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    X32 DIGITAL MIXER Preliminary User Manual

    Table of Contents
    Legal Disclaimer..............................................................3
    Limited Warranty............................................................3
    Introduction....................................................................4
    1. Operational Overview................................................5

    6. XUF FireWire400/
    USB Interface Operation Guide...................................33
    6.1 Configuring the XUF card
    for use in the console...............................................................33

    2. Callouts......................................................................12

    6.2 Configuring the PC to Interface
    with the XUF Card.....................................................................36

    2.1 Channel Strip.......................................................................12

    6.3 XUF Specifications.............................................................38

    2.2 Input Channel Banks........................................................13

    7. X32 Main Display......................................................39

    2.3 Display and Monitoring..................................................14

    7.1 Overview...............................................................................39

    2.4 Group/Bus Banks...............................................................15

    7.2 Home Screen.......................................................................42

    2.5 Scenes, Assign, Mute Groups........................................16

    7.3 Meters Screen..................................................................... 46

    2.6 Rear Panel Connections..................................................16

    7.4 Routing Screen...................................................................47

    3. Hook-Up Diagrams...................................................18

    7.5 Setup Screen........................................................................51

    4. FX Descriptions.........................................................20

    7.6 Libraries Screen..................................................................54

    5. Topic Guide...............................................................26

    7.7 Effects Screen......................................................................55

    5.1 Starting up, shutting down,
    and firmware updates..............................................................26

    7.8 Mute Group Screen...........................................................56

    5.2 Default setup for connecting to monitoring
    and P.A. systems.........................................................................26
    5.3 How do I connect a microphone,
    process its signal and send it out to the
    P.A. system?.................................................................................26
    5.4 How do I add one of the 8 internal
    effects to the sound?................................................................27
    5.5 How do I use an outboard effects processor?.........27
    5.6 How do I set up live stage monitoring?.....................27
    5.7 Everything you ought to know about
    Solo and monitor sources.......................................................28
    5.8 Using Mute Groups...........................................................29
    5.9 Mix Buses, Sub Groups and DCA Groups..................29
    5.10 User Assignable control section.................................29
    5.11 How do I share signals over
    AES50 Supermac network? ..................................................30
    5.12 What kinds of Utilities are available?........................30
    5.13 How do I set up a Matrix for a delay
    column/tower or a remote zone mix?................................31
    5.14 Using the X32 in recording and production
    studio environments................................................................31
    5.15 Remote control.................................................................32
    5.16 Recording a 2-track directly with the console.......32
    5.17 Saving and recalling scenes.........................................32

    7.9 Utility Screen........................................................................57
    7.10 Monitor/Talkback Screens: ..........................................58
    7.11 USB Screen..........................................................................60
    7.12 Assign Screen...................................................................62
    7.13 Scenes Screen....................................................................63
    Block Diagram...............................................................65
    8. Specifications............................................................66
    Dimensions....................................................................68



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    X32 DIGITAL MIXER Preliminary User Manual

    Important Safety
    Instructions

    Terminals marked with this symbol carry
    electrical current of sufficient magnitude
    to constitute risk of electric shock.
    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.
    This symbol, wherever it appears,
    alerts you to the presence of uninsulated
    dangerous voltage inside the
    enclosure - voltage that may be sufficient to constitute a
    risk of shock.
    This symbol, wherever it appears,
    alerts you to important operating and
    maintenance instructions in the
    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
    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.

    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
    blade or the third prong are provided for your safety. If the
    provided plug does not fit into your outlet, consult an
    electrician for replacement of the obsolete outlet.
    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.
    11. Use only attachments/accessories specified by
    the manufacturer.
    12. Use only with the
    cart, stand, tripod, bracket,
    or table specified by the
    manufacturer, or sold with
    the apparatus. When a cart
    is used, use caution when
    moving the cart/apparatus
    combination to avoid
    injury from tip-over.
    13. Unplug this apparatus during lightning storms or
    when unused for long periods of time.
    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.
    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.

    Caution
    These service instructions are for use
    by qualified service personnel only.
    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.
    1. Read these instructions.
    2. Keep these instructions.
    3. Heed all warnings.
    4. Follow all instructions.
    5. Do not use this apparatus near water.
    6. Clean only with dry cloth.
    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.

    LEGAL DISCLAIMER
    TECHNICAL SPECIFICATIONS AND APPEARANCES
    ARE SUBJECT TO CHANGE WITHOUT NOTICE AND
    ACCURACY IS NOT GUARANTEED. BEHRINGER,
    KLARK TEKNIK, MIDAS, BUGERA, AND TURBOSOUND
    ARE 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
    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,
    INCLUDING PHOTOCOPYING AND RECORDING OF ANY
    KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS
    WRITTEN PERMISSION OF MUSIC GROUP IP LTD.
    ALL RIGHTS RESERVED.
    © 2013 MUSIC Group IP Ltd.
    Trident Chambers, Wickhams Cay, P.O. Box 146,
    Road Town, Tortola, British Virgin Islands

    LIMITED WARRANTY
    For the applicable warranty terms and conditions
    and additional information regarding MUSIC Group’s
    Limited Warranty, please see complete details online at
    www.music-group.com/warranty.



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    X32 DIGITAL MIXER Preliminary User Manual

    Introduction
    Welcome to the X32 User Manual! After years of intense development, we are
    proud to offer a mixer that combines tremendous power and flexibility with a
    very user-friendly layout and intuitive workflow that allow you to get up-andrunning right away.
    The X32 is the fully-integrated centerpiece of BEHRINGER’s digital mixing,
    audio networking and processing ecosystem. It combines a control surface
    with streamlined workflow, extensive I/O and signal processing into a compact
    desktop form factor. Employing motorized faders and rotary encoders along
    with a daylight-viewable TFT screen, the control surface is designed to allow
    immediate access to critical functions with total and automatic recall of settings.
    Extensive on-board I/O includes 40 A/D and 24 D/A Cirrus Logic converters,
    96 bidirectional channels over SuperMAC AES50, stereo AES/EBU out, 16 channels
    of BEHRINGER’s Ultranet personal monitoring and 32 x 32 channels for recording
    over Firewire or USB.
    Abundant analog connectivity is provided via 32 MIDAS-designed digitallycontrollable microphone preamps, 6 line-level auxiliary in- and outputs, 16 XLR
    outputs, stereo monitoring outs on XLR/TRS and dual phones outputs. Each of
    the 32 microphone inputs can accept balanced or unbalanced mic or line-level
    level signals and include switchable phantom power, 72 dB gain range and max
    +23 dBu level before clip. A separate external mic input and the internal talkback
    mic allow communication to various destinations.
    Dual AES50 Ethernet jacks that employ KLARK TEKNIK SuperMAC technology
    contribute 96 x 96 signals to the total count of 168 x 168 accessible sources and
    destinations. Motorized faders, recallable mic preamps, programmable routing and
    the ability to save and recall entire scenes make set or program changes quick and
    simple. A top panel USB connector enables system data to be stored or a board mix
    to be recorded directly to external flash or hard drives.
    The Input section is home for 16 high-resolution 100 mm motorized faders,
    providing control over channels 1-16, 17-32, Aux inputs / USB playback /
    FX returns. A separate section of 8 motorized faders controls DCA groups 1-8,
    bus masters 1-8 and 9-16 as well as matrices 1-6. The master “X-channel”
    section allows instant editing of the currently selected channel’s gain,
    dynamics, EQ and other functions. A custom assignable section allows certain
    control functions to be mapped directly to a set of dedicated knobs and buttons.
    A main 7"-wide, high-contrast color display provides information for editing
    pertinent parameters of the active function or effect. Relevant parameters are
    quickly recalled to the display for editing via “view” buttons in each sub-section.
    Each channel also features a small, customizable LCD screen for track name,
    number, color and source graphic.

    A virtual FX rack offers 8 true-stereo (16 mono) multi-effects processors,
    with 37 FX models that eliminate the need for any additional outboard gear.
    4 high-quality effects such as delay, chorus and reverb can run concurrently with
    8 channels of 31-band graphic equalization.
    The built-in XUF USB 2.0/FireWire 400 interface card enables streaming of up to
    32 tracks to and from a computer for recording, mixing and mastering purposes.
    The X32 integrates seamlessly with other X32 consoles, the S16 digital stage box
    and the P-16 personal monitoring system for complete live, studio and installed
    sound solutions. Control the mixer from a distance with the free iPad app or with
    editing and remote control software connected via Ethernet. The X32’s ease of
    use, intuitive workflow, diverse feature set and integration with other equipment
    make it an ideal centerpiece for installed and production sound in any setting.
    Continue through this User Manual to learn all about the functionality
    that this powerful mixer has to offer! We also recommend that you check
    behringer.com to make sure you have the latest firmware installed as we release
    frequent updates.



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    X32 DIGITAL MIXER Preliminary User Manual

    1. Operational Overview
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    Mixer Operational Overview

    General user interface operation

    This chapter will give you an overview of the basic operations of the mixer,
    allowing you to get up and running quickly. While reading through the
    information, we encourage you to experiment with the console’s different
    screens and controls. The console’s user interface was designed to be extremely
    to navigate through and learn. More specific details about various functions can
    be referenced later in the manual.

    The X32 user interface is divided into five major sections:

    (1) Channel Strip
    (2) Input Channels
    (3) Display and Monitoring
    (4) Group/Bus/Main Channels
    (5) Scenes/Assign/Mute Groups

    View buttons rule

    Customizing the X32 through the Utilities page

    Throughout the top panel of the console, you will find small buttons labeled
    View. Press these buttons to immediately switch the console’s large color display
    (known as the Main Display) to show information related to the section whose
    View button you have just pressed.

    Press the Utility button, located to the right of the main display, to bring up
    useful functions in a “context-sensitive” manner. For example:

    For example, if you are editing the equalizer and feel like seeing a large display
    of the EQ frequency response curve or corresponding EQ parameter value,
    simply press the adjacent View button in the EQ section. If you need to check
    where the talkback signal is being routed, simply press the View button next to
    the Talk button and the main display will show the details.
    With the View button approach of the X32 console, there is almost never a need
    to drill down through multiple menu pages, since the View buttons will always
    take you directly to the relevant screen.
    Tip: The Setup/Global tab on the main display allows preferences for the behavior
    of View and Select buttons to be adjusted.

    • When you are adjusting the equalizer of a console channel,

    pressing the Utility button will offer copying, pasting, loading or saving
    of equalizer settings

    • Pressing the Utility button while editing a channel’s Preamp/Configuration

    screen will present a naming screen where you can customize the channel’s
    appearance on both the main display as well as the small channel display

    • On the Routing pages, pressing the Utility button will offer loading or saving

    different presets of routing scenarios

    • In the Scenes menu, pressing the Utility button offers copying, loading,

    saving or naming console scenes

    Sometimes there is more to say
    Dir 05
    Dir 06

    12
    Key In
    Source
    Select

    Some of the individual pages on the main display contain
    more adjustable parameters than can be controlled by
    the 6 rotary push encoders located beneath it. In these
    cases there is a small page number indication, e.g. “1/2”.
    Simply press the Layer Up/Down buttons to switch
    between layers.



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    X32 DIGITAL MIXER Preliminary User Manual

    VIEW

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    the LED collar and the gain knob are turned off, because there is no input gain to
    be controlled on an output bus.

    Channel Strip
    The X32’s channel strip offers dedicated controls for the most important processing
    parameters of the currently selected channel. To adjust controls for a given channel
    strip, simply press the Select button on the desired input or output channel.

    The channel strip consists of the following sub-sections:
    • Config/Preamp

    Certain sections of the channel strip (such as the low cut filter, noise gate, EQ and
    compressor) contain a respectively labeled button that can be pressed to switch
    the specific effect on and off. The button illuminates to show the effect is active,
    and goes dark when bypassed.

    • Gate, Dynamics
    • Equalizer
    • Bus Sends, Main Bus

    Within the channel strip, the rotary control knobs are surrounded by an amber
    LED collar that indicates the parameter’s value. Whenever this backlit knob is
    turned off, it indicates that this specific control/parameter is not available for
    the selected channel type. For example, if an output bus is currently selected,

    Each of these subsections correspond to the processing steps of the currently
    selected channel, and they each have their own View button that, when pressed,
    switches the Main Display to a page displaying all related parameters for
    that subsection.

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    Input Channel Banks

    • Input Channels 1-16

    You will find a select button on top of every channel that is used to direct the
    control focus of the user interface, including all channel related parameters
    (channel strip and main display), to that channel. Please note that at any time,
    there is exactly one channel selected (either Input Ch 1-32, Aux 1-8, FX Returns
    1L-4R, Mix Bus 1-16, Main LR/C, or Matrix 1-6). DCA Groups (digitally controlled
    amplifier) cannot be selected because they control a number of assigned
    channels rather than one specific channel.

    • Input Channels 17-32

    The Input Channels section of the console is located on the left hand side, and
    offers 16 separate input channel strips. These 16 channel strips represent three
    separate layers of inputs for the console, including:

    • Auxiliary Inputs 1-6/USB playback/FX Returns 1L-4R

    Press any of the correspondingly labeled layer buttons on the left side of the
    console to switch the input channel bank to any of the three layers listed above.
    The button will illuminate, reminding you which layer is active.
    A fourth layer (Bus Masters) is also offered, allowing you to adjust the levels of
    the 16 Mix Bus Masters, which is useful when you wish to include Bus Masters
    into DCA Group assignments.



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    X32 DIGITAL MIXER Preliminary User Manual

    On each fader strip you will find a motorized 100 mm level fader, Mute and Solo
    buttons, a Gate indicator, an input level meter, Compressor indicator, and the
    channel select button.
    Each of the 16 input channels has an individual (and customizable) color LCD
    screen that can display a channel number, nickname, and even a graphical
    channel icon. In the event that a channel’s input source has been changed to an
    input signal that differs from the default setup, the LCD display will also indicate
    the name of the actual input source.

    Ch01
    Fat Sn a re

    01

    OpeningScene
    02: next
    config
    home

    0:00
    gate

    - 0:00
    dyn

    A: S16
    B: -

    eq

    A: 48K
    C: XUF

    sends

    Ch01
    Aux5

    PC

    Soundcard
    Example: Channel 01 has the nickname Soundcard and is fed from Aux input 5.

    15:33 : 15
    main

    Main Display Area

    • Whenever there is a continuous control or list entry, you can turn the

    The main color display presents information about various sections of the
    console. It can be switched to different screens using the console’s View buttons,
    as well as any of the 8 buttons on the right side of the display.

    • When there is a switch or toggle function on one of these knobs, you will see

    The top section of the main display permanently covers useful status information.
    The top left corner shows the selected channel number, its nickname and the
    selected icon. The next block shows the current scene number and name in
    amber, as well as the next upcoming scene. The center section displays the
    playback file name along with elapsed and remaining time and a recorder status
    icon. The next block to the right has 4 segments to show the status of AES50
    ports A and B, the Card slot and the audio clock synchronization source and
    sample rate (top right). Small green square indicators show proper connectivity.
    The right most block shows the console time that can be set under Setup/Config.
    When working with any given screen, press the Page keys located on the display
    bezel to switch to different screen pages.
    Editing parameters or settings on each of the screens is done using the 6
    associated push-encoders along the bottom edge of the display.

    corresponding knob for editing, which is indicated by various circular icons
    a broad rectangular button along the lower edge of the field. Pressing the
    encoder changes the on/off state of the corresponding function. When the
    rectangular button in the display is dark grey, the corresponding function is
    off/inactive; when it is amber, the function is on/active

    Monitoring and Talkback
    There are two separate Level controls in this section, one for the headphone
    outputs located on either side of the console, and a second one for the monitor
    outputs located on the rear panel.
    Press the section’s View button to edit various monitoring preferences, such as
    the input source for the phones bus and the monitor outputs.
    This section also contains independent Talkback buttons (A and B). Press the View
    button to edit the Talkback preferences for the Talkback A path and Talkback B
    path separately. This screen also contains settings for the optional goose-neck
    lamp and the console’s internal test-tone generator.

    Group/Bus Channel Banks
    VIEW

    –6

    This section of the console offers eight channel strips, divided into the
    following layers:
    • Eight DCA (digitally controlled amplifier) groups
    • Mix Bus masters 1-8
    • Mix Bus masters 9-16
    • Matrix Outputs 1-6, and the main center bus

    VIEW

    This section also contains a main LR output fader, which is independent and
    always available no matter which channel bank or layer is active.
    When using the DCA Groups layer, the DCA Groups can be soloed and muted,
    but they cannot be selected. To edit the DCA group names, icons and colors,
    navigate to the Setup/DCA Groups page on the main display.
    When using any of the output bus layers, note that the bottom LEDs on the
    meters in this section illuminate when the respective bus is fed from pre-fader
    sources of the selected channel.



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    X32 DIGITAL MIXER Preliminary User Manual

    Various Assignments (DCA groups, mute groups,
    custom assignable controls)
    • Assigning DCA Groups

    Thanks to the two distinct fader groups (inputs on the left, outputs on the right),
    the task of assigning channels or buses to a virtual DCA Group is a breeze on the X32.
    Simply hold the respective DCA Group Select button on the right-hand side of the
    console, while pressing the select buttons for all the input channels that you wish to
    assign to said DCA Group. You can also press the DCA Group Select button in order
    to check which channels are already assigned to it. The assigned channel Select
    buttons will light up.
    • Assigning Mute Groups

    The mute group assignment process is similar to the above, but is designed
    with an additional precaution in order to prevent accidental muting of channels
    during a show. To assign input/output channels to one of the six mute groups
    (controlled by the buttons located to the right of the Main LR fader) you need
    to first switch on the Mute Grp button next to the main display. While holding
    the desired Mute Group button, select the desired input and output channels,
    which will now be assigned to the Mute Group. When you are done with
    assignment, switch off Mute Grp at the display, and the 6 Mute Group buttons
    will work as intended.
    • Custom Assignable Controls:

    The Assign section of the console offers three banks: A, B, and C. Each set of
    controls offers 4 rotary controls and 8 switches/buttons, allowing for freely
    customizable access to 36 random functions on the X32.
    To make a custom assignment:
    • Press the View button in the Assign section to edit the assignments
    • Select the set of controls you wish to edit (A, B or C)
    • Select the control 1-12 you wish to assign
    • Select the parameter you wish to control and assign the function

    Usually this is used to control a specific channel’s parameter, like the lead
    vocalist’s reverb send level.
    The Jump-to-Page control is a special target type that does not alter any
    audio parameter, but rather brings you directly to any specified display page.
    Buttons that had been used for Jump-to-Page previously can easily be reassigned
    to the current display view by holding the respective set button (A, B or C)
    depressed while pushing the desired assignable button. This method is more
    convenient than reassigning the jump function through the Assign menu.

    The “Sends on Faders” Function
    The X32 console features a very useful function that can be accessed by pressing
    the dedicated Sends on Faders button, located between the two fader sections.
    VIEW

    The Sends on Faders function aids with level setting of channels sent to any of
    the 16 Mix Buses. It is only for channels assigned to Mix Buses 1-16, and does
    NOT work for DCA groups, main or matrix buses. The Sends on Faders function
    works in two convenient ways to cover the most obvious situations in a live
    sound environment :
    When preparing a monitor mix for a specific musician
    • Select the monitor bus (1-8, 9-16) that feeds the talent’s stage monitor
    • Press the Sends on Faders button; it will illuminate
    • Select one of the three input channel layers (CH 1-16, CH 17-32,

    Line-Aux/FX Ret)

    • As long as the Sends on Faders is active, all faders in the input channels

    section (located on the left side of the console) correspond to the send levels
    to the selected (monitor) mix bus

    When checking/editing where a selected input signal is (to be) sent to
    • Select the input channel in the left section
    • Press the Sends on Faders button; it will illuminate
    • Select either bus channel layer 1-8 or 9-16
    • The bus faders (located on right side of the console) now represent the

    send levels from the selected input channel (located on the left side of
    the console)

    The option to use Sends on Faders in both ways, selecting an input or an output
    channel, is a special feature of the X32.



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    X32 DIGITAL MIXER Preliminary User Manual

    01

    Ch01

    01:

    home
    Inputs 1-8

    Local In 1-8
    Local In 9-16
    Local In 17-24
    Local In 25-32
    AES50 A1-8
    AES50 A9-16
    AES50 A17-24
    AES50 A25-32
    AES50 A33-40
    AES50 A41-48
    AES50 B1-8
    AES50 B9-16
    AES50 B17-24
    AES50 A25-32

    analog out

    0:00
    aux out

    - 0:00
    p16 out

    Channel Processing Block Patch
    Inputs 9-16
    Inputs 17-24

    Local In 1-8
    Local In 9-16
    Local In 17-24
    Local In 25-32
    AES50 A1-8
    AES50 A9-16
    AES50 A17-24
    AES50 A25-32
    AES50 A33-40
    AES50 A41-48
    AES50 B1-8
    AES50 B9-16
    AES50 B17-24
    AES50 A25-32

    Local In 1-8
    Local In 9-16
    Local In 17-24
    Local In 25-32
    AES50 A1-8
    AES50 A9-16
    AES50 A17-24
    AES50 A25-32
    AES50 A33-40
    AES50 A41-48
    AES50 B1-8
    AES50 B9-16
    AES50 B17-24
    AES50 A25-32

    A: S16
    B: -

    card out

    A: 48K
    C: XUF

    aes50-a

    13:45 : 19
    aes50-b
    Connected Devices

    Inputs 25-32

    Aux In 1-4

    Local In 1-8
    Local In 9-16
    Local In 17-24
    Local In 25-32
    AES50 A1-8
    AES50 A9-16
    AES50 A17-24
    AES50 A25-32
    AES50 A33-40
    AES50 A41-48
    AES50 B1-8
    AES50 B9-16
    AES50 B17-24
    AES50 A25-32

    Aux 1-4
    Local 1-4
    AES50 A1-4
    AES50 B1-4
    Card 1-4

    Routing I/O
    The X32 console features 32 analog rear-panel XLR inputs with microphonepreamps, as well as 16 rear-panel XLR Outputs and 6 TRS Aux Sends and Returns.
    In addition, there are two AES50 ports, each featuring 48 input and output
    channels, and a card slot for 32 channels of input and output to and from a
    connected computer via USB 2.0 or IEEE1394.
    Input Signals can be attached to the console’s internal audio processing engine in
    blocks of 8 signals from any one of the aforementioned input sources
    Note: All signal blocks patched to the audio processing will be connected to the
    corresponding input channels automatically.

    AES50 A

    AES50 B



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    X32 DIGITAL MIXER Preliminary User Manual

    01

    Ch01

    01:

    0:00

    analog out

    home

    aux out

    Edit Output Assignment
    Current Setting
    Category

    Analog Output

    MixBus

    Output 01
    Output 02
    Output 03
    Output 04
    Output 05
    Output 06
    Output 07
    Output 08
    Output 09
    Output 10
    Output 11
    Output 12
    Output 13
    Output 14

    OFF
    Main (LRC)
    Mix Bus
    Matrix
    Direct Out
    Monitor

    Select

    - 0:00
    p16 out

    A: S16
    B: -

    card out

    aes50-a

    Processed Output

    OFF
    Main L
    Main R
    Main C/M
    Main Bus 01
    Main Bus 02
    Main Bus 03
    Main Bus 04
    Main Bus 05
    Main Bus 06
    Main Bus 07
    Main Bus 08
    Main Bus 09

    Select

    14:09 : 37

    A: 48K
    C: XUF

    aes50-b

    Signal Tap

    Pre EQ
    Post EQ
    Pre Fader
    Post Fader

    0.3 ft
    0.10 m
    0.3 ms

    Delay

    Delay

    Select

    Delay

    Select

    0.3 ms

    Assign

    Set

    Delay

    Output Signals can be freely assigned from any internal signal to any of the
    following outputs:

    Any and all of the above signals can also be mirrored in blocks of 8 signals on
    either one of

    • 16x analog local XLR outputs (with adjustable digital delay for

    • 48x channels on AES50 port A

    time-alignment of speakers)

    • 48x channels on AES50 port B

    • 6x auxiliary sends on ¼" TRS outputs + 2x AES/EBU outputs

    • 32x channels on USB/Firewire interface card

    • 16x personal monitoring using the console’s P-16 Bus output connector

    01

    Ch01

    01:

    0:00
    config

    home

    gate

    - 0:00

    A: S16
    B: -

    dyn

    14:11 : 37

    A: 48K
    C: XUF

    eq

    sends

    main

    Insert Position
    clip
    -6
    -12
    -18
    -24
    -30
    -36
    -42
    -48
    -54

    In

    48V
    Reverse

    Link
    +0.0 dB

    Gain

    Gain
    +0.00 dB
    Link

    Lo Cut
    2.0

    Hz

    Lo Cut

    Lo Cut
    20 Hz
    Lo Cut

    Source
    OFF
    Input 01
    Input 02
    Input 03
    Input 04
    Input 05
    Input 06
    Source
    Input
    Select

    t
    Delay
    0.3 ft
    0.10 m
    0.03 ms

    Pre

    Ins

    Insert
    OFF
    InsFX 1L
    InsFX 1R
    InsFX 2L
    InsFX 2R
    InsFX 3L
    InsFX 3L

    Delay

    Delay
    0.3 ms
    Delay

    Post

    Ins Pos
    PRE
    Insert

    Input Channels 1-32 are pre-configured to use the first 32 input signals,
    but can be patched to use any other available signal on the audio engine as well,
    including mix bus/sub group outputs. Changes of the Channel Source can be
    made on the Preamp Config page.

    Insert
    InsF
    Connect

    Aux Return Channels 1-8 are pre-configured to use the 6 aux input signals,
    and the two USB playback outputs, but can be patched to use any other available
    signal of the console as well.
    FX Return Channels 1L-4R control the 4 stereo output signals of side-chain FX1-4.



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    X32 DIGITAL MIXER Preliminary User Manual

    clip
    -6
    -12
    -18
    -24
    -30
    -36
    -42
    -48
    -54

    LeOnde.mp3
    00.05.00

    00.00.00

    home

    config

    13:44:43
    29 November 2010

    gate

    MyProj.prj
    Scene01

    dyn

    eq

    Bus Configuration


    Pre

    Link

    Insert

    All Channel Sends
    Pre Configuration
    ...
    Inputs
    Pre EQ
    Pre Fader
    Post Fader
    Sub Grou

    Gain

    Send Pos.

    00.00 dB

    Inputs

    Bus Sends

    Post
    Insert
    Ins 01
    Ins 02
    Ins 03
    Ins 04
    ...
    FX 01
    FX 02

    Insert Pos.
    Pre

    Insert

    The configuration of Mix Bus Channels 1-16 can be pre-set (in the Setup/Global
    page) or can also be configured on an individual, per-channel basis. The bus
    processing includes (in this order):
    • Insert point (swappable between post-EQ and pre-EQ operation)
    • 6-band fully parametric EQ
    • Compressor/expander (swappable between post-EQ and pre-EQ operation)
    • Bus sends to 6 matrices (post-fader)
    • Main LR panning
    • Mono/Center level

    Main Bus Channels LR/C are always available and independent from Mix Buses.
    The processing steps for this signal path include (in this order):
    • Insert point (swappable between post-EQ and pre-EQ operation)
    • 6-band fully parametric EQ
    • Compressor/expander (swappable between post-EQ and pre-EQ operation)
    • Bus sends to 6 matrices (post-fader)

    main

    Bus Insert Position
    Channel Sends

    Link

    sends

    Insert
    Connect

    Matrix Channels 1-6 are fed exclusively by MAIN LRC and Mix Bus 1-16 signals.
    The processing steps include (in this order):
    • Insert point (swappable between post-EQ and pre-EQ operation)
    • 6-band fully parametric EQ
    • Compressor/expander (swappable between post-EQ and pre-EQ operation)

    Effects Processing 1-8
    The X32 console contains eight true-stereo internal effects engines.
    • FX 1-4 can be configured as side chain or insert effects, while FX 5-8 can only

    be used in insert points of channels or buses

    • The returns of side chain FX 1-4 can always be controlled using the 3rd bank

    (layer) of the input channels - Aux/USB/FX Returns. Note that the return
    signals of FX 1-4 have separate faders for left and right

    • The FX Home screen allows selection of the FX 1-4 input sources and

    selecting the effects type/algorithm for each of the 8 FX slots of the
    virtual rack

    • The subsequent tabs FX 1-FX 8 of the FX screen allow editing all parameters

    of the chosen effects processor



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    X32 DIGITAL MIXER Preliminary User Manual

    2. Callouts
    2.1 Channel Strip

    (1)

    (3)

    (4)
    VIEW

    (5)

    VIEW

    (6)

    VIEW

    VIEW

    VIEW

    VIEW

    VIEW

    (2)
    (1) PREAMP – Adjust the preamp gain for the selected channel with the
    Gain knob. Press the 48 V button to apply phantom power for use with
    condenser microphones and press the button to reverse the channel’s
    phase. The meter displays the selected channel’s level. Press the Low Cut
    button and select the desired high-pass frequency to remove unwanted
    lows. Press the View button to access more detailed parameters on the
    Main Display.
    (2) GATE/DYNAMICS – Press the Gate/Ducker button to engage the noise gate
    and adjust the threshold accordingly. Press the Comp/Exp button to engage
    the compressor and adjust the threshold accordingly. When the signal level
    in the meter drops below the selected Gate threshold, the noise gate will
    silence the channel. When the signal level reaches the selected Dynamics
    threshold, the peaks will be compressed. Press the View buttons to access
    more parameters on the Main Display.
    (3) EQUALIZER – Press the Equalizer button to engage this section.
    Select one of the 4 frequency bands with the High, High Mid, Low Mid,
    and Low knobs. Press the Mode button to cycle through the types of EQ
    available. Select the specific frequency to be adjusted with the Freq knob,
    and adjust the bandwidth of the EQ with the Q knob. Finally, boost or cut
    the selected frequency with the Gain knob. Press the View button for more
    editing options.

    (4) BUS SENDS – Quickly adjust the bus sends by selecting one of the 4 banks,
    followed by one of the 4 knobs. Press the View button for more detailed
    editing and routing.
    (5) USB RECORDER – Connect a thumb drive to install firmware updates and to
    record performances. See the Topic Guide section for details.
    (6) MAIN BUS – Press the Mono Bus or Stereo Bus to assign the channel to the
    main mono or stereo bus. When Stereo Bus is selected, the Pan/Bal adjusts
    the left-to-right positioning. Adjust the overall send level to the Mono Bus
    with the Level knob. Press the View button for more editing options.



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    X32 DIGITAL MIXER Preliminary User Manual

    2.2 Input Channel Banks

    (9)

    (7) LAYER SELECT – Select either the channels 1-16, channels 17-32,
    Aux In/USB/FX Returns, or Bus Masters layer with these 4 buttons.
    The currently active layer will light.
    (8) DAW REMOTE – Press this to enable DAW remote control.
    (9) SELECT – Press this button to select an input or bus (depending which layer
    is active) and allow it to be edited by the Channel Strip and Main Display.

    (8)
    (10)
    (11)
    (12)
    (13)

    (10) CHANNEL METER – This displays the signal level of the input or bus
    (depending which layer is active). The Gate and Comp LEDs light to indicate
    that noise gate and/or compression are active.
    (11) SOLO – Press this button to send the channel to the Solo Bus.
    (12) MINI DISPLAY – Information such as channel number,
    nickname, input source and graphical icon are displayed on this
    color LCD screen.
    (13) MUTE – Press this button to mute the channel.

    (7)
    (14)

    (14) FADER – Use this to adjust the channel volume or bus send in ’Sends on
    Faders’ mode. The faders will automatically display the current status as
    layers and functions are changed.



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    X32 DIGITAL MIXER Preliminary User Manual

    2.3 Display and Monitoring

    (18)

    (19)

    (20) (21)

    (24)

    (25)
    (26)

    (27)
    VIEW

    (15)

    (16)

    (15) PUSH ENCODERS – These 6 controls adjust the parameters presented at
    the bottom of the Main Display. The editable function will show a circular
    icon in the display when continuous control is available. The function will
    show a broad rectangular icon to indicate that a switch or toggle can be
    accessed by pushing the encoder.
    (16) LAYER BUTTONS – Some screens in the Main Display have more than
    6 editable parameters which can be accessed by pressing the Layer Up or
    Down buttons.

    (17)

    VIEW

    (22) (23)

    (21) PHONES LEVEL – Adjust the volume of the headphone outputs,
    located inside the left and right side caps.
    (22) MONITOR MONO – Press this button to monitor the audio in mono.
    (23) DIM – Press this button to reduce the monitor volume. Press the
    View button to adjust the amount of attenuation along with all other
    monitoring-related functions.
    (24) LAMP INPUT – Connect a standard 12 V, 5 Watt gooseneck lamp here.

    (17) PAGE SELECT BUTTONS – Use these to scroll through the available screens
    or to confirm/decline certain actions.

    (25) TALKBACK INPUT – Connect a talkback mic via standard XLR cable to
    this input.

    (18) MAIN/SOLO METERS – The main stereo output level is displayed here
    along with the solo level of all channels whose Solo button is active.

    (26) TALK LEVEL – Adjust the level of the talkback mic with this knob.

    (19) CATEGORY SELECT BUTTONS – Press one of these buttons to jump directly
    to the subject you wish to edit or configure.
    (20) MONITOR LEVEL – Adjust the level of the Monitor outputs with this knob.

    (27) TALK A/B – Select the destination for the talkback mic signal with these
    buttons. Press the View button to edit the talkback routing for A and B.



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    X32 DIGITAL MIXER Preliminary User Manual

    2.4 Group/Bus Banks

    (28) GROUP/BUS LAYERS – Select between DCA groups 1-8, Buses 1-8 or 9-16,
    or Matrices 1-6 and the main center bus with these buttons. The currently
    active layer will light.

    (30)
    (36)

    (29)
    (31)
    (32)

    (37)
    (38)

    (30) SELECT – Press this button to select a DCA or bus (depending which layer
    is active) and allow it to be edited by the Channel Strip and Main Display.
    (31) GROUP/BUS METER – This displays the signal level of the DCA or bus
    (depending which layer is active). The Pre LED indicates that the bus is
    sourced pre-fader, while the Comp LED indicates that compression is active.
    (32) SOLO – Press this button to solo the DCA or bus.

    (33)
    (34)

    (29) SENDS ON FADERS – Press this button to activate the Sends on Faders
    function. See the Topic Guide for more details.

    (39)

    (33) MINI DISPLAY – Information such as matrix/bus number,
    nickname, input source and graphical icon are displayed on this color
    LCD screen.
    (34) MUTE – Press this button to mute the DCA or bus.

    (28)

    (35)

    (40)

    (35) FADER – Use this to adjust the bus level. The faders will automatically
    display the current status as layers and functions are changed.
    (36) MAIN SELECT – Press this button to select the main bus for editing.
    (37) CLEAR SOLO – Press this button to release all sources assigned to the
    solo bus.
    (38) MAIN SOLO – Press this button to solo the main bus.
    (39) MAIN MUTE – Press this button to mute the main bus.
    (40) MAIN FADER – This fader adjusts the output of the main bus.



  • Page 16

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    X32 DIGITAL MIXER Preliminary User Manual

    2.5 Scenes, Assign, Mute Groups

    (41) MUTE GROUPS – Press one of these buttons to activate one of the mute
    groups. See the Topic Guide for details.

    (46)

    (42) SET SELECT BUTTONS – Press one of these buttons to activate one of the
    3 layers of custom assignable controls.
    (43) CUSTOM ASSIGN BUTTONS – Assign these 8 buttons to various
    parameters for instant access to commonly used functions. See the
    Topic Guide for details.

    VIEW

    (45)

    (44) ASSIGN DISPLAYS – These displays provide quick reference to the
    assignments of the active layer of custom controls.

    (44)

    (45) CUSTOM ASSIGN KNOBS – Assign these 4 knobs to various parameters for
    instant access to commonly used functions. See the Topic Guide for details.
    (46) SCENES BUTTONS – Use these buttons select and activate saved scenes.
    See the Topic Guide for details.

    (43)
    (42)

    VIEW

    (41)

    2.6 Rear Panel Connections

    (47)

    (48)

    (49)

    (50)

    (51)

    (47) MONITOR / CONTROL ROOM OUTPUTS – Connect a pair of studio
    monitors using XLR or 1/4" cables.
    (48) OUTPUTS 1-16 – Send audio to external equipment using XLR cables.
    Outputs 15 and 16, by default, carry the main stereo bus signals.
    (49) POWER SWITCH – Turn the power on and off with this switch.

    (52)32 channels of (53)
    (54)
    (50) XUF USB/FW CARD – Transmit up to
    audio to and from a
    computer via USB 2.0 or FireWire 400 cables.
    (51) REMOTE CONTROL – Connect to a PC for remote control via USB or
    Ethernet cable.

    (55)



  • Page 17

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    X32 DIGITAL MIXER Preliminary User Manual

    (52)

    (53)

    (54)

    (55)

    (52) MIDI IN/OUT – Send and receive MIDI commands via 5-pin DIN cables.
    (53) AES/EBU OUT – Send digital audio via 3-pin AES/EBU XLR cable.
    (54) ULTRANET – Connect to a BEHRINGER P-16 personal monitoring system via
    Ethernet cable.
    (55) AES50 A/B – Transmit up to 96 channels in and out via Ethernet cables.

    (56)

    (57)
    (56) INPUTS 1-32 – Connect audio sources via XLR cables.
    (57) AUX IN/OUT – Connect to and from external equipment via
    1/4" or RCA cables.



  • Page 18

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    X32 DIGITAL MIXER Preliminary User Manual

    3. Hook-Up Diagrams

    B215D

    F1320D

    B1800D-PRO

    B3031A

    Laptop

    FCB1010 MIDI Pedal



  • Page 19

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    X32 DIGITAL MIXER Preliminary User Manual

    DI Box

    Keyboard

    XM8500

    GTX30

    HPX6000

    (Sidecap output)

    S16 Digital Snake

    P-16 D

    iPod
    FX2000

    2-TRACK HARD DISK RECORDER

    P-16 M



  • Page 20

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    X32 DIGITAL MIXER Preliminary User Manual

    4. FX Descriptions

    Triple Delay

    FX Descriptions
    Here is a list and brief description of the effects available on the X32.
    When Stereo and Dual versions of an effect are offered, use the Stereo version
    when the left and right signal are to be altered together (e.g. on linked stereo
    channels or buses), or Dual when you want to dial different settings for the left
    and right signal. See the Topic Guide for instructions on how to add effects to a
    channel or bus.
    Stereo Precision Limiter

    Stereo Precision Limiter allows you to set a precise volume limit,
    ensuring distortion-free, optimal signal integrity. Use X32’s Stereo Precision
    Limiter to boost quiet signals or preventing clipping while preserving the level of
    “hot” signals.
    AUTOGAIN activates an additional long-term gain correction, allowing automatic
    gain scaling of varying input level ranges. STEREO LINK applies limiting to both
    channels equally when activated. INPUT GAIN provides up to 18 dB of gain to
    the input signal prior to limiting. OUTPUT GAIN sets the final gain level of the
    processed signal. SQUEEZE adds compression to the signal to add punch and a
    slight distortion depending on the amount you dial in. ATTACK sets the attack
    time, ranging from 0.05 mS to 1 mS. RELEASE adjusts the release time from
    0.05 mS to 1.04 seconds. KNEE adjusts the soft limiting threshold point from hard
    limiting (0 dB) to maximum soft limiting (10 dB).
    Stereo Delay

    Stereo Delay provides independent control of left and right delay (echo)
    times and features high and low pass filters for enhanced tone shaping of the
    delayed signals. Use the Stereo Delay to give your mono signals a wide presence
    in the stereo field.
    The MIX control lets you blend the source signal and the delayed signal.
    TIME adjusts the master delay time up to three seconds. LO CUT adjusts the low
    frequency cut, allowing lower frequencies to remain unaffected by the delay.
    HI CUT adjusts the high frequency cut, allowing higher frequencies to remain
    unaffected by the delay. FACTOR L sets the delay on the left channel to rhythmic
    fractions of the master delay time. FACTOR R sets the delay on the right channel
    to rhythmic fractions of the master delay time. OFFSET LR adds a delay difference
    between the left and right delayed signals. The FEED LO CUT/HI CUT adjusts filters
    in the feedback paths. FEED L and FEED R control the amount of feedback for
    the left and right channels. MODE sets the feedback mode: Mode ST sets normal
    feedback for both channels, X crosses feedbacks between left and right channels.
    M creates a mono mix within the feedback chain.  

    Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with
    independent frequency, gain, and pan controls. Create time-based echo effects
    with the Triple Delay to increase the sense of stereo separation.
    TIME BASE sets the master delay time, which is also the delay time for the first
    stage. GAIN BASE sets the gain level of the first stage of the delay. PAN BASE sets
    the position of the first delay stage in the stereo field. LO CUT sets the frequency
    at which the source signal can begin passing through the delay. HI CUT sets the
    frequency at which the source signal no longer passes through the delay. X-FEED
    indicates that stereo cross-feedback of the delays is active. MONO activates
    a mono mix of both channels for the delay input. FEED adjusts the amount of
    feedback. FACTOR A controls the amount of delay time in the second stage of
    the delay. GAIN A controls the gain level of the second delay stage. PAN A sets
    the position of the second delay stage in the stereo field. FACTOR B controls the
    amount of delay time in the third stage of the delay. GAIN B controls the gain
    level of the third delay stage. PAN B sets the position of the third gain stage in the
    stereo field.
    Ambience

    Ambience creates a customizable virtual acoustic space in which to place the
    elements of a mix. Use Ambience to add warmth and depth without coloring the
    direct sound. (Inspired by the Lexicon Ambience Algorithm)
    PRE DELAY sets the time before the reverb follows the source signal.
    DECAY adjusts the time it takes for the reverb to completely dissipate.
    SIZE controls the room size emulation. DAMPING controls the high frequency
    decay within the reverb tail. DIFFUSE controls the initial echo density. Level sets
    the volume output of the affected signal. LO CUT adjusts the low frequency cut,
    allowing lower frequencies to remain unaffected by the reverb. HI CUT adjusts
    the high frequency cut, allowing higher frequencies to remain unaffected by the
    reverb. MOD adjusts the level of reverb decay modulation. TAIL GAIN adjusts the
    volume of the reverb tail.
    Reverse Reverb

    Reverse Reverb takes the trail of a reverb, turns it around, and places it in front
    of the sound source. Use the swelling crescendo of the Reverse Reverb to add an
    ethereal quality to vocal and snare tracks. (Inspired by the Lexicon 300/480L)
    Adjusting the PRE DELAY knob adds up to 200 milliseconds of time before the
    reverb follows the source signal. The DECAY knob adjusts the time it takes for
    the reverb to completely dissipate. RISE controls how quickly the effect builds



  • Page 21

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    X32 DIGITAL MIXER Preliminary User Manual

    up. DIFF(USION) controls the initial reflection density. SPREAD controls how the
    reflection is distributed through the envelope of the reverb. The LO CUT knob
    sets a low frequency beneath which the source signal will not pass through the
    reverb. The HiSvFr/HiSvGn knobs adjust a Hi-Shelving filter at the input of the
    reverb effect.

    Hall Reverb

    Gated Reverb
    Classic Hall Reverb simulates the reverberation that occurs when sound is
    recorded in medium to large-sized concert halls. Use the Hall Reverb to give your
    mix a lush, three-dimensional quality that will make your performance sound
    larger than life. (Inspired by the Lexicon Hall)

    This effect was originally achieved by combining a reverb with a noise gate.
    Our gated reverb creates the same impression by a special shaping of the reverb tail.
    Gated Reverb is especially effective for creating a 1980s-style snare sound or to
    enlarge the presence of a kick drum. (Inspired by the Lexicon 300/480L)
    PRE DELAY controls the amount of time before the reverberation is heard following
    the source signal. DECAY controls the amount of time it takes for the reverb to
    dissipate. ATTACK controls how fast the reflection density builds up. DENSITY shapes
    the reverb decay tail. The higher the density, the greater the number of sound
    reflections. SPREAD controls how the reflection is distributed through the envelope
    of the reverb. The LO CUT knob sets the frequency beneath which the source signal
    will not pass through the reverb. The HiSvFr/ HiSvGn knobs adjust a Hi-Shelving filter
    at the input of the reverb effect. DIFF(USION) controls the initial reflection density.
    Plate Reverb

    A plate reverb was originally created by sending a signal through a transducer
    to create vibrations on a plate of sheet metal which were then picked up as an
    audio signal. Our algorithm simulates that sound with high initial diffusion and a
    bright colored sound. X32’s Plate Reverb will give your tracks the sound heard on
    countless hit records since the late 1950s. (Inspired by the Lexicon PCM-70)
    PRE DELAY controls the amount of time before the reverberation is heard
    following the source signal. DECAY controls the amount of time it takes for the
    reverb to dissipate. SIZE adjusts the size of the virtual room created by the reverb
    effect. The DAMP knob adjusts the decay of high frequencies within the reverb
    tail. DIFF(USION) controls the initial reflection density. The LO CUT knob sets the
    frequency beneath which the source signal will not pass through the reverb.
    The HI CUT knob sets the frequency above which the source signal will not pass
    through the reverb. The BASS MULT(IPLIER) knob adjusts the decay time of the
    bass frequencies. XOVER controls the crossover point for bass. MOD DEPTH and
    SPEED control the intensity and speed of the reverb tail modulation. 

    The PRE DELAY slider controls the amount of time before the reverberation is
    heard following the source signal. DECAY controls the amount of time it takes for
    the reverb to dissipate. SIZE controls the perceived size of the space being created
    by the reverb effect. The DAMP slider adjusts the decay of high frequencies within
    the reverb tail. DIFF(usion) controls the initial reflection density. SHAPE adjusts
    the contour of the reverberation envelope.  
    Vintage Room

    Vintage Room simulates the reverberation that occurs when sound is recorded in
    a small room. When you want to add a bit of warmth and just a touch of reverb,
    X32’s Vintage Room breathes life into close-miced guitar and drum tracks.
    (Inspired by the Quantec QRS)
    The VU meter displays the input and output levels. Set the early reflection times
    for the left and right channel with ER DELAY L and ER DELAY R. ER LEVEL sets the
    loudness of the early reflection level. REV DELAY controls the amount of time before
    the reverberation is heard following the source signal. HI/LOW MULTIPLY adjusts the
    decay time of the high and bass frequencies. TIME shows the duration of the reverb
    effect. ROOM SIZE adjusts the size of the room effect being created incrementally
    from small to large. HIGH CUT sets the frequency above which the source signal
    does not pass through the reverb. DENSITY manipulates the reflection density in the
    simulated room. (This slightly changes the reverb decay time). LOW CUT sets the
    frequency below which the source signal does not pass through the reverb.
    Vintage Reverb

    Based on the legendary EMT250, X32’s Vintage Reverb delivers shimmering
    bright reverb that won’t drown out or overpower your live or recorded tracks.
    Use Vintage Reverb to sweeten vocals and snare drums without sacrificing clarity.
    When layer 1 is selected, the first slider on the left sets the reverb time from
    4 milliseconds to 4.5 seconds. Slider 2 controls the low frequency multiplier
    decay time. Slider 3 controls the high frequency multiplier decay time. Slider 4
    controls the amount of modulation in the reverb tail. When layer two is selected,
    slider 1 adjusts the pre delay. Slider 2 selects the low cut frequency. Slider 3
    selects the Hi Cut frequency. Slider 4 adjusts the output level of the reverb.



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    When Layer 1 is selected, the far left encoder push button allows you to select
    between virtual front and rear outputs. Rear is suitable for drums due to it being
    less reflective. Front is well-suited for vocals and other dynamic instruments.
    The Vintage button enables the simulation of the input transformers.

    Chorus / Stereo Chorus

    Stereo/Dual Tube Stage/Overdrive
    Chorus samples the input, slightly detunes it and mixes it with the original
    signal to produce a somewhat thicker, shimmering sound. Use it to thicken up
    background vocals, or to double the sound of brass and woodwind instruments.
    Tube Stage/Overdrive is a versatile effect capable of emulating a variety of
    modern and classic tube preamps. Available in stereo and dual-mono versions,
    use Tube Stage/Overdrive to dial in warm and fuzzy sounds from subtle to
    fully saturated.
    DRIVE adjusts the amount of harmonics being driven by the effect. EVEN and ODD
    adjust the amount of even and odd harmonics. GAIN adjusts the output gain of
    the effect. LO CUT sets the input frequency below which the source signal will not
    pass through the effect. HI CUT sets the input frequency above which the input
    signal will not pass through the effect. BASS GAIN/FREQ adjust a low shelving
    filter at the output of the effect. TREBLE GAIN/FREQ adjust a high shelving filter at
    the output of the effect.

    Where as DELAY L/R set the total amount of delay for the left and right channel,
    WIDTH determines the amount of modulated delay. SPEED sets the modulation
    speed. MIX adjusts the balance of the dry and wet signals. You can further sculpt
    the sound by trimming some of the low and high end from the effected signal
    with the LO and HI CUT knobs. Additionally, the PHASE knob can tweak the
    phase offset of the LFO between left and right channel and the SPREAD knob
    adjusts how much of the left channel is mixed into the right and vice versa.
    Finally, the WAVE knob blends between the “Danish-style” digital triangular
    chorus sound and the classic analog sine wave.
    Flanger / Stereo Flanger

    Stereo Imager

    A Stereo Imager is typically used to control the placement of a signal within the
    stereo field during mixdown or mastering. Modeled after the BEHRINGER Edison
    rack unit, X32’s Stereo Imager will lend a professional quality to your live and
    recording performances.
    The BALANCE knob allows you to emphasize the mono or stereo components
    of the input signal. The mono and stereo signals can be panned independently
    with the MONO PAN and STEREO PAN knobs. OUT GAIN is used to compensate for
    level changes resulting from the effect. The phase can also be shifted using the
    shelving knobs. Select the frequency and bandwidth (Q) using the corresponding
    knobs, then adjust the gain with the SHV GAIN knob.

    The Flanger emulates the phase-shifting sound (comb-filtering)
    originally created by applying pressure against the flange of the reel on a tape
    recorder. This effect creates a unique “wobbly” sound that is quite dramatic when
    used on vocals and instruments.
    The controls of this effect are nearly identical to the Chorus effect block.
    Additionally, the FEEDBACK can be adjusted with positive and negative amounts
    and also band-limited with the FEED HC (high-cut) and FEED LC (low-cut) knobs.
    Stereo Phaser

    Rotary Speaker

    A Stereo Phaser, or phase shifter, applies multiple STAGES of modulated filters to
    the input signal to create a “notch” in the frequency response, and then applies
    a MIX with the original for a “swirling” effect. Use X32’s Stereo Phaser to add a
    “spaced-out” sound to vocal or instrument tracks.
    Rotary Speaker emulates the sound of a Leslie rotating speaker. X32’s Rotary
    Speaker provides more flexibility than its electro-mechanical counterpart,
    and can be used with a variety of instruments, and even vocals, to create a
    whirling, psychedelic effect.
    The LO SPEED and HI SPEED knobs adjust the rotational speed of the
    SLOW and FAST Speed selection, and can be toggled with the FAST button.
    The ACCEL(eration) knob adjusts how quickly the speed increases and decreases
    from the Slow mode to the Fast mode. The rotation effect can also be disengaged
    with the STOP button, which will stop the movement of the speakers.
    DISTANCE adjusts the distance between the Rotary speakers and the
    virtual microphone. 

    SPEED adjusts the LFO rate and DEPTH sets the LFO modulation depth.
    The BASE knob adjusts the frequency range of the modulated filters.
    The resonance is adjusted with the RESO knob. The WAVE knob shapes the
    symmetry of the LFO waveform and PHASE dials in an LFO phase difference
    between the left and right channel. The modulation source can also be the signal
    envelope, which produces vowel-like opening and closing tones. The ENV MOD
    knob adjusts how much this effect takes place (positive and negative modulation
    is possible), and the ATTACK, HOLD and RELEASE knobs all tailor the response of
    this feature.



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    Tremolo / Panner

    Stereo Tremolo creates an up and down volume change at a constant and even
    tempo just like the guitar amps of yesteryear. Use X32’s Stereo Tremolo to add a
    unique “surf-music” texture to a vocal or instrument track.
    SPEED adjusts the LFO rate and DEPTH sets the amount of modulation.
    PHASE can be used to set an LFO phase difference between the left and right
    channel, which can be used for panning effects. The WAVE knob blends the LFO
    waveform between triangular and square shape. The signal envelope, shaped by
    ATTACK, HOLD and RELEASE, can be used to modulate the LFO speed (ENV SPEED)
    and the LFO modulation depth (ENV DEPTH).

    Wave Designer

    Wave Designer is a powerful tool for adjusting signal transients and dynamics,
    such as attack and sustain. Use it to make a snare drum really “crack” in the
    mix or level out volume inconsistencies of slap bass tracks. (Inspired by the SPL
    Transient Designer)
    Adjusting the ATTACK knob can add punch or tame overly dynamic signals.
    Increasing the SUSTAIN knob acts in a similar way as a compressor, allowing the
    peaks to carry longer before decay. The effect can also be used to reduce the
    sustain for a more staccato sound. The GAIN knob compensates for level changes
    caused by the effect.
    Stereo Exciter / Dual Exciter

    Stereo / Dual Pitch

    Pitch shifting is often used in two different ways. One is to set the Mix knob lower
    and only use the Cent knob to make a small offset in pitch between the wet and
    dry tones. This results in a “voice doubling” effect that thickens the overall sound
    in a more subtle way. The extreme use of the effect is to turn the Mix knob fullyclockwise so the entire signal is effected. This way, the signal can be shifted into
    other keys up to an octave above or below the original. When used on a voice,
    this results in a “chipmunk” sound or a low Darth Vader effect.
    When the SEMI and CENT knobs are set at 12:00, the pitch is not altered.
    Making adjustments by semitone will have a very pronounced effect,
    whereas changes to the CENT knob will be very minor. The DELAY knob creates a
    time difference between the wet and dry sound. The LO and HI CUT knobs allow
    the effected signal to be band-limited. The Dual Pitch effect allows the left and
    right channels to be adjusted independently, and allows GAIN compensation and
    panning of the two channels.
    Stereo / Dual Guitar Amp

    Modeled after the Tech 21 SansAmp, the Stereo / Dual Guitar Amp simulates the
    sound of plugging into a real guitar amp. From shimmering cleans to saturated
    crunch, X32’s Stereo / Dual Guitar Amp allows an electric guitar player to sound
    great without using an amp on stage.
    The PREAMP knob adjusts the amount of input gain prior to the band-specific
    distortion adjustment. BUZZ adjusts the low-end breakup, PUNCH adjusts
    the midrange distortion, and CRUNCH tailors the high-frequency content and
    distortion for smooth or cutting notes. The DRIVE knob simulates the amount
    of power amp distortion from a tube amp. The LOW and HIGH knobs allow
    EQ adjustment independent of distortion content, and the overall output is
    controlled by the LEVEL knob. The CABINET simulation can be bypassed if the
    guitarist is already using a real cab, which allows the effect to function like a
    boost or distortion pedal. The Dual Guitar Amp allows the left and right channels
    to be adjusted independently.

    Exciters increase presence and intelligibility in live sound applications, and are
    indispensable for adding clarity, air and harmonic overtones in the recording
    studio. This effect is particularly useful for filling out the sound in difficult rooms
    and for producing a more natural live/recorded sound. (Inspired by the famous
    Aphex Aural Exciter)
    Set the frequency of the side-chain filter with the TUNE knob, and further shape
    the filter slope with the PEAK and ZERO FILL knobs. Turning the TIMBRE knob
    left of center adds more odd harmonics, while turning it right of center adds
    more even harmonics. Adjust the harmonic content added to the signal with
    the HARMONICS knob, and blend in the effected signal with the MIX knob.
    Engage the SOLO MODE to isolate only the audio resulting from the effect so you
    can hear exactly what you’re adding to the mix.
    Stereo Enhancer / Dual Enhancer

    X32’s Enhancers are so called “Psycho EQs”. They can enhance the signal
    spectrum in bass, midrange and high frequencies but they differ from traditional
    equalizers. When you need to generate maximum punch, clarity and detail,
    without turning up the overall volume, our enhancers are the solution.
    (Inspired by the SPL Vitalizer)
    Adjust the BASS, MID and HI GAIN knobs to add or reduce content in those
    spectrums. The BASS and HI FREQuencies can be specifically selected, while the
    MID Q (bandwidth) can be adjusted instead. The OUT GAIN knob compensates for
    changes in level resulting from the effect, and the SPREAD knob (Stereo version
    only) emphasizes the stereo content for a wider mix. Engage the SOLO MODE
    to isolate only the audio resulting from the effect so you can hear exactly what
    you’re adding to the mix.



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    Mood Filter

    Chorus + Chamber

    The Mood Filter uses an LFO generator and an auto-envelope generator to control
    a VCF (voltage-controlled filter), as well as a side chain function where the
    channel B signal controls the envelope of channel A. When applied to electronic
    instruments, the Mood Filter can be used to emulate the natural sound of
    acoustic instruments. (Inspired by the MiniMoog)

    Taking up only one FX slot, the Chorus + Chamber effect combines the shimmer
    and doubling characteristics of a studio-grade Chorus with the sweet sound of a
    traditional Chamber reverb. (Reverb is Inspired by the Lexicon PCM 70)

    This filter can be modulated with the signal’s envelope using the ENV MOD
    (with positive and negative amounts), ATTACK and RELEASE knobs, or the LFO
    can modulate the filter. The WAVE knob selects between 7 different wave forms
    – triangular, sine, saw plus, saw minus, ramp, square, and random. The PHASE
    can be offset by up to 180 degrees. The SPEED knob adjusts the rate of the LFO
    and the DEPTH adjusts the amount of LFO modulation. Adjust the resonance of
    the filter until self-oscillation with the RESO(nance) knob. BASE adjusts the range
    of the filter from 20 Hz to 15 kHz. The MODE switch selects between low pass
    (LP), high-pass (HP), band-pass (BP) and Notch. Use the MIX knob to blend the
    effected signal with the dry sound. With the 4 POLE switch engaged, there will
    be a steeper slope than the OFF (2 pole) setting. The DRIVE knob adjusts the
    level and can also introduce an overdrive effect (as with real analogue filters)
    if pushed hard. In Sidechain mode, only the left input signal is processed and
    fed to both outputs. The envelope of the right input signal can be used as a
    modulation source.

    The BALANCE knob adjusts the balance between chorus and reverb. Low
    frequencies can be excluded with the LO CUT knob, and the MIX knob adjusts
    how much of the effect is added to the signal. SPEED, DELAY and DEPTH adjust
    the rate, delay, and modulation depth of the chorus. The LFO PHASE between left
    and right channel can be offset by up to 180 degrees, and WAVE adjusts the LFO
    waveform from a sine wave to triangular wave. The PREDELAY knob determines
    the hesitation before the reverb affects the signal. The DECAY knob adjusts how
    quickly the reverb fades. The SIZE controls how large or small the simulated
    space is (room, cathedral, etc.). The DAMPING knob determines the decay of high
    frequencies within the reverb tail.
    Flanger + Chamber

    Delay + Chamber
    Add the mind-bending, filter-sweeping effect of a state-of-the-art Flanger to
    the elegant sweetening of a traditional Chamber reverb—all in one FX slot.
    (Reverb is Inspired by the Lexicon PCM 70)

    Here we have combined Delay and Chamber reverb, so a single device can provide
    a variety of delay settings, plus add just the right type and amount of reverb to
    the selected signal. This device only uses one FX slot. (The Reverb is Inspired by
    the Lexicon PCM 70)
    Use the BALANCE knob to adjust the ratio between delay and reverb.
    Low frequencies can be excluded with the LO CUT knob, and the MIX adjusts
    how much of the effect is added to the signal. The TIME knob adjusts the delay
    time for the left channel delay, and the PATTERN sets the delay ratio for the
    right channel delay. Adjust the FEEDBACK and trim some high frequencies with
    the FEED HC (high-cut) knob. The XFEED knob allows you to send the delay
    sound to the reverb effect, so instead of running completely parallel, the reverb
    effects the echos to a selected degree. The PREDELAY knob determines the
    hesitation before the reverb affects the signal. The DECAY knob adjusts how
    quickly the reverb fades. The SIZE controls how large or small the simulated
    space is (room, cathedral, etc.). The DAMPING knob determines the decay of high
    frequencies within the reverb tail.

    The BALANCE knob adjusts the ratio between flanger and reverb. Low frequencies
    can be excluded with the LO CUT knob, and the MIX knob adjusts how much of
    the effect is added to the signal. SPEED, DELAY and DEPTH adjust the rate, delay,
    and modulation depth of the flanger. FEEDback can be adjusted with positive and
    negative amounts. The PHASE can be offset by up to 180 degrees. The PREDELAY
    knob determines the hesitation before the reverb affects the signal. The DECAY
    knob adjusts how quickly the reverb fades. The SIZE controls how large or small
    the simulated space is (room, cathedral, etc.). The DAMPING knob determines the
    decay of high frequencies within the reverb tail.



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    Delay + Chorus

    Dual / Stereo TruEQ

    This combination effect merges a user-definable Delay (echo) with a studioquality Chorus sure to fatten up even the “skinniest” track. Uses only one FX slot.
    (Inspired by the TC Electronic D-Two)

    The TruEQ incorporates a special algorithm that compensates for the gain
    adjustment overlapping effect that adjacent frequency bands have on one
    another. On a standard EQ, when neighboring bands are boosted together,
    the resulting effect is magnified beyond what is visible from the positioning of
    the sliders.

    The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio
    for the right channel and negative values activate a cross feedback between
    the two channels. The FEEDHC knob adjusts the delay high-cut frequency,
    while the FEEDBACK knob adjusts the number of repeats. The X-FEED knob allows
    you to send the delay sound to the chorus effect. The BALANCE knob adjusts
    the ratio between delay and chorus. SPEED, DELAY and DEPTH adjust the rate,
    delay, and modulation depth of the chorus. The right channel LFO PHASE can be
    offset by up to 180 degrees, and WAVE adjusts the chorus character by shaping
    the LFO waveform from sine wave to triangular wave. Use the MIX knob to blend
    the effected signal with the “dry” sound.
    Delay + Flanger

    Graphic equalizer without frequency response correction.

    This compensated EQ will produce an adjustment that is identical to the actual
    positioning of the sliders.

    This handy dynamic duo blends the “woosh” of soaring jet planes with classic
    Delay, and can be adjusted from mild to wild. This combination effect only takes
    up one FX slot. (Inspired by the TC Electronic D-Two)
    The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio
    for the right channel and negative values activate a cross feedback between
    the two channels. The FEEDHC knob adjusts the delay high-cut frequency,
    while the FEEDBACK knob adjusts the number of repeats. The X-FEED knob
    allows you to send the delay sound to the flanger effect. The BALANCE knob
    adjusts the ratio between delay and flanger. SPEED, DELAY and DEPTH adjust the
    rate, delay, and modulation depth of the flanger. The right channel LFO PHASE
    can be offset by up to 180 degrees, and FEED (positive and negative amounts)
    adjusts the feedback effect. Use the MIX knob to blend the effected signal with
    the “dry” sound.
    Dual / Stereo GEQ

    These are standard graphic equalizers that provide 31 bands of adjustment
    between 20 Hz and 20 kHz. A master volume slider compensates for changes in
    volume caused by the equalization. A maximum boost or cut of 15 dB is available
    for each band.

    Graphic equalizer with frequency response correction.



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    5. Topic Guide
    5.1 Starting up, shutting down,
    and firmware updates
    We recommend switching the X32 on before any active sound reinforcement
    system is connected. The function called “Safe Main Levels”, located in the
    Setup/General Preferences screen, automatically turns down the main LRC bus
    levels when booting the console, and also prevents any scene loading actions
    from affecting (specifically turning up) the main levels.
    Synchronization and Sample Rate settings can also be adjusted on the
    Setup/Config page, but please note that changing the sample rate will require a
    console reboot.
    ◊ Please Note: Settings under ‘Link Preferences’, ‘Panning Mode’,

    and ‘DCA groups’ are stored with the Scene data while all other settings
    made on the Setup/Config page are not stored in any preset and will
    not be initialized either. Please verify before using the X32 that the
    sample rate is set correctly and if the synchronization source is selected
    appropriately. If set to external synchronization via one of the two
    AES50 ports, while no clock source is actually connected or switched on,
    then the corresponding small square icon in the main display’s top row
    would be red rather than green. In normal state you should only see
    1-4 green squares in the top section depending on the units connected.
    Note that if the X32 console has previously been in use by somebody else, and you
    feel unsure about its actual status, you can reset it to default settings in either of
    two convenient ways:
    1. While the console is booting up and the “X32” logo appears on the screen,
    press and hold the “Scenes / UNDO” button, keeping it depressed until the
    console is fully operational and the Home screen is displayed. The console
    will now be in the exact same state as it was when first shipped from the
    factory. However, you can immediately revert back to the status the console
    was in before being switched off by pressing the Scenes/UNDO button.
    2. You can also reset the console any time after booting by pressing
    “Setup/Config” -> “Initialize”.
    The X32 regularly stores the console’s status to its onboard flash memory,
    so there is usually nothing wrong with switching it off, and you do not have to
    explicitly save the current status. However, when a large number of parameters
    have been recently changed, storing all of them to flash can take up to 1 minute,
    in a “worst-case” scenario. In order to prevent any errors by losing power during
    this type of storage operation, we recommend using the “Safe Shutdown”
    function from the Setup/Global page, an operation similar to un-mounting a
    USB thumb-drive from your PC.
    Updates:
    The X32 firmware can easily be updated by plugging a USB stick into the top
    panel USB connector after a firmware update file has been downloaded and
    stored on the root level of the attached drive. Simply insert the USB drive while
    the console is turned off, then power on the console. While booting, the X32 will
    run a fully automatic firmware update, which might take 2-3 minutes longer than
    the regular boot sequence.
    The USB socket is not suitable for other non-memory USB devices like keyboards,
    mice, lamps, etc.

    5.2 Default setup for connecting to monitoring
    and P.A. systems
    The X32 comes pre-configured with the local XLR inputs connected to input
    channels 1-32, and XLR outputs 1-14 connected to the mix bus masters 1-14.
    Bus masters 13-16 are connected to the effects inputs FX1-4. The Main LR (stereo)
    signal is normally put out on XLR outputs 15/16.
    The Monitoring outputs on ¼" and XLR connectors, and the two Phones outputs
    (in the side-cap handles) always carry either the Monitor Source signal or any solo
    signal, whenever a solo button is active. Press the View button in the Monitor
    section to check or change the solo and monitoring preferences.
    1. Power up the X32 console first, before any connected power amps or
    speakers are switched on.
    2. Connect cables to XLR outputs 15 and 16 on the rear panel, connecting the
    other ends of the cables to the inputs of your P.A. system. These normally
    carry the main stereo bus left and right.
    3. All buses or input channels that are to be put out on the main PA system
    must have their Stereo Bus switches on. Use the selected channel’s pan
    control to place the signal within the main stereo field, and the channel’s
    fader to set the volume.
    4. Use the rear panel Monitoring outputs to connect monitor speakers or, if you
    prefer, use the ¼" outputs in the sidecaps to connect your head phones.
    You will either hear the monitor source signal, which is Main Stereo by
    default, or any channel with its solo button being active.

    5.3 How do I connect a microphone, process its
    signal and send it out to the P.A. system?
    1. Press the Select button of a desired input channel (for example, channel 1 on
    the “Channels 1-16” input layer) and make sure the channel fader is down.
    2. In the channel processing section in the upper left hand corner, make sure
    the phantom power is switched off.
    3. Connect a microphone to XLR input 1 on the X32’s rear panel.
    4. Press the 48V button to switch phantom power on for channel 1
    (if the microphone requires it, such as a condenser microphone).
    5. Use the Gain control to adjust the gain level as necessary, using the input
    meter as a guide.
    6. Switch on and adjust the Low Cut filter as needed to remove rumble or
    wind noise.
    7. Adjust the channel equalizer controls to sculpt the sound quality of the
    microphone signal.
    8. Adjust the channel Gate and Compressor controls as desired. Note that by
    pressing the “view” button in the compressor or gate section, the main
    screen will switch to the compressor or gate display for the selected channel,
    offering additional compressor or gate controls beyond the dedicated
    top-panel controls.
    9. Turn on the “Stereo Bus” switch in order to route the selected signal to
    the main LR, then adjust the Pan control to place the signal within the
    stereo field.
    10. Adjust the Channel 1 fader to the 0 dB region, then slowly turn up the main
    LR fader until you hear the mic signal amplified through your P.A. system.



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    5.4 How do I add one of the 8 internal effects
    to the sound?
    There are two types of effects that are commonly used:
    • “Effects Loop” (side chain) style effects, where multiple channels all send

    varying amounts of their signal to a common effect, such as a reverb,
    delay, or chorus.

    • “Insert” style effects that are inserted in to the signal path of a single

    channel of audio. Examples would be a graphic EQ, filter, exciter,
    or tube emulator.

    To apply an “Effects Loop” style effect:
    • Press the “FX” menu button. The main screen will show the FX home screen

    where different effects processors are assigned to the 8 processing slots.

    • Adjust rotary encoder #6 to highlight the first effects processor; it will be

    surrounded by an orange outline.

    • Adjust rotary encoder #1 and rotary encoder #2, selecting your desired bus

    as the source for both the left and right inputs of the first effect processor.
    By default, FX 1 is sourced from Bus 13.

    • Adjust rotary encoder #5 to select a specific effect processor,

    such as  “Ambience”.

    • Select the fader bank button labeled “RTN” on the left side of the console.

    Bring the faders labeled FX1L and FX1R up to 0 dB in case they are not set to
    this value by default. In the initial setup, these returns are stereo linked and
    automatically send to the main LR bus, but it is also possible to send them to
    the other buses as well. For this, press the HOME button next to the screen
    while the return is selected, then go to the SENDS tab with the PAGE SELECT
    right button and adjust the send levels for the return to the other buses,
    or use the dedicated BUS SENDS controls.

    • Adjust rotary control #6 to select the specific processor you have applied the

    effect to, in this case “Ins FX 5L”. Press the encoder to connect the selected
    insert effect.

    • The Precision Limiter is now applied as an insert on the selected channel.

    Sending more than one channel through the same insert effect is, of course,
    prohibited. There will be a warning when you try to insert an effect slot that
    has already been used as an insert on any other channel. Both sides of a dual
    type effect can be used as inserts on different channels or buses.

    5.5 How do I use an outboard
    effects processor?
    In some situations, you may wish to use a loop-style effect provided by an
    external effect processor, as opposed to using one of the eight built-in processors.
    To do so:
    • Press the ROUTE button, page right to the “Aux Out” screen, and adjust the

    first and fourth encoders to tie a rear panel ¼" aux out, such as Aux Out 1,
    to an available mix bus, such as Mix Bus 2.

    • Patch rear panel Aux Output 1 to the input of your external effects processor.
    • Patch the output of the external effects processor to rear panel Aux Input 1.
    • Select the “Aux In/FX/USB” layer, select the “Aux 1” channel, and make sure

    the stereo button is lit so that the Aux 1 return signal is assigned to the main
    LR bus.

    • Move the Aux 1 channel fader to 0 dB.
    • Adjust the settings on the external effects processor to taste.

    5.6 How do I set up live stage monitoring?
    Setting up a live stage monitor mix using conventional monitors:

    • Back on the EFFECTS page, press the PAGE SELECT right button to switch the

    1. Press the ROUTE button and page right to the Analog Out page.

    • To apply the effect to assorted input channels, select an input channel,

    2. Adjust the first encoder to select a rear panel analog output (e.g. Output 1),
    then adjust the fourth encoder to select a mix bus (e.g. Mix Bus 1). When the
    source and destination have been selected, press the 4th encoder to
    complete the assignment.

    screen to the editor for the Ambience processor. The screen will switch to an
    editor page for the first processor. Adjust the rotary encoders to tailor the
    effect to your liking.
    then adjust its “Bus Send 13” knob to taste. As the bus send level is
    increased, more of the channel signal will be sent to the Ambience
    effect. Repeat this process with other channels you wish to send to the
    Ambience processor.

    To apply an “insert” style effect:
    • Press the “EFFECTS” menu button.
    • As the effects on the left side are also able to handle complex send effects

    like reverb, the slots on the right side shall be used for insert effects like
    limiter, graphic EQ, etc. You can also use insert effects on the left side,
    but this will limit your use of reverbs and other processor-intensive effects.

    • Adjust rotary encoder #6 to highlight one of the effects processors on the

    right side; it will be surrounded by an orange outline.

    • Adjust rotary encoder #1 and rotary encoder #2, selecting “Insert” as the

    source for both the left and right inputs of the effect processor.

    • Adjust rotary encoder #5 to select a specific effect processor, such as

    “precision limiter”.

    • Select the specific input or output channel you wish to use the inserted

    effect on.

    • Press the HOME button, then the PAGE SELECT right button to navigate to the

    selected channel’s “Config” screen.

    3. Adjust the 5th encoder to set up the monitor send as pre-fader, or pre/post
    EQ. This will prevent the monitor mix from changing when the front-ofhouse mix is adjusted.
    4. Connect a cable from rear panel analog Out 1 to the input of:
    a) A powered stage monitor
    b) An external amplifier feeding a passive stage monitor
    c) A transmitter for a set of wireless in-ear monitors
    5. On the bank of output faders on the right hand side of the console, select the
    monitor bus (1-8, 9-16) (in this case Bus 1) and adjust the fader to 0 dB
    initially. You can change the overall output level on this bus anytime later,
    of course.
    6. To adjust the mix sent to the monitor, select an input channel, then adjust
    its “Bus Send 1” knob. Repeat for the other input channels to complete the
    monitor mix.
    The monitor mix can also be adjusted using the X32’s “Sends on Faders” function:
    1. On the bank of output faders on the right hand side of the console,
    select the monitor bus (1-8, 9-16) that feeds the talent’s stage monitor
    (in this case Bus 1).
    2. Press the “Sends on Faders” button. You will see the button illuminate.



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    3. Select one of the three input channel layers (CH1-16, CH17-32,
    Line-Aux/FX Ret)

    5.7 Everything you ought to know about Solo
    and monitor sources

    4. Adjust the 32 channels of input faders on the left side of the console.
    They now act as “virtual aux send knobs” for the Mix Bus 1 feeding the
    stage monitor, allowing you to quickly adjust the overall monitor mix using
    the faders.

    The X32 console allows you to monitor audio sources on a set of headphones or
    monitor speakers when operating the console from a front-of-house position.

    Setting up a live stage monitor mix using the S16 Digital Stage Box:
    1. Connect the S16 stage box to AES50 port A on the rear panel of the console
    using a standard Cat 5 Ethernet cable.
    2. On the stage, connect a cable from Output 1 of the S16 stagebox to the input
    of the stage monitor.
    3. Press the ROUTE button and page right to the AES50 A page.
    4. Adjust the first encoder to select “Out 1-8” for the first 8 outputs of the
    AES50 A bus, then press the encoder to make the connection.
    5. Analog Outputs 1-8 on the X32 are now routed to the first 8 outputs of the
    AES50 A connector, which in turn feeds the 8 analog outputs of the S16 stage
    box connected to the AES50 A connector.
    6. Adjust the monitor mix that feeds Mix Bus 1, as described above.
    Setting up a live stage monitor mix using the P16 Ultranet Bus:
    1. Connect an Ultranet personal monitor mixer (or P16 distribution amplifier)
    to either the P16 connector on the rear panel of the X32, or to the P16
    connector on an S16 stage box that is connected to the X32 console.
    2. Press the ROUTE button and page right to the P16 page.
    3. Adjust the first and fourth encoders to pair specific audio slots on the P16 bus
    with direct outs of various console channels, pressing the fourth encoder to
    complete each connection.
    4. Any personal mixer connected to the P16 bus will now receive up to 16
    individual audio channels, allowing its user to craft their own unique
    monitor mix.
    5. When using the P16 connector on an S16 connected to AES50 port A,
    press the ROUTE button and page right to the AES50 A page, then adjust
    the fifth encoder to select ‘P16 1-8’, then press the encoder. Adjust the sixth
    encoder to select ‘P16 9-16’, then press the encoder. Note: The P16 signals on
    the S16 are sourced from AES50 channels 33-48.
    Communicating with talent on stage:
    1. Press the “view” button in the Talkback section.
    2. Adjust the fourth encoder to set the destination of the talkback microphone,
    pressing the encoder to set the connections. The talkback mic can be routed
    to any of the individual mix buses that are feeding a monitor system.
    3. Adjust the third encoder to set the volume of the talkback mic.
    4. Press the second encoder to choose between the onboard talkback mic and
    an external one connected to the top panel.
    5. Press the talkback A button to activate the talkback microphone to
    communicate with the stage talent. The talkback button can be set to
    latching or non-latching using the push action of the 5th encoder.

    1. Connect a set of headphones to the ¼" phones jacks located in either of the
    console’s side panels.
    2. Alternatively, connect a set of monitors to the XLR or ¼" monitor outs on the
    rear panel.
    3. Press the “view” button in the monitor section.
    4. Adjust the 6th encoder to select the audio source for the monitor bus,
    for example LR PFL (LR Pre-Fader Listen). This will output the main LR
    pre-fader signal to the monitors when no Solo button is selected on any of
    the channels or buses.
    5. Adjust the first encoder to set the level of the monitor signal.
    Then, adjust the level of the connected headphones and/or monitor
    using their respective level controls on the X32 top panel.
    6. Press the Solo button on any input or output channel to send that channel’s
    audio to the solo bus. This operation will not affect the mix that the audience
    is hearing, nor the monitor mix heard by the talent. Input channels take
    priority over DCAs, DCAs take priority over buses, and buses take priority
    over main LRC/mono.
    7. Press the “Clear Solo” button above the master faders to quickly clear the
    solo status of any and all channels. This is particularly useful when solo is
    active on a channel that is not present on the current input layer and you
    wish to quickly clear its solo status.
    8. When monitoring a stereo signal, press the top panel “Mono” button to
    listen to the monitor bus in mono. Press the “Dim” button to listen to the
    monitor signal at a lower level.
    The solo bus also has various preferences that can be set using the second
    encoder, allowing you tailor its operation to your specific working style.
    Examples include:
    1. Use “Exclusive” if you want the act of pressing another solo button to
    automatically disengage the previous solo. This is useful if you know you
    will never want to solo more than one channel of material at the same time.
    In this mode you can press several Solo buttons at the same time to solo the
    corresponding channels together.
    2. Use “Solo Follows Select” if you want the solo selection to automatically
    follow any channel that you have selected. This allows you to quickly hear
    the audio of that channel in your headphones when you select it to adjust
    EQ, compression, etc. Remember that you need to solo a channel first before
    this function is active.
    3. Use “Select Follows Solo” when you want the reverse to occur: Any channel
    that is soloed will automatically become the currently selected channel,
    allowing you quickly make adjustments for any channel you have soloed.
    4. Use the “Channel Solo AFL” to listen to the channel signal after the fader and
    stereo PAN.
    5. Use “Mix Bus Solo AFL” to listen to the mix bus signal after the fader and
    stereo PAN.
    6. Use “DCA Group AFL” if you want to put the contents of a soloed DCA group into
    after-fader listen mode when the solo button is pressed on a DCA channel.
    7. “Use Master Fader” option lets you adjust the solo signal on the monitor/
    headphones with the Master fader on the console. Note: The master output
    level cannot be changed in this mode. This mode has primarily been
    designed for using the X32 as a pure monitor console where the main bus is
    not used for your PA system.



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    5.8 Using Mute Groups
    The X32 has 6 separate “mute groups”. Individual channels can be assigned
    to these mute groups, allowing you to mute multiple channels with a single
    button push.
    This is particularly useful in theater contexts, where groups of microphones
    (such as the ones belonging to a group of background performers) may need
    to be muted and unmuted often. By assigning them to a mute group, you can
    quickly mute/unmute a large group of channels, which is much faster than
    muting/unmuting each channel one by one.
    1. Press the MUTE GRP button.
    2. While holding the desired Group button (located on top panel’s lower
    right-hand corner), press the SELECT keys for any channels you wish to
    assign to that mute group.
    3. When you are done assigning channels to the mute group, press the MUTE
    GRP button next to the display again. The channel SELECT buttons will now
    work normally again.

    as desired in the FOH mix by adjusting DCA fader 1. However, if you then notice
    that background vocalist #3 is a little too soft in the “blend” of background
    vocals, you can adjust the level fader on their specific channel.
    To create a DCA group on the X32 console:
    1. Press the GROUP DCA 1-8 button on the output fader layer.
    2. Hold the respective DCA Group Select button on the right-hand side of
    the console.
    3. While still holding down the DCA Group Select button, press the SELECT
    buttons for all the input channels, aux channels, fx return channels, and bus
    masters that you wish to assign to said DCA Group. Those channels are now
    assigned to the DCA group.
    4. You can also press the DCA Group Select button in order to check which
    channels are already assigned to it; the assigned channel SELECT buttons will
    light up.
    5. To adjust the level of a DCA group, simply adjust its respective fader.

    4. Press the corresponding mute group button, on the console top panel to
    mute that specific mute group and all channels belonging to it.

    DCA groups can also have custom names, colors, and icons assigned to them
    to help you remember what groups of signals are assigned to each of the
    8 DCA groups.

    5.9 Mix Buses, Sub Groups and DCA Groups

    1. Press the SETUP button, then page right to the DCA GROUPS page.

    On a live sound console such as the X32, channels can be combined into a single
    output channel in two ways.

    2. Adjust the first encoder to select the DCA group you wish to customize,
    then press the encoder to edit.

    A “Bus” is a combined collection of channel signals where each channel feeding
    the bus can be done so with a variable level. One typical use of a bus would be
    an effects loop (where for example, different channels feeding the bus and the
    reverb effect associated with it, do so at different levels, so that a snare drum
    has a small amount of reverb applied while a lead vocal has a large amount of
    reverb). Another use of a bus would be to feed a stage monitor. By feeding the
    monitor mix with a bus, different channels can feed the monitor bus at differing
    levels, allowing creation of a custom monitor mix that is “just right” for the talent
    on stage.

    3. On the editing pop-up window that appears, use the various encoders to
    select a color, icon, and preset or custom name for the selected DCA.

    A “Group” is similar to a Bus, except that all channels feeding the group do so at
    a ”unity gain” level, with their respective levels the same as their levels feeding
    the main mix bus. Thus, a group is best used to control the levels of a group of
    signals using a single fader, such as controlling the level of an entire group of
    drum microphones.
    To quickly divide up which of the 16 mix buses are configured as regular buses,
    and which are configured as groups, press the SETUP button and page right to the
    CONFIG page. Adjust the fifth encoder to select between different combinations
    of buses and groups for the 16 mix outputs of the console. This setting can later
    be changed individually for each of the 16 mix buses either on the SETUP page
    of the corresponding mix bus or individually per channel on the SEND page of
    the selected channel. You can feed the signal of any mix bus either directly to
    the main bus or back to any input channel if you want to apply loop type effects
    or send to a monitor mix. All mix buses are available as SOURCE on a channel’s
    CONFIG page.
    Lastly, the X32 offers a “DCA Group”. This is similar to a normal group, except
    that the signals of the underlying channels are not actually combined into a
    single audio path. Instead, channels are assigned to a DCA group (short for
    “Digitally Controlled Amplifier” ) and when a single fader representing the
    DCA group is moved, it has the effect of adjusting the level of all the underlying
    channels assigned to that DCA group.
    DCA groups are useful in situations where you have a collection of similar
    signals, and you want to be able to quickly adjust their overall level, but also
    easily adjust the individual levels of the individual channels assigned to the DCA
    group. For example, say you have a concert that employs 4 separate background
    vocalists. By assigning them all to DCA group 1, you can adjust their overall level

    4. Press the sixth encoder to exit the editing screen.
    By contrast, conventional “groups” are useful when you have a group of signals
    that you wish to combine into a single signal, perhaps to send that combined
    signal to a single effect processor. For example, a common method for making
    drums sound punchy and aggressive in a rock and roll mix would be to combine
    all of the drum channels to a single stereo group, then process that group signal
    through a compressor, and then finally bring the mono or stereo compressed
    drum group back into the mix. This approach would not be possible with a DCA
    group, because the DCA is not actually combining the audio signals, it is merely
    linking the levels of all of the underlying channels digitally.

    5.10 User Assignable control section
    The X32’s assignable controls section lets you take the adjustments you make
    most often, and assign them to a group of dedicated controls that are assigned to
    just those functions, and nothing else. The assignable controls offer 8 buttons
    and 4 knobs, with dedicated LCD screens to remind you of the currently
    assigned function.
    For example, you could program one of the knobs to control the aux send on the
    vocal channel feeding an internal reverb effect. Then, if you ever want to make
    the vocalist sound more “wet” or “dry” during different songs in a set, you can
    simply reach for that knob and it will always provide a quick and convenient place
    to make that adjustment.
    Additionally, the assignable controls are divided into “A”, “B”, and “C” groups,
    so you can actually program in 3 different sets of controls, offering a total of
    36 different functions.
    Setting up the assignable controls is easy:
    1. Press the “view” button in the assignable controls section. The main screen
    will switch to a view that lets you make assignments for the custom controls.
    2. The main screen will show assignments for all 3 sets of custom controls
    (A, B, and C) on one page. Rotate any of the first five encoders to move the
    orange “focus” box to the specific set of custom controls you wish to assign.



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    3. Press any of encoders 1-5 to switch to the edit screen for the specific custom
    control that you have highlighted. The main screen will switch to an editing
    screen where you can assign a console parameter to the custom control.

    7. On the FOH X32 console, press the ROUTING switch next to the display.
    On the HOME tab select “AES50 A 1-8” as source for “Inputs 1-8”,
    “AES50 A 9-16” for “Input 9-16”, and accordingly for channels 17-32.

    4. Adjust the various encoders on the editing screen to make a custom control
    assignment, then press the encoders to make the actual assignment you
    have selected.

    8. To get the main out from the FOH back to one of the stage boxes to feed
    the PA, the main outs of the console which are routed per default to OUT 15
    and OUT 16 have to be routed through the on-stage X32 console. To achieve
    this, select the AES50 A tab and set Out 1-8 to “OUT 9-16”. On the on-stage
    console, choose the AES50 A tab and set Output 1-8 to ”AES50 B 1-8”.
    The Main Outputs of the FOH console are now available on the first S16 on
    OUT 7 and OUT 8 to connect your main PA system.

    5. When you are finished, you will see that the LCD screen located in the
    custom controls section reflects the assignment you have made in both
    screen color and text.
    6. You are now free to use and enjoy the custom assignments you have made.

    5.11 How do I share signals over
    AES50 Supermac network?
    In many live sound situations, a single mixing console is used to cover both the
    front of house (FOH) mix that the audience hears, as well as all the individual
    “monitor mixes” that are sent to stage wedges or transmitters for in-ear
    monitor systems.
    However, in larger live sound situations, it is common to operate two separate
    consoles, one that covers the FOH mix, and a second, completely independent
    console that covers just the monitor mixes that are sent to the talent. This makes
    a lot of sense, because the FOH engineer can concentrate 100% on the audience
    mix, while a completely different monitor engineer can dedicate himself to the
    thankless task of crafting great monitor mixes for the different musicians.
    With an analog console, operating separate FOH and monitor consoles can be
    quite expensive, because the original stage microphone signals have to all be
    “split” into two copies, using an expensive multi-channel microphone splitter.
    The splitters ends one set of mic signals to the FOH console and the other set to
    the monitor console. Microphone splitters are a specialized piece of equipment
    and ones that work reliably and sound good are very expensive.
    The X32 family of products, however, makes using separate FOH and monitor
    consoles easy and affordable. This is due to the fact that the microphone
    signals, once digitized, can be easily duplicated and sent to multiple locations,
    using a single off-the-shelf Cat-5 Ethernet cable. Now, an expensive and bulky
    microphone splitter can be replaced by a couple of low-cost S16 digital stage
    boxes, and running separate FOH and monitor consoles is within reach of even
    the most modest production.
    This is an example for using 2 consoles and 2 stage boxes (possible are up
    to 3 per AES50 port) in a monitor/FOH setup:
    1. Connect the AES50 A port on the first S16 to the AES50 A port on the X32
    on-stage console via Cat-5.

    9. Ready to rock!

    5.12 What kinds of Utilities are available?
    The X32 console provides various utilities that make the console much easier
    and more fun to use, while providing a great deal of flexibility and power.
    Examples Include:
    Channel Customization: Various input and output channels can have custom
    colors, names, and icons assigned to them, which are then shown in the color
    LCD screens located on each channel strip. Using these functions, you will always
    know exactly what source and destination is tied to the channel, with no need
    for board tape and sharpie pens. For example, an input channel could be labeled
    “kick drum” while the channel for a mix output could be labeled “Joey’s monitor”.
    • Press the SELECT button for a channel you wish to assign a custom label,

    icon, and color for.

    • Press the home key, then page right to the CONFIG page. You can also press

    the VIEW button next to the LOW CUT pot to go to the CONFIG page.

    • Press the UTILITIES button.
    • Adjust the various encoders to select a color, icon, and type in a name for the

    selected channel. The X32 also provides a long list of preset names for typical
    input sources and output destinations, saving time and effort.

    Copy/Paste: The X32 also provides a “copy and paste” function that allows you
    to take settings you have configured for one channel, and copy those settings to
    another channel.
    • Press the SELECT button for a channel whose settings you wish to copy.
    • Press the HOME button, then the UTILITY button.
    • Press the 5th encoder to copy all settings of the selected channel into the

    copy buffer.

    • Press the SELECT button for a channel who you wish to paste the settings into.

    2. Connect the AES50 B port on the first S16 unit to the AES50 A port on the
    second S16 via Cat-5.

    • Adjust the first encoder to select which aspects of the channel you wish to

    3. Connect the AES50 A port of the FOH X32 unit to the AES50 B port of the
    on-stage X32 via Cat-5.

    • Press the 6th encoder to “paste” the copied settings into the currently

    4. Now the configuration of the monitor console has to be set. Keep in mind
    that in this configuration, the on-stage console will be the one controlling
    the input gains of the mic preamps, so a good and intensive soundcheck
    should be done.

    Store / Load Presets: The X32 allows you to save and load presets of channel
    settings, as well as settings made in the internal effects processor. These stored
    settings can later be recalled as needed. Since the stored files can also be stored
    and recalled to an attached USB drive, this means that you can save your favorite
    channel settings and effects on one console, and then quickly and easily recall
    and use them on a completely different X32 console.

    5. Press the ROUTING switch next to the display on the on-stage console.
    On the HOME tab select “AES50 A 1-8” as source for “Inputs 1-8”,
    “AES50 A 9-16” for “Input 9-16”, and accordingly for channels 17-32.
    6. To route the channels through the on-stage console to the FOH console,
    switch to the AES50 B page and set “Output 1-8” to “AES50 A 1-8”,
    “Output 9-16” to “AES50 A 9-16”, etc.

    copy from the source channel (i.e. the one in the paste buffer).
    selected channel.

    • Press the SELECT button for a channel whose settings you wish to store.
    • Press the HOME button, then the UTILITY button.
    • Press the 3rd encoder to store all settings of the selected channel. A new

    screen will appear where you can apply a custom name to the saved preset.



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    • To load a preset from the UTILITIES screen, adjust the first encoder to select

    which aspects of the selected channel you wish to recall, then press the 2nd
    encoder. A confirmation screen will pop-up, asking you to confirm you wish
    to load a preset to the currently selected channel. Use the page left/right
    buttons to confirm or cancel.

    • Press the LIBRARY button to go straight to the “libraries” screen, where you

    can scroll through a list of stored preset libraries.

    • Use the 5th and 6th encoders to import/export presets to/from an attached

    USB drive.

    5.13 How do I set up a Matrix for a delay
    column/tower or a remote zone mix?
    The X32 console offers 6 separate “Matrix” outputs that allow an extra level
    of functionality when routing any of the 16 mix buses out of the console.
    These Matrix outputs are particularly useful when working with separate “zones”
    of speakers, such as a delayed group of speakers in an alternate location.
    1. Press the SELECT button for a mix bus you wish to assign to a matrix output.
    2. Page right to the SENDS page, where you can adjust the 6 encoders to
    send the selected mix bus to the 6 matrix outputs, at the desired levels.
    Alternatively use the controls in the BUS SENDS section.
    3. When sending a group of mix outputs into a matrix send, you may wish
    to adjust where in the signal path the insert point for a mix output occurs,
    and also re-configure the order that the mix output’s EQ and compressor
    occurs. To adjust these setting, press the SELECT button for the desired mix
    output, and on the HOME screen that appears, use the 3rd and 4th encoder
    to adjust these settings.
    4. Press the MATRIX button on the console, then press the SELECT button on
    the first output fader. The main screen will display settings for the matrix
    1 output allowing you to do all your EQ and dynamics settings for this bus.
    In general, time alignment is very important in larger venues, because when
    groups of speakers are placed at varying distances to the audience, the sound
    from them arrives at the listener’s ears at different times. By applying a digital
    delay to the speakers that are CLOSER to the listeners, it has the result of delaying
    the sound to align it, in time, with the sound from further speakers whose
    signal take longer to reach the listener. By performing this “time-alignment”,
    the live sound mix from the different speakers are presented as a more clear and
    cohesive audio signal, without the comb-filtering or flanging sound you might
    otherwise experience.
    5. To attach an output to the matrix you have set up, press the ROUTING
    button, then page right to the ANALOG OUT page, then use the 1st and 4th
    encoders to assign the matrix output to your rear-panel analog output of
    choice. Adjust the amount of delay if necessary with the 6th encoder for each
    output individually.
    6. In some situations, you may wish to create a matrix mix that is actually a
    mix of some output buses and the main LR output. To do so, simply press
    the SELECT button above the master fader, then press the HOME button,
    then page right to the SENDS page. On the SENDS page you can tap the signal
    from the main LR bus and send it to the 6 matrix outputs, the same way you
    have with any of the 16 mix outputs.

    5.14 Using the X32 in recording and
    production studio environments
    While the X32 is primarily targeted at a live sound environment, it also can work
    as an extremely full-featured and powerful studio console as well.
    • The console contains extremely clean and detailed microphone preamps,

    allowing you to capture up to 32 separate microphones for recording even a
    very large ensemble.

    • High-end analog to digital converters for each channel preserve the audio

    quality as it is recorded to assorted DAW software.

    • With the X32’s built-in XUF card, individual channels of audio can be sent,

    in the digital domain, to a studio DAW computer, using USB 2.0 and/or
    Firewire. With this card, the X32 becomes the “world’s biggest computer
    audio interface” allowing up to 32 channels of microphones to be sent into
    the DAW software, while at the same time allowing up to 32 individual
    channels of DAW tracks to return back to the console for mixing “out of
    the box”.

    • With the X32’s full recall of all preamp and monitor settings, the console

    makes a great solution for the modern home and project studio, where
    multiple projects are worked on in “stages” and previous settings need to
    be quickly and easily recalled. For example, if a band returns the following
    week to pick up where they left off, a single “load project” command can
    return the console to exactly where it left off, in terms of mic gain settings
    for the different instruments, as well as various different monitor mixes for
    the different performers.

    • With its onboard MIDI ports, the X32 console can work as a large-format

    control surface for many popular DAW platforms. The X32’s motorized faders
    can control the onscreen DAW faders, while each channel’s mute and solo
    buttons can control their onscreen counterparts. This makes it possible
    to quickly work with the finer nuances of a DAW mix, much better than
    adjusting channel levels one at a time with the mouse.

    • Since the X32 console works with the affordable S16 digital stagebox,

    the combined system makes a great solution for routing audio signals
    between a separate studio and control room. The S16 and various Ultranet
    personal monitor mixers can be set up in the studio, while the console
    itself is set up in the control room. A single Cat-5 Ethernet cable is all that
    is needed to connect the 16-32 channels of audio from 1-2 S16 boxes and
    all of the Ultranet mixers, a much better alternative than a thick, noisy,
    and expensive analog snake. In more modern homes and apartments
    that have Cat-5 cabling running through the walls as part of a pre-built
    “structured wiring” package, the S16/Ultranet mixers and X32 console can
    even be set up in different rooms, with no need to run a long cable or leave
    any doors partially open!



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    5.15 Remote control

    Remarks:

    The X32 hosts an Ethernet port on its rear panel which can be used to connect
    and remote control it over a network via the XiControl on an iPad or the X-remote
    application on a PC. To be able to do this the X32 has to be set up properly.

    Due to the FAT format of the stick, the file size will be limited to 2 GB, which is
    about 3 hours of stereo recording. Please test the recording capability of your USB
    device before you do the “real stuff” as some sticks may not be supported or be
    too slow. We also recommend you defragment your USB device prior to recording.
    The recording will be done as 16-bit WAV file with the selected sample frequency
    of the console.

    • Press the SETUP button next to the screen.
    • Go to the Network tab.
    • Use encoder 1 to choose between IP address, Subnet mask and Gateway.

    Please also note that it is possible that the specifications of USB storage devices
    may be changed by the manufacturer without any change in physical appearance
    or notification.

    • Set an IP address which fits your network, normally 192.168.0.X.

    5.17 Saving and recalling scenes

    • Set your subnet mask according to your network,

    Follow the steps below to save and recall scenes in the console, allowing different
    configurations to be recalled at a later time.

    Adjust the address fields with the encoders 2-5 and assign the selected
    numbers with encoder #6.
    The IP address should be free within the network.
    normally 255.255.255.0

    • Set your gateway, if required.

    Now get your iPad or remote PC into the same network and open the X-Remote.
    PC:

    • Adjust all settings of the console so that all elements of the mix are

    as desired.

    • Press the “view” button located in the top panel’s “Scenes” section. The Main

    Display will show various controls for saving and recalling console scenes.

    • On the X-remote, choose setup on the right side and the network tab.

    Enter the IP address of the X32 in the network and press connect.

    • If the software has connected to the X32 you can also synchronize them

    in 2 directions. Console -> PC means all settings in the X32 will be
    loaded into the X-Remote. PC -> Console means that all settings in the
    X-Remote will be written to the console.

    XiControl:
    • For the XiControl remote, open the program on your iPad (make sure the

    iPad is connected to the same network as the console).

    • On the startup screen, a popup should appear. Enter the IP of the

    console, press “Go Online”, et voilà: you are connected and can control
    the X32 with your iPad.

    5.16 Recording a 2-track directly with
    the console
    The X32 offers the possibility to record a 2-track of your mix (or any other
    selection of signals) directly onto a USB-stick/external USB hard disk:
    • Plug a FAT-formatted (FAT12, FAT16, FAT32) USB stick into the USB port

    next to the main display.

    • Press the VIEW button next to the USB port and the home screen of the

    recorder will show up with a nice emulation of an old tape deck.

    • On the config tab you can select the source for the recording, default is

    main L and R.

    • Press RECORD (encoder #5) to record your mix.
    • To adjust the volume during playback, press the AUX IN / USB FX RETURN

    button next to the fader section and adjust the volume with the AUX
    7/8 faders.

    • Press the rotary control labeled “save” to save the console’s current

    configuration to the next available empty scene and label it with a
    custom name.

    • Adjust the console to the next desired configuration, and repeat the process

    above as needed, saving additional scenes to additional empty slots.

    • To recall a scene, use the “prev” and “next” buttons, located in the top

    panel’s Scenes section, to navigate the scene list to the desired scene on the
    Main Display.

    • When the desired scene is highlighted in the scenes list on the Main Display,

    press the red “GO” button and the console will switch to the highlighted
    scene. All console parameters will switch to the state they were in when
    saved to the scene that was just recalled.



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    6. XUF FireWire400/
    USB Interface Operation Guide
    Host system requirements for XUF FireWire/USB
    interface expansion card

    6.1 Configuring the XUF card for use in
    the console
    The console will automatically detect the XUF card during the regular boot cycle,
    and it will display the card’s presence in several instances.

    Check the BEHRINGER website at behringer.com for updates of XUF firmware
    or system requirements. Please find the recommended hardware/software
    minimum configurations in the specifications section.
    The BEHRINGER XUF High-Performance 32-Channel
    24-Bit FireWire/USB Audio Interface
    The XUF card provides 32 channel, bi-directional audio I/O via FireWire 400 and
    USB 2.0 to Mac or Windows PC. The simultaneous 32-in, 32-out audio channels
    enable extremely powerful studio and live applications. You can run virtual live
    sound checks or 32-track high-quality studio recordings, while at the same time
    remote operating your DAW via HUI/MackieControl emulation. The high speed
    24-bit signal transmission and ultra-low latency ASIO drivers and CoreAudio
    compatibility even allow inserting audio plugins on your PC to perform advanced
    outboard processing.
    FireWire/USB
    After the console has fully booted up, you can access the Setup/Card screen to
    view the current channel count configuration. Use this screen to determine
    whether the FireWire or the USB interface is to be used, and if the maximum
    channel count is set appropriately.

    The green square in front of “C: XUF” indicates that the card is installed and
    working properly.



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    32 in / 32 out
    This mode obviously allows the full potential of the interface to be tapped.
    Note that the computer needs to be able to handle that amount of concurrent I/O
    stream without any glitches. Depending on its speed and memory configuration,
    some optimization for audio recording might be required.

    STANDARD MODE: When console channel inputs are set to Card,
    channel Gain control will be a digital trim for the interface card signal only,
    without access to any head amp. Please consider this if you intend to pass all
    signals through a connected PC for plug-in processing. A compromise can be to
    run only 24 channels (3 blocks of 8) through the PC via XUF and use the remaining
    block of 8 channels to access the head amps.
    The Card outputs may use any of the available sources in the console
    (local or AES50) for recording independently.

    It is also possible to run a virtual sound check of all 32 input channels by recording
    them directly to a computer during a brief line check. The performers can leave
    the stage while you play back the recorded instruments from the hard drive and
    tweak the sound accordingly.



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    16 in / 16 out
    If you don’t actually need more than 16 concurrent input and output tracks to
    be exchanged between the console and your PC, then this mode might be more
    appropriate for you. First, it will slow the required bandwidth on the interface
    down. Second, there will be no excessive I/O tracks in your DAW configuration
    that might clutter your setup. Third, it allows you to run a fully-featured
    zero-latency overdub setup, which would be impossible if signals were run

    through the computer. In this case, the 16 input signals are put on channels
    1-16, while the tape (card) returns are put on channels 17-32. The monitoring is
    directly fed from Ch1-16 as usual, including all processing and effects. It remains
    independent from any computer audio latency, even though you can hear back all
    the recorded tracks without any repatching.

    32 in / 8 out

    8 in / 32 out

    This mode is tailored to suit a typical studio and overdub recording situation,
    with many input channels but only a few output channels for monitoring of
    previously recorded takes.

    This is a useful mode for utilizing the excellent audio engine and effects
    processing of the console during final mixdown of your project. All 32 tracks
    would be fed from your DAW into the console where all the magic happens.
    Then only 2-8 tracks of the complete mixdown would be sent back to the DAW.



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    6.2 Configuring the PC to Interface
    with the XUF Card
    Please watch behringer.com for further advice on the software configuration of
    XUF interface card.
    WINDOWS: There is an ASIO high-performance driver available for
    download, which is essential for low-latency audio on
    Windows computers.
    MACOS: The XUF is CoreAudio compatible and thus works with
    low-latency on Mac computers without any additional
    driver installation.
    The 'Devices' screen displays the card name and serial number. You can rename
    the card if necessary.

    The 'Input Channels' screen allows you to name each input channel for more
    organized mixing.

    Windows ASIO Driver
    Download the X32 ASIO driver installer files from behringer.com. There is one
    zip archive for USB and one for FireWire driver installation. Unpack the one you
    intend to use, or both, on your local hard drive. Double-click on Setup.exe in the
    corresponding unpacked folder and follow the instructions on the screen.
    Driver Control Panels
    Once the driver is installed, you can open the control panel by double-clicking on
    the small tray icon. These screens will allow configuring the XUF expansion card
    in the X32 as an audio interface for your computer.



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    The 'Output Channels' screen allows you to name each output channel for more
    organized mixing.

    The 'Synchronisation' screen allows manual selection of the sample rate and
    clock source.



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    The 'Settings' screen allows the stream, ASIO, and WDM sound buffers to be set.
    Any detected drop outs will be documented as well, in which case a larger buffer
    should be selected.

    6.3 XUF Specifications
    Expansion Card Features:
    Audio input channels
    24-Bit, 44.1/48 kHz
    1 in x 1 out
    32, 16 or 8
    1 in x 1 out
    32, 16 or 8
    Generic, HUI and Mackie Control emulation (via USB or FireWire)

    Interface

    MIDI

    IEEE1394/FireWire
    HighSpeed USB 2.0
    DAW remote control

    Expansion Card Performance Modes (Channels):
    Interface
    IEEE1394/FireWire
    HighSpeed USB 2.0

    Minimum round-trip latency
    <7 ms*
    <12 ms*

    * depends on system performance and application

    Recommended Minimum Hardware:
    Windows PC

    - Core 2 Duo CPU, 2 GHz



    - USB 2.0 or IEEE1394 FireWire 400 port



    - 1 GB RAM

    Mac

    - 1.5 GHz CPU



    - USB 2.0 or IEEE1394 FireWire 400 port



    - 512 MB RAM

    Recommended Operating Systems:
    Windows: XP 32-Bit SP2 or higher, Win7 32-bit, Win7 64-bit
    (XUF ASIO drivers supplied)
    MacOSX:


    10.5 Leopard, 10.6 Snow Leopard,
    10.7 Lion (CoreAudio compatible)

    TIP: When using XUF under Mac OS and FireWire, the CoreAudio engine might
    not always display the XUF as a MIDI interface automatically. In case you wish to
    use the DAW remote control feature via FireWire, we recommend doing a manual
    scan from the AUDIO/MIDI Setup dialog.

    Audio output channels
    24-Bit, 44.1/48 kHz
    32, 16 or 8
    32, 16 or 8



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    7. X32 Main Display
    7.1 Overview
    7.1.1 Display and Navigation Controls
    The controls in this section are used in conjunction with the color screen, in order
    to navigate and control the graphical elements it contains.
    By including dedicated rotary controllers that correspond to adjacent controls on
    the screen, as well as including cursor buttons, the user can quickly navigate and
    control all of the color screen’s elements.
    Color Screen: This color screen contains various displays that give visual
    feedback for the operation of the console, and also allow the user to make various
    adjustments not provided for by the dedicated hardware controls.
    Rotary Encoders: These six rotary encoders are used to adjust various color
    screen elements located directly above them. Each of the six rotary encoders
    can be pushed inward to activate a button press function. This function is useful
    when controlling color screen elements that have a dual “on/off” type state that
    is best controlled by a button, as opposed to a variable state that is best adjusted
    by a rotary control.
    Screen selection buttons: These 8 illuminated buttons allow the user to
    immediately navigate to any of 8 master screens that address different sections
    of the console. The 8 sections that can be navigated to with these buttons are:
    1. Home
    2. Meters
    3. Routing
    4. Setup
    5. Library
    6. Effects
    7. Mute Group
    8. Utility
    Page Select Buttons: These two buttons allow for left-right navigation among
    the different “pages” contained within a screen set. A graphical tab display shows
    which page you are currently on.
    Layer Up/Down Buttons: On some screens, there are more parameters present
    than can be adjusted by the 6 encoders underneath. In these cases, use the layer
    up/down buttons to navigate through any additional layers contained on the
    screen page.
    L/R Meter: This dual 24-segment meter displays the audio signal level output
    from the main bus of the console.
    M/C SOLO Meter: This dual 24-segment meter displays the audio signal level
    output from the mono bus of the console. When one or more channels are
    currently soloed, the meter switches to displaying the level of the currently
    soloed signal(s).

    7.1.2 Console Screens
    The color screen of the X32 offers a wealth of visual feedback and hands
    on control for the console. Whereas the dedicated top panel controls offer
    immediate hands-on adjustments for the most important operations of a
    channel, the color screens offer similarly immediate visual feedback for a selected
    channel, as well as more global areas of the console.
    The screens are divided into three main areas:
    1. Global Screen Elements
    2. Main Display
    3. Rotary Encoder Elements



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    Global Screen Elements

    01

    Ch01
    FatSn a re

    OpeningScene
    02: next
    config
    home

    0:00
    gate

    A: S16
    B: -

    - 0:00
    dyn

    A: 48K
    C: XUF

    eq

    15:33 : 15

    sends

    main

    AES50-A: Displays, by name, what AES50 based equipment is connected to the
    console’s AES50-A port. The green LED lights solid when a valid AES50 connection
    is present.

    The “global” screen elements are located at the top of the screen, laid out in a
    horizontal row. They always remain visible no matter what specific screen the
    user has currently navigated to, because they displays console parameters that
    are always important to keep in view at all times.

    AES50-B: Displays, by name, what AES50 based equipment is connected to the
    console’s AES50-B port. The green LED lights solid when a valid AES50 connection
    is present.

    These screen elements include, from left to right:
    Channel Indicator: Displays various elements of the currently
    selected, including:

    Word Clock/Sample Rate Indicator:

    1. The number of the specific input or output channel that is currently selected

    1. Displays the current sample rate of the console.

    2. The custom channel name (if one has been assigned)

    2. The green LED illuminates when a valid internal or external clock is present.

    3. Channel color (if one has been assigned)

    3. Displays the current source of the clock:

    4. Channel icon (if one has been assigned)

    • L: Internal Clock

    Show Indicator: This number, presented in a large orange colored font,
    displays the currently loaded show.

    • A: AES50 port A
    • B: AES50 port B

    Scene Name/Number: Thus number, displayed in a smaller black colored font,
    indicates the number of the currently loaded scene.

    • C: XUF

    USB Recorder File: Displays the name of the active file that is currently being
    recorded or played back.

    Clock: Displays the current time of day in hours:minutes:seconds.

    Main Content

    01

    01:

    home

    0:00
    config

    gate

    - 0:00
    dyn

    B:

    -

    14:11 : 37

    C: XUF

    eq

    sends

    main

    Insert Position
    clip
    -6
    -12
    -18
    -24
    -30
    -36
    -42
    -48
    -54

    48V
    Reverse

    Link
    +0.0 dB

    Gain

    Gain

    In

    Lo Cut
    2.0

    Lo Cut

    Lo Cut

    Hz

    Source
    OFF
    Input 01
    Input 02
    Input 03
    Input 04
    Input 05
    Input 06
    Source

    t
    Delay
    0.3 ft
    0.10 m
    0.03 ms

    Pre

    Ins

    Insert
    OFF
    InsFX 1L
    InsFX 1R
    InsFX 2L
    InsFX 2R
    InsFX 3L
    InsFX 3L

    Delay

    Delay

    Post

    Ins Pos

    The main content of the screen is displayed in the middle of the screen and is
    divided up into different sections of information, depending on the specific
    screen being shown at any given time.
    Information shown in the main content portion of the screen consists of
    two types:
    1. Display-only content: This type of content is a visual indication only and
    cannot be adjusted by the user. An example would be the graphical response
    curve of an equalizer or the response graph of a compressor.
    2. Adjustable content: Content that displays an adjustable parameter,
    controlled by a dedicated top-panel control. For example, the “home” tab of
    the “home” screen displays a knob graphic for input gain (trim). This control
    is adjustable by turning the dedicated “gain” control on the top panel of the
    console, in the Channel Strip section of the top panel.

    Insert

    The most important information for any screen category will be located on it’s
    “home” page. However, most screens contain alternate pages of information that
    are also useful. They are represented by different “tabs” that can be seen towards
    the top of the screen. Each tab is named to describe the functions it represents.
    Navigate to these alternate tabs by pressing the Page Select left and right keys.



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    Rotary Encoder Elements:
    Gain
    +0.00 dB
    Link

    Lo Cut
    20 Hz
    Lo Cut

    Source
    Input
    Select

    Delay
    0.3 ms
    Delay

    Ins Pos
    PRE
    Insert

    Insert
    InsF
    Connect

    The bottom of most screens contain 6 slots of information that are always paired
    with the 6 hardware rotary encoders located directly underneath each slot.
    The hardware encoders are used to adjust parameters displayed in these slots,
    and operate in the following manner:

    2. Parameters displayed in the bottom half of each slot (outlined in dark grey)
    are most often “on/off” style parameters, and are adjusted by pushing the
    encoder inward, using it as a button.

    1. Parameters displayed in the top half of each slot are most often “continuous”
    type parameters, and are adjusted by rotating the corresponding encoder
    located directly below the bottom of the screen.

    parameter of the selected input (located in slot 1) is adjusted with the
    first encoder’s push action.

    • For example, in the “home” tab of the Home screen, the “gain”

    parameter of the selected input (located in slot 1) is adjusted with the
    first encoder.

    7.1.3 Navigation Methods
    Following is an overview of how to navigate to the different console screens,
    screen tabs, and sets of encoder parameters.
    1. Press any of the assorted “View” buttons on any section of the console
    top panel to switch the screen to the content that is tied to those
    hardware controls.
    2. Alternatively, press any of the eight hardware buttons located to the righthand side of the screen to switch the screen to eight other areas that are not
    covered by the assorted “View” buttons.
    3. On any given screen, press the Page Select left/right keys to navigate among
    the various screen “tabs” within a screen category.
    4. On any given screen, press the Layer up/down keys to navigate among the
    various sets of encoder parameters located at the bottom of each screen.
    Dedicated Screens
    The eight screens described in the following section are all “dedicated” screens.
    They are accessed by pressing one of the eight dedicated buttons located to the
    right of the screen itself. This is in contrast to the “View” based screens, which are
    navigated to by pressing the “View” button in various sections of the console
    top panel.

    • For example, in the “home” tab of the Home screen, the “link”

    3. If a given screen contains more parameters than fits into the 6 slots, then a
    2nd set of slots is made available. Navigate to the next set of slots by
    pressing the Layer down key, and the bottom-of-screen content will change
    to display the next set of 12 parameters to be adjusted. Press the Layer up
    key to return to the original set of 12 parameters.



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    7.2 Home Screen

    7.2.1 Home Screen: Home Tab

    The home screen contains a high-level overview of the selected input or output
    channel, and offers various adjustments not available through the dedicated
    top-panel controls:

    The home tab of the home screen displays a general signal path for the currently
    selected input or output channel. It visually displays various parameters of the
    input, gate, insert point, equalizer, dynamics, output path, and buses.

    The home screen contains the following separate tabs:

    The home tab contains the following parameters (divided into two pages)
    that can be adjusted using the six rotary-push encoders.

    1. Home: General signal path for the selected input or output channel
    2. Config: Allows selection of signal source/destination for the channel,
    configuration of insert point, and other settings
    3. Gate: Controls and displays the channel gate effect beyond those offered by
    the dedicated top panel controls
    4. Dynamics: Controls and displays the channel dynamics effect (compressor)
    beyond those offered by the dedicated top panel controls
    5. EQ: Controls and displays the channel equalizer effect beyond those offered
    by the dedicated top panel controls
    6. Sends: Controls and displays for channel sends, such as sends metering and
    send muting
    7. Main: Controls and displays for the selected channel’s output

    Page 1
    1. Adjust the 1st encoder to control the input gain (trim) of the channel.
    2. Tap the 1st encoder to link the channel with its adjacent channel.
    3. Adjust the 2nd encoder to set the threshold of the channel noise gate.
    4. Tap the 2nd encoder to toggle the channel noise gate in/out of the
    signal path.
    5. Adjust the 3rd encoder to toggle the channel’s insert point between
    pre-fader and post-fader status.
    6. Tap the 3rd encoder to toggle the channel insert in/out of the signal path.
    7. Adjust the 4th encoder to toggle the channel dynamics between pre-EQ and
    post-EQ status.
    8. Tap the 4th encoder to toggle the channel EQ in/out of the signal path.
    9. Adjust the 5th encoder to set the threshold of the channel compressor.
    10. Tap the 5th encoder to toggle the channel compressor in/out of the
    signal path.
    11. Adjust the 6th encoder to pan the selected channel within the main
    stereo output.
    12. Tap the 6th encoder to assign the selected channel to the main
    stereo output.
    Page 2
    1. Adjust the 1st encoder to select the console channel currently controlled by
    the home screen.
    2. Tap the 1st encoder to toggle +48V phantom power on/off for the currently
    selected input.
    3. Tap the 2nd encoder to toggle phase flip on/off for the currently
    selected channel.
    4. Adjust the 3rd encoder to select which of the 8 DCA groups the currently
    selected channel will be assigned to.
    5. Tap the 3rd encoder to assign the currently selected channel to the selected
    DCA group.
    6. Adjust the 4th encoder to select which of the 6 mute groups to assign the
    currently selected channel to.
    7. Tap the 4th encoder to assign the currently selected channel to the selected
    mute group.
    8. Tap the 5th encoder to toggles solo on/off for the currently selected channel.
    9. Adjust the 6th encoder to adjust the fader level for the currently
    selected channel.
    10. Tap the 6th encoder to toggle mute on/off for the currently selected channel.



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    7.2.2 Home Screen: Config Tab

    7.2.3 Home Screen: Gate Tab

    The configuration tab allows selection of signal source/destination for the
    channel, configuration of insert point, and other settings, as well as configuration
    of the channel delay.

    The gate tab displays all aspects of the channel noise gate and allows for very
    deep control of the gate effect. Whereas the top panel’s dedicated gate section
    allows control of the gate’s threshold and in/out status, the gate tab offers many
    more controls. This tab can also be accessed directly by pressing the “View”
    button in the top panel Gate section.

    The config tab contains the following parameters that can be adjusted using the
    six rotary-push encoders:
    1. Adjust the 1st encoder to control the input gain (trim) of the channel.
    2. Tap the 1st encoder to allow linking of the channel with adjacent channel.
    3. Adjust the 2nd encoder to set the low-cut frequency of the channel.
    4. Tap the 2nd encoder to toggle the low-cut filter in/out of the signal path.
    5. Adjust the 3rd encoder to scroll among all of the possible sources for
    the channel.
    6. Tap the 3rd encoder to select the currently highlighted source and assign it
    to the channel.
    7. Adjust the 4th encoder to set the amount of digital line delay applied to
    the channel.
    *Note – this is not an echo effect
    8. Tap the 4th encoder to toggle the delay in/out of the signal path.
    9. Adjust the 5th encoder to toggle the channel insert between pre and post
    EQ/compressor.
    10. Tap the 5th encoder to toggle the channel insert in/out of the signal path.
    11. Adjust the 6th encoder to scroll among the signal path choices for the
    insert point.
    12. Tap the 6th encoder to assign the selected signal path to the insert point.

    The gate tab contains the following parameters, divided among two pages,
    that can be adjusted using the six rotary-push encoders:
    Page 1
    1. Adjust the 1st encoder to set the input threshold of the gate.
    2. Tap the 1st encoder to toggle the noise gate in/out of the signal path.
    3. Adjust the 2nd encoder to set the range of a “ducking” effect applied to
    the channel.
    4. Tap the 2nd encoder to toggle the ducker effect in/out of the signal path.
    5. Adjust the 3rd encoder to set the attack time of the onset of the noise
    gate effect.
    6. Adjust the 4th encoder to set the hold time of the noise gate effect.
    7. Adjust the 5th encoder to set the release time of the noise gate,
    controlling how quickly the gate opens up and lets the signal through.
    Page 2
    1. Encoders 1 and 2 function the same on pages 1 and 2.
    2. Adjust the 4th encoder to set the frequency of the key filter that can be used
    to trigger the noise gate.
    3. Tap the 4th encoder to toggle the key filter on/off, allowing a specific
    frequency to control the gate.
    4. Adjust the 5th encoder to set the steepness of the EQ slope used in the
    key filter.
    5. Tap the 5th encoder to send the key source to the solo bus, allowing the key
    source to be monitored and evaluated.
    6. Adjust the 6th encoder to select the specific key source to be used.
    Choices include “self” (the channel’s own signal) as well as any other
    input/output of the console.
    7. Tap the 6th encoder to assign the selected key source to the gate.



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    7.2.4 Home Screen: Dynamics Tab

    • Linear: In this mode, the rate of gain change is constant (as set by the

    timing controls). Therefore, the greater the signal dynamic excursion,
    the longer the compressor will take to complete a gain change.
    Also, since the total time that the compressor spends in attack or decay
    is proportional to the size of the gain excursion, the harmonic content
    of the compression artifacts will seem to reduce in frequency content.
    The louder the signal excursion is. This type of compressor is useful
    for generating dynamic sound effects because the sonic character of
    the compression is much more affected by time control settings and
    program material than the exponential type.

    The dynamics tab displays all aspects of the channel compressor and allows for
    very deep control of the effect. Whereas the top panel’s dedicated compressor
    section allows control of the threshold and in/out status, the compressor tab
    offers many more controls. This tab can also be accessed directly by pressing the
    “View” button in the top panel Dynamics section.
    The dynamics tab contains the following parameters that can be adjusted using
    the six rotary-push encoders:
    Page 1
    1. Adjust the 1st encoder to set the input threshold of the compressor.
    2. Tap the 1st encoder to toggle the compressor in/out of the signal path.
    3. Adjust the 2nd encoder to set the ratio of the compressor.
    4. Tap the 2nd encoder to switch the channel dynamics effect between
    compression and expansion.
    5. Adjust the 3rd encoder to set the attack time of the compressor effect.
    6. Tap the 3rd encoder to switch the compressor between Peak and RMS
    (root-mean-squared) mode, where the average level of the signal is
    evaluated more than any specific peak of the channel material.
    • PEAK: A peak sensing compressor responds to the instantaneous level

    of the input signal. While providing tighter peak control, peak sensing
    might yield very quick changes in gain reduction, more evident
    compression, or sometimes even distortion. This mode is very suitable
    for control/limiting of dynamic material.

    • RMS: In this mode, the compressor applies an averaging function on the

    input signal before its level is compared to the threshold. This allows
    a more relaxed compression that also more closely relates to our
    perception of loudness. Sharp dynamic transients will be less affected in
    this mode. This mode is good for controlling levels in a mix.

    7. Adjust the 4th encoder to adjust the “hold” time of the compressor.
    • “Hold” time is a parameter not often found on commercial units, but is

    very handy. If a compressor is set to use a very fast attack/release time,
    audible distortion can occur, because the compressor is trying to work
    on individual waveform cycles of the signal instead of sound envelope
    as a whole. The “hold” parameter works around this issue by providing
    a short delay. This delay prevents the compressor from releasing until a
    certain time has passed.

    8. Tap the 4th encoder to switch between Linear and Logarithmic modes for the
    compressor. Following are some brief definitions of these different modes:
    • LOG: This mode is used in many well-respected compressors and is the

    natural result of more recent analogue units employing logarithmic
    side chains and resistor/capacitor time constants. The exponential/
    dB law has some interesting characteristics. Firstly, the time taken to
    complete a compression event tends to stay the same however large
    the dynamic signal excursion is. Also, since the peak rate of gain change
    increases with dynamic excursion, the resulting harmonic content due
    to compression tends to follow the loudness of the program in a way
    the ear expects. This helps to mask the effects of the compression and
    thus provides the most forgiving solution, being tolerant to differing
    timing settings and program material. This makes it the best choice
    for general compression use and overall dynamic control of complex
    musical program.

    9. Adjust the 5th encoder to set the release time of the compressor.
    10. Adjust the 6th encoder to set the makeup gain of the compressor,
    useful when the compression effect has reduced the overall signal level of
    the channel too much.
    Page 2
    1. Encoders 1 and 2 function the same on pages 1 and 2.
    2. Adjust the 3rd encoder to set the steepness of the compressor “knee”
    between five separate settings. Adjust this control to switch between a
    “harder” sounding or more transparent compression effect.
    3. Tap the 3rd encoder to move the compressor effect before or after the
    equalizer in the channel signal path.
    4. Adjust the 4th encoder to set the frequency of the key filter that can be used
    to trigger the compressor.
    5. Tap the 4th encoder to toggle the key filter on/off, allowing a specific
    frequency to control the compressor.
    6. Adjust the 5th encoder to set the steepness of the EQ slope used in
    the compressor.
    7. Tap the 5th encoder to send the key source to the solo bus, allowing the key
    source to be monitored and evaluated.
    8. Adjust the 6th encoder to select the specific key source to be used.
    Choices include “self” (the channel’s own signal) as well as any other
    input/output of the console.
    9. Tap the 6th encoder to assign the selected key source to the compressor.



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    7.2.5 Home Screen: EQ Tab

    7.2.6 Home Screen: Sends Tab

    The EQ tab displays all aspects of the channel equalizer and also displays a
    detailed visual graph of the current EQ curve. This tab can also be accessed
    directly by pressing the “View” button in the top panel Equalizer section.

    The sends tab displays and controls all aspects of the channel sends to the sixteen
    mix buses. Compared to the dedicated top panel send controls, this screen
    offers additional functions such as send muting and simultaneous metering of
    the selected channel’s sixteen sends. This tab can also be accessed directly by
    pressing the “View” button in the top panel sends section.

    1. If the currently selected channel is an input, the channel equalizer contains
    four bands, with various aspects of each band adjusted by encoders 2-5.
    2. If the currently selected channel is a bus, the channel equalizer contains six
    bands, with various aspects of each band adjusted by encoders 1-6.
    3. On the equalizer screen, the various encoders are always tied to the various
    equalizer bands, and the Layer up/down keys are used to toggle whether the
    four/six encoders adjust:
    • Gain
    • Frequency
    • Q (Bandwidth)
    • Equalizer Mode

    Page 1 (Gain)
    1. Adjust the 1st encoder to set the frequency of the channel low-cut filter.
    2. Tap the 1st encoder to toggle the low-cut filter in/out of the signal path.
    3. Adjust the 2nd encoder to boost/cut the gain of the low band.
    4. Adjust the 3rd encoder to boost/cut the gain of the low-mid band.
    5. Adjust the 4th encoder to boost/cut the gain of the high-mid band.

    The sends tab contains the following parameters that can be adjusted using the
    six rotary-push encoders:
    Page 1
    1. Adjust the 1st encoder to set the level for the first send of the currently
    selected four-send group.
    2. Tap the 1st encoder to mute the first send of the currently selected
    four-send group.
    3. Repeat process with the next three encoders for the other three sends in the
    currently selected four-send group.
    4. Adjust the 6th encoder to select which four sends to control with the screen
    encoders, shifting focus two sends at a time.
    5. Tap the 6th encoder to select which four sends to control with the screen
    encoders, shifting focus four sends at a time.
    Page 2
    1. Adjust the 1st encoder to select where in the signal chain the send is
    tapped from, for the first two sends of the currently focused four sends.
    Options include:

    6. Adjust the 5th encoder to boost/cut the gain of the high band.

    • Pre-EQ

    7. Tap the 6th encoder to toggle the EQ in/out of the signal path.

    • Post-EQ

    Page 2 (Frequency)

    • Pre-Fader

    1. Works as above, but the encoders now adjust the frequency center points for
    the different EQ bands.

    • Post-Fader

    Page 3 (Q)
    1. Works as above, but the encoders now adjust the Q (bandwidth) for the
    different EQ bands. Use a narrow slope for working with a specific frequency,
    or use a more broad slope for general tone shaping.
    Page 4 (Mode)
    1. Mode: Works as above, but the encoders now adjusts the EQ mode for each
    EQ band. Choices include:
    • Low Cut
    • Low Shelf
    • Parametric Equalizer
    • VEQ

    • Sub-Group

    2. Adjust the 3rd encoder to perform the same operation for the second two
    sends of the currently focused four sends.
    3. Adjust the 6th encoder to select which four sends to control with the screen
    encoders, shifting focus two sends at a time.
    4. Tap the 6th encoder to select which four sends to control with the screen
    encoders, shifting focus four sends at a time.
    7.2.7 Home Screen: Main Tab
    The main tab displays and controls all aspects of the main bus assignments.
    The main tab contains the following parameters that can be adjusted using the
    six rotary-push encoders:

    • High Shelf

    1. Adjust the 1st encoder to pan the selected channel within the main
    stereo output.

    • High Cut

    2. Tap the 1st encoder to assign the selected channel to the main stereo output.
    3. Adjust the 2nd encoder to adjust the level of the currently selected channel
    within the mono (center) bus.
    4. Tap the 2nd encoder to assign the selected channel to the mono output
    signal path. Use this function when crafting an LCR mix as opposed to a
    mono or stereo mix.
    5. Tap the 5th encoder to solo/unsolo the currently selected channel.
    6. Adjust the 6th encoder to set the fader level for the currently selected channel.
    7. Tap the 6th encoder to mute/unmute the currently selected channel.



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    7.3 Meters Screen
    The meters screen displays different groups of level meters for various signal
    paths of the console, and is useful for quickly ascertaining if any channels need
    level adjustment. Since there are no parameters to adjust for the metering
    displays, none of the metering screens contain any “bottom-of-screen”
    controls that would normally be adjusted by the 6 rotary encoders.
    The meter screen contains the following separate screen tabs, each containing
    level meters for the following signal paths:
    1. Channel:
    • Level meters and fader levels for the 32 input channels
    • Gate response meters for the 16 input channels
    • Gain reduction meters for the 16 input channels

    2. Mix Bus:
    • Level meters, fader levels, and gain reduction meters for the

    16 bus masters

    • Level meters, fader levels, and gain reduction meters for the

    6 matrix outputs

    • Level meters, fader levels, and gain reduction meters for the stereo

    main bus and the mono bus

    3. Aux/FX:
    • Level meters for the 6 auxiliary sends
    • Level meters and fader levels for the 8 auxiliary returns
    • Level meters and fader levels for the 4 stereo effects returns

    4. In/Out:
    • The 32 input channels
    • The 8 auxiliary returns
    • The 6 auxiliary sends
    • The two rear panel digital outputs
    • Monitor outputs
    • The 16 rear panel analog outputs
    • The P16 Ultranet outputs



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    7.4 Routing Screen
    The routing screen is where all signal patching is done, allowing you to route
    internal signal paths to and from the physical input/output connectors located on
    the console’s rear panel.
    The routing screen contains the following separate tabs:
    1. Home: Allows patching of physical inputs to the 32 input channels and
    Aux inputs of the console.
    2. Analog Out: Allows patching of internal signal paths to the console’s
    16 rear-panel XLR outputs.
    3. Aux Out: Allows patching of internal signal paths to the console’s
    6 rear-panel ¼"/RCA auxiliary outputs.
    4. P16 Out: Allows patching of internal signal paths to the 16 outputs of the
    console’s 16-channel P16 Ultranet output.
    5. Card Out: Allows patching of internal signal paths to the 32 outputs of the
    XUF card.
    6. AES50-A: Allows patching of internal signal paths to the 48 outputs of the
    rear panel AES50-A output.
    7. AES50-B: Allows patching of internal signal paths to the 48 outputs of the
    rear panel AES50-B output.
    None of the routing screen's tabs contains a secondary level of encoder functions.
    When routing audio, the Layer up/down keys do not need to be used.
    7.4.1 Routing Screen: Home Tab
    The routing screen’s home tab allows the user to patch the console’s physical
    rear-panel inputs to the 32 input channels and Aux inputs of the console.
    As a default, the console maps the console’s 32 rear-panel analog inputs to their
    the respective 32 channel inputs that are accessed on input fader layers one
    and two, and maps the rear panel line-level (auxiliary) inputs to the third input
    fader layer.
    However, the home tab of the routing screen can be used to change this
    default assignment and “crosspatch” different physical inputs to different
    channel inputs, in banks of 8 channels at a time. This allows the user to create a
    custom layout of channel inputs that differs from the order that the sources are
    plugged into the rear panel, and is easier than physically re-patching physical
    audio cables.

    To assign various inputs to the console’s input channels, perform the
    following steps:
    1. Adjust the first rotary encoder to select which 8-channel audio input
    source feeds input channels 1-8 of the console. As the encoder is rotated,
    the currently selected input will be highlighted in the vertical list of choices.
    2. When the desired 8-channel source is selected, push the 1st encoder to
    “connect” the currently selected 8-channel source. The selected source now
    feeds input channels 1-8 of the console.
    3. Input choices that can be assigned include:
    • Local 1-8
    • Local 9-16
    • Local 17-24
    • Local 25-32
    • AES50-A 1-8
    • AES50-A 9-16
    • AES50-A 17-24
    • AES50-A 25-32
    • AES50-A 33-40
    • AES50-A 41-48
    • AES50-B 1-8
    • AES50-B 9-16
    • AES50-B 17-24
    • AES50-B 25-32
    • AES50-B 33-40
    • AES50-B 41-48
    • Card 1-8
    • Card 9-16
    • Card 17-24
    • Card 25-32

    4. To assign an 8-channel source for the other input channels of the console
    (9-16, 17-24, 25-32), simply repeat the process above, using the other four
    rotary encoders on the same screen.
    5. Choices for Aux In 1-4 include:
    • Aux 1-4
    • Local 1-4
    • AES50-A 1-4
    • AES50-B 1-4
    • Card 1-4



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    7.4.2 Routing Screen: Analog Out Tab
    The routing screen’s analog out tab allows the user to patch the console’s various
    internal signal paths to the 16 analog XLR outputs that are located on the console
    rear panel.
    The X32 console allows for many different kinds of output signal paths, and this
    screen is where these output paths are assigned to an actual physical rear panel
    output so that the signal path can be patched to their eventual destination
    (such as the front-of-house PA speakers or a powered stage monitor).
    To assign the various output paths to the rear panel XLR outputs, perform the
    following steps:
    1. Adjust the 1st encoder to select which of the 16 rear panel analog outs you
    wish to assign an output signal path to.
    2. Adjust the 3rd encoder to select an output path “category”.
    These categories include:
    • Off
    • Main (LRC) Mix
    • Mix Bus Outputs
    • Matrix Outputs
    • Direct Outs
    • Monitor

    3. Adjust the 4th encoder to select a specific output path, including:
    • Off
    • Main L
    • Main R
    • Main C/M
    • Any of the 16 Mix Outputs
    • Any of the 6 matrix outputs

    5. Adjust the 5th encoder to select the signal tap point for the output
    assignment. This determines where in the audio signal path the source is
    “tapped” as it is sent to the physical rear panel output. The available signal
    tap points include:
    • Input
    • Pre-EQ
    • Pre-Fader
    • Post-Fader

    6. Tap the 5th encoder to assign the selected signal tap point.
    7. Adjust the 6th encoder to adjust the amount of digital line delay applied to
    the output path as it is sent to the rear-panel physical output. As the amount
    of delay is adjusted, the current delay time is displayed in three different
    units of measurement: Feet, Meters, and Milliseconds.
    8. Tap the 6th encoder to toggle delay on/off. The “delay” label illuminates
    when the delay is inserted into the signal path.
    TIP: Applying a delay to an output signal is typically done when the console
    is used in a “multi-zone” P.A. speaker setup, where some PA speakers are
    located near the stage and a second set of speakers are located further back
    within the audience. By applying an appropriate amount of delay only to
    the speakers located near the stage, the audience hears the audio from the
    closer/further speakers at the same time, insuring maximum time-alignment
    and sound quality. The console assumes an operating temperature of 20°C/68°F
    when calculating the delay times.
    7.4.3 Routing Screen: Aux Out Tab
    The route screen’s aux out tab allows the user to patch an internal signal
    path (such as a mix output used as an effects send) to the 6 separate ¼"/RCA
    auxiliary outputs.
    Since these six outputs can have a wide variety of signal paths assigned to them,
    they can be used for a wide variety of tasks, such as:

    • Any of the 32 direct outputs

    1. Feeding an external effects processor when the internal effects
    are insufficient

    • Any of the 8 Auxiliary Outputs

    2. Patching a specific console signal path into an outboard recorder

    • Any of the FX Direct Outputs

    3. Feeding the analog or digital audio inputs of a nearby video recorder

    • Monitor L

    To make an assignment as described above, perform the following steps:

    • Monitor R

    4. Adjust the 1st encoder to select which auxiliary outputs to assign a source
    for. Choices include:

    • Talkback

    4. Tap the 4th encoder to assign the selected output path,
    completing the process.

    • Aux Out 1
    • Aux Out 2
    • Aux Out 3
    • Aux Out 4
    • Aux Out 5
    • Aux Out 6
    • AES/EBU (Digital) Out L
    • AES/EBU (Digital) Out R



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    5. Adjust the 3rd encoder to select for coarse range
    • Insert
    • Main (LRC)
    • Mix Bus
    • Matrix
    • Direct Out
    • Monitor

    6. Adjust 4th encoder to select specific signal path to feed the selected physical
    output. Choices include:
    • Insert Point
    • Main L
    • Main R
    • Main C/M

    7.4.4 Routing Screen: P16 Tab
    The routing screen’s P16 tab allows the user to route various console signal paths
    to the rear panel P16 Ultranet output. The Ultranet output allows for 16 channels
    of audio to be sent, in digital form, to various accessories such as a personal
    monitoring distribution box.
    Using the P16 routing screen, the user can configure the P16 output to carry not
    only the main LR mix, but also various audio “stems” of program material sources
    from a bus send mix, such as a stereo drum mix, stereo keyboards, guitars,
    bass, vocals, etc. Musicians on stage would then be free to each craft their own
    personal mix of these musical stems, all delivered from the FOH position to stage
    over a single Ethernet cable.
    To select which audio signals are sent to the P16 bus, perform the following steps:
    1. Adjust the 1st encoder to select which of the 16 channels in the P16 bus you
    wish to select an audio source for.
    2. Adjust the 3rd encoder to select a category of audio source to send to the
    currently selected P16 channel. These categories include:

    • Any of the 16 Mix Outputs

    • Insert

    • Any of the 6 matrix outputs

    • Main (LRC)

    • Any of the 32 direct outputs

    • Mix Bus

    • Any of the 8 Auxiliary Outputs

    • Matrix

    • Any of the FX Direct Outputs

    • Direct Out

    • Monitor L

    • Monitor

    • Monitor R
    • Talkback

    7. Tap the 4th encoder to assign the selected output path,
    completing the process.
    8. Adjust the 5th encoder to select the signal tap point for the output
    assignment. Choices include:
    • Input
    • Pre-EQ
    • Pre-Fader
    • Post-Fader

    9. Tap the 5th encoder to complete the signal tap point assignment.

    3. Adjust the 4th encoder to select which specific signal path to feed to the
    currently selected P16 output. Choices include:
    • Off
    • Main L
    • Main R
    • Main C/M
    • Any of the 16 Mix Outputs
    • Any of the 6 matrix outputs
    • Any of the 32 direct outputs
    • Any of the 8 Auxiliary Outputs
    • Any of the FX Direct Outputs
    • Monitor L
    • Monitor R
    • Talkback

    4. Tap the 4th encoder to assign the selected output path,
    completing the process.
    5. Adjust the 5th encoder to select the signal tap point for the output assignment.
    This determines where in the audio signal path the source is “tapped” as it is
    sent to the P16 output. The available signal tap points include:
    • Input
    • Pre-EQ
    • Pre-Fader
    • Post-Fader

    6. Tap the 5th encoder to complete the signal tap point assignment.



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    7.4.5 Routing Screen: Card Output Tab:

    7.4.6 Routing Screen: AES50-A and AES50-B Tabs:

    The routing screen’s card tab allows the user to patch various signal paths to
    the physical inputs and outputs of the XUF card. The XUF’s signal path provides
    32 channels of inputs and 32 channels of outputs. The 32 card inputs can be used
    as alternate sources for the two input fader layers, switchable in banks of 8.

    The routing screen’s AES50-A and AES50-B tabs allow the user to patch various
    console output paths to the outputs of the dual AES50 connectors. These AES50
    connectors can feed other AES50 equipped devices such as a digital stagebox or
    standalone multi-track recorder.

    To assign an output path to the option card, perform the following steps:

    The console contains two separate AES50 connectors, an “A” connector and a
    “B” connector. These dual connectors allow for an increased level of flexibility in
    networking the console with various AES50 based equipment.

    1. Adjust the 1st encoder to select which 8-channel output path to send to the
    first 8 outputs of the card. Choices include:
    • Local 1-8
    • Local 9-16
    • Local 17-24
    • Local 25-32
    • AES50-A 1-8
    • AES50-A 9-16
    • AES50-A 17-24
    • AES50-A 25-32
    • AES50-A 33-40
    • AES50-A 41-48
    • AES50-B 1-8
    • AES50-B 9-16
    • AES50-B 17-24
    • AES50-B 25-32
    • AES50-B 33-40
    • AES50-B 41-48
    • Card 1-8
    • Card 9-16
    • Card 17-24
    • Card 25-32
    • Out 1-8
    • Out 9-16
    • P16 1-8
    • P16 9-16
    • Aux 1-6/Mon

    2. Tap the 1st encoder to assign the selected output path,
    completing the process.
    3. Repeat the process with encoders 2-4 to select output paths for the other
    24 channels of card outputs.

    Each of the two AES50 screens contains the same following sets of parameters
    that can be adjusted. To assign various console signal paths to the AES50
    connectors, perform the following steps:
    1. Adjust the 1st encoder to select an 8-channel signal path that will be sent to
    the first 8 channels of the AES50 connectors output. Choices include:
    • Local 1-8
    • Local 9-16
    • Local 17-24
    • Local 25-32
    • AES50-A 1-8
    • AES50-A 9-16
    • AES50-A 17-24
    • AES50-A 25-32
    • AES50-A 33-40
    • AES50-A 41-48
    • AES50-B 1-8
    • AES50-B 9-16
    • AES50-B 17-24
    • AES50-B 25-32
    • AES50-B 33-40
    • AES50-B 41-48
    • Card 1-8
    • Card 9-16
    • Card 17-24
    • Card 25-32
    • Out 1-8
    • Out 9-16
    • P16 1-8
    • P16 9-16
    • Aux 1-6/Mon

    2. Tap the 1st encoder to connect the currently selected signal path to the
    AES50 pathway.
    3. Repeat the above process for the other five sets of 8-channel AES50 outputs.
    The AES50-B tab works exactly the same as the AES50-A screen, but instead
    selects sources sent to the output of the console’s AES50-B connector.



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    7.5 Setup Screen

    7.5.2 Setup Screen: Config Tab:

    The setup screen offers various controls for global, high-level functions of
    the console such as display adjustments, sample rates and synchronization,
    user settings, and network configuration.

    The setup screen’s config tab allows adjustment of various audio-related settings,
    such as the console’s base sample rate and use of an internal or external digital
    clock. It also offers choices for high-level global settings for how signal path
    buses operate.

    The setup screen contains the following separate tabs:
    1. Global: This screen offers adjustments for various global preferences of how
    the console operates.
    2. Config: This screen offers adjustments for sample rates and synchronization,
    as well as configuring high-level settings for signal path buses.
    3. Remote: This screen offers different controls for setting up the
    console as a control surface for various DAW recording software on a
    connected computer.
    4. Network: This screen offers different controls for attaching the console to a
    standard Ethernet network.
    5. DCA Groups: This screen offers controls for various aspects of the console’s
    DCA groups.
    6. Card: This screen selects between the USB and FireWire connectors, and also
    selects the input/output configuration.
    None of the setup screen’s tabs contain a secondary level of encoder functions,
    so the Layer up/down keys do not need to be used for these screens.

    To adjust the various settings of the config tab, perform the following steps:
    1. Adjust the 1st encoder to select between Console, Show Data, and Libraries
    for initialization.
    2. Tap the 1st encoder to initialize the console back to its factory state.
    • An “are you sure” message will appear. Use the left Page Select key to

    cancel out of the operation, or the right key to confirm the operation
    and initialize the console.

    3. The console’s current firmware is displayed in the first column of the main
    color screen.
    • If/when a firmware update is available for the console, the user simply

    needs to download the new firmware file to the root level of a USB
    thumb drive, attach the thumb drive to the console, and then reboot.
    The console will see the firmware file and an update will be done
    automatically while booting.

    4. Adjust the 2nd encoder to select the digital sample rate of the console.
    Choices include:

    7.5.1 Setup Screen: Global Tab:

    • 48 kHz

    The setup screen’s global tab allows the user to adjust various global controls of
    the console, such as display brightness and contrast, the panning mode used by
    channels, text languages, and more.

    • 44.1 kHz

    1. To make adjustments in the global screen, perform the following steps:
    2. Adjust the first encoder to select various console settings for pop-up
    messages and assorted preferences.
    3. Tap the 1st encoder to turn the currently selected setting on/off.
    4. Adjust the 2nd encoder to select settings for linking multiple
    console channels.
    5. Tap the 2nd encoder to turn the currently selected setting on/off.
    6. Adjust the 3rd encoder to set the console’s panning mode, which affects how
    channel panning is performed in the stereo field. The two choices are:
    • LR + Mono: This is the default mode of the console. In this mode,

    channels can be panned between the left and right mix outputs, as well
    as assigned to the separate mono mix bus. In this mode, the Center/
    Mono bus is not affected by from the pan control.

    • LCR enable: In this mode, the signal is panned from Left over Center

    to Right. This behavior is emulated by the faders on the Main tab,
    a behavior that is more intuitive than on other consoles. Note that in
    this mode, the definition of “mono” changes since the setup is no longer
    mono, but rather a setup consisting of Left-Center-Right.

    7. Adjust the 4th encoder to set the brightness of the various LED lights of the
    console, from a range of 1-100.
    8. Adjust the 5thth encoder to set the brightness of the color screen
    (main display), from a range of 1-100.
    9. Adjust the 6th encoder to set the brightness of the individual LCD screens
    (channel display) above each input and output channel, from a range
    of 1-100.

    5. Tap the second encoder to assign the currently selected sample rate.
    Tip: Note that the sample rate of the console will be the same sample rate for
    any audio recorded to the onboard stereo USB recorder, as well as the sample
    rate output by the AES/EBU connector that may get patched into an outboard
    recorder. Thus, it is often beneficial to select a sample rate that is appropriate for
    the medium that recorded audio will eventually be used on.
    If the program material being recorded is audio only, with no video component,
    then it usually makes sense to set a sample rate of 44.1 kHz. This will ensure that
    any audio recorded is compatible with the 44.1 kHz sample rate of commercial
    audio CDs.
    If the program material being recorded is audio that is meant to accompany
    video, then it usually makes sense to set a sample rate of 48 kHz. This will ensure
    that any audio recorded is compatible with the 48 kHz sample rate of the various
    audio formats used on a video DVD.
    6. Adjust the 3rd encoder to set the word clock synchronization of the
    console to use its internal digital clock, or slave to an external digital clock.
    Choices for the clock signal include:
    • Internal clock
    • External clock from the AES50-A port
    • External clock from the AES50-B port
    • XUF card



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    Note that the graphics at the top of the screen will always display a green led
    when the console has achieved proper “digital lock”, from either its own internal
    clock or a valid external clock.
    7. Tap the 4th encoder to cycle through the different settings for the console’s
    internal date and time settings.
    8. Adjust the 4th encoder to set the value for the currently selected
    date/time setting.
    9. Adjust the 5th encoder to select the console’s “Bus Pre-Configuration”.
    This settings allows the mix bus outputs to be configured in various
    combinations of:
    • Pre-fader, variable output auxiliary sends
    • Post-Fader, variable output auxiliary sends
    • Fixed-output sub groups

    10. Choices include:
    • 8 pre-fader auxiliary sends, 8 post-fader auxiliary sends,

    and no sub-groups

    • 8 pre-fader auxiliary sends, 4 post-fader auxiliary sends,

    and 4 sub-groups

    • 6 pre-fader auxiliary sends, 4 post-fader auxiliary sends,

    and 6 sub-groups

    • 4 pre-fader auxiliary sends, 4 post-fader auxiliary sends,

    and 8 sub-groups

    • 10 pre-fader auxiliary sends, 6 post-fader auxiliary sends,

    and 0 sub-groups

    11. Tap the 5th encoder to assign the currently selected configuration.
    As the configuration is selected, a display on the right-hand side of the color
    screen changes to show the currently selected configuration.

    7.5.3 Setup Screen: Remote Tab:
    The setup screen’s remote tab allows setting up the console as a control surface
    for various DAW recording software on a connected computer. With its large
    complement of motorized faders, the console can act as an excellent controller
    for various DAW software, allowing the user to make level adjustments quickly
    and easily without using a mouse.
    To adjust the various remote settings, perform the following steps:
    1. Tap the 1st encoder to enable the console’s top panel Remote button.
    This switches various console hardware, such as the bus faders, to control
    computer DAW software instead of the console’s internal audio path.
    2. Adjust the 2nd encoder to select the specific control surface protocol used,
    in conjunction with the target DAW software. Choices include:
    • Mackie Control: Use this protocol to control any DAW software that is

    compatible with a Mackie Control hardware control surface.

    • HUI: Use this protocol to control any D.A.W. software that is compatible

    with a HUI hardware control surface, such as Pro Tools.

    3. Tap the 2nd encoder to assign the currently selected control surface protocol.
    4. Adjust the 5th encoder to select whether the remote function uses the MIDI
    In and OUT jacks or the XUF card's MIDI.
    5. Tap the 5th encoder to confirm the selection.
    6. Adjust the 6th encoder to adjust various MIDI-based operations for the
    console. Choices include:
    • MIDI In/Out: This toggles the MIDI input and outputs for the console

    on/off.

    • Card MIDI: Allows MIDI transmission through the XUF card.
    • USB In/Out: This toggles the console’s USB ports on/off.
    • RTP (Real-time Transport Protocol): This toggles on/off the console’s

    ability to interface with an Ethernet-based MIDI system.

    • Enable MIDI scene recall: This toggles on/off the console’s response to

    incoming MIDI messages for switching console scenes.

    7. Tap the 6th encoder to toggle the currently selected MIDI option
    on/off. This can be useful if you want to ensure that any connected MIDI
    transmitters cannot interfere with the console.
    7.5.4 Setup Screen: Network Tab:
    The setup screen’s network tab contains settings used when connecting the
    console to a standard Ethernet network. The user can set parameters such as
    using a fixed IP address or having one assigned, as well as setting up the Ethernet
    and subnet mask settings.
    To set the network address for the console, perform the following steps:
    1. Adjust the 1st encoder to select which specific network field to adjust.
    Choices include:
    • IP Address
    • Subnet Mask
    • Gateway

    2. Adjust encoders 2, 3, 4, and 5 to set the 4 numerical fields to be adjusted,
    for the selected network field.
    3. Tap the 6th encoder to assign the adjusted settings.



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    7.5.5 Setup Screen: DCA Tab
    The setup screen’s DCA tab allows setup of the console’s digitally controlled
    amplifiers grouping feature, also known as DCAs.
    A DCA group is a grouping function, made possible by the console’s digital
    operation, where individual input channels can be grouped together and
    controlled with a single output fader on the right-hand side of the console.
    Unlike the traditional sub grouping function found on analog consoles,
    a DCA group does not combine the different input channels into a common
    sub-mix. Instead, the individual input channels still retain their original routing
    characteristics, but their level adjustments are all commonly controlled. On the
    DCA screen, the user can make useful adjustments such as assigning real names
    to the DCA groups (such as “drums” or “background vocals”), as well as assigning
    colors to them that are then reflected in the console’s multicolor channel
    LCD screens.
    To adjust the various DCA settings, perform the following steps:
    1. Adjust the 1st encoder to select which of the eight DCA groups you wish
    to edit.
    2. Tap the 1st encoder to enter the “edit” page for the currently highlighted
    DCA, where its color, icon, and name can be adjusted.
    On the DCA edit page, perform the following steps:
    1. Adjust the 1st encoder to set the color for the currently selected DCA group.
    • The selected color will be shown in the LCD screen above the selected

    DCA’s output fader, on the right hand side of the console. For example,
    if DCA#5 is assigned the color red, the LCD screen above output fader #5
    will illuminate in red.

    2. Adjust the 2nd encoder to select the graphical icon for the DCA. A large
    variety of clip-art is available to represent various input sources and
    output destinations.
    3. Adjust the 3rd encoder to select a name from a list of common preset names
    (snippets), for the currently selected DCA groups.
    4. Tap the 3rd encoder to assign the currently highlighted preset text (snippet)
    to the DCA.
    5. Adjust the 4th encoder to move the text entry cursor forward/backward,
    in the DCA’s name field.
    6. Tap the 4th encoder to issue a “backspace” command, deleting the currently
    highlighted character.
    7. Adjust the 5th encoder to select a letter, number, or symbol to enter into the
    DCA’s name field
    8. Tap the 5th encoder to insert the currently highlighted letter, number,
    or symbol into the DCA's name field.
    9. Adjust the 6th encoder to select whether the text entry choices offer capitals,
    normal characters, or numbers and symbols.
    10. Tap the 6th encoder to exit the DCA editing page, and save the current
    parameters to the DCA.



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    7.6 Libraries Screen
    The libraries screen allows loading and saving of commonly used setups for the
    channel inputs, effects processors, and routing scenarios.
    The libraries screen contains the following separate tabs:
    1. Channel: This tab allows the user to load and save commonly used
    combinations of the channel DSP effects.

    9. Tap the 6th encoder to export the currently highlighted preset to an
    attached USB drive.
    • When the 6th encoder is tapped, an “Export Preset to

    USB drive appears”.

    • Adjust the 1st encoder to scroll among the currently available

    presets to export, then tap the first encoder to select the currently
    highlighted preset.

    2. Effects: This tab allows the user to load and save commonly used effects
    processor presets.

    • Adjust and tap encoders 4-6 to apply a custom name to the preset as it

    3. Routing: This tab allows the user to load and save commonly used signal
    routings they have set up.

    • Tap the 2nd encoder to cancel out of the export operation.

    7.6.1 Libraries Screen: Channel Tab
    The library screen’s channel tab allows you to load and save commonly used
    combinations of the channel DSP effects. For example, once you have dialed in
    a combination of equalization and compression that works well for a particular
    singer, you can save the channel DSP chain as a preset for later recall.
    To adjust the various settings on the channel tab, perform the following steps:
    1. Adjust the 1st encoder to navigate among which specific elements of
    the input channel can be recalled when loading an input channel preset.
    Choices include:
    • Head Amp (Microphone Preamplifier)
    • Configuration

    is exported.

    7.6.2 Libraries Screen: Effects Tab
    The library screen’s effects tab allows you to load and save presets for the various
    onboard effects processors.
    To adjust the various settings on the FX tab, perform the following steps:
    1. Adjust the 1st encoder to navigate among which of the eight effects slots to
    load or save a preset.
    • As you navigate among the eight effects slots, the specific effect

    processor loaded into each slot will display on the screen as both a name
    and icon.

    2. To save and load presets, as well as import/export them, follow the same
    procedures as detailed in the Libraries Screen: Channel Tab

    • Gate

    7.6.3 Libraries Screen: Routing Tab

    • Compressor

    The library screen’s routing tab allows you to load and save presets of the
    console’s signal routings. This can be useful for repeating specific routing
    scenarios that occur over and over on a regular basis, such as when using the
    console for a weekly club gig or worship service.

    • Equalizer
    • Sends

    2. Tap the 1st encoder to turn the currently selected element on/off in the
    recall list.
    3. Adjust the 2nd encoder to scroll among a list of input channel presets.
    4. Tap the 2nd encoder to load the currently highlighted preset and make it
    active on the currently selected console channel.
    5. Adjust the 3rd encoder to scroll among a list of channel preset slots to save
    the current state of the currently selected console channel.
    6. Tap the 3rd encoder to save the currently selected channel’s state, to the
    currently selected preset slot.
    • When the 3rd encoder is tapped, a preset naming screen appears.

    Adjust and tap encoders 4-6 to apply a custom name to the preset
    before saving it, then tap the 6th encoder to complete the save process.

    7. Tap the 4th encoder to delete a preset from the currently highlighted
    preset slot.
    8. Tap the 5th encoder to import a preset from an attached USB drive.
    • When the 5th encoder is tapped, an “import preset from USB”

    screen appears. Adjust the 1st encoder to navigate among the contents
    of the USB drive, and then tap the 1st encoder to select the currently
    highlighted preset folder.

    • When the preset file has been imported, tap the 2nd encoder to leave

    the screen.

    To adjust the various settings on the routing tab, perform the following steps:
    1. Adjust the 1st encoder to navigate among which specific console signal paths
    will be recalled when loading a routing preset. Choices include:
    • Channel Inputs
    • Analog Out
    • Auxiliary Out
    • P16 (Ultranet) Out
    • Card Out
    • AES50 Out

    2. Tap the 1st encoder to turn the currently selected element on/off in the
    recall list.
    3. To save and load presets, as well as import/export them, follow the same
    procedures as detailed in the Libraries Screen: Channel Tab.



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    7.7 Effects Screen
    The effects screen controls various aspects of the eight internal effects
    processors. On this screen, the user can select specific types of effects for
    the eight internal effects processors, configure their input and output paths,
    monitor their levels, and adjust the various effects parameters.
    The home screen contains the following separate tabs:
    1. Home: The home screen provides a general overview for all eight effects
    processors, displaying what effect has been inserted in each of the eight slots,
    as well as displaying input/output paths for each slot and the I/O signal levels.
    2. FX1-8: These eight duplicate screens display all relevant data for the eight
    separate effects processors, allowing the user to adjust all parameters for
    the selected effect.
    7.7.1 Effects Screen: Home Tab
    The effects screen’s home tab provides a high-level overview of the eight effect
    processor slots, giving the user “at-a-glance” feedback on what effects they
    have assigned to the slots, the console source and destination for each processor,
    and the input/output levels for each processor.
    To make adjustment on the effects screen’s home tab, perform the
    following steps:
    1. Adjust the 1st encoder to select the input source for the currently highlighted
    effect block. Signal path choices include:
    • Insert Send
    • Mix Bus 1-16

    2. Tap the 1st encoder to assign the currently selected input source.
    3. Adjust the 2nd encoder to select the input source for the right side of the
    currently highlighted effect block.
    4. Tap the 2nd encoder to assign the currently selected input source.
    TIP: To configure an effect as mono input and stereo output, set both input
    sources to the same signal path.

    5. Adjust the 5th encoder to scroll among the different available audio effects.
    Choices include:
    1. Hall Reverb
    2. Plate Reverb
    3. Vintage Reverb
    4. Vintage Room
    5. Ambience
    6. Gated Reverb
    7. Reverse Reverb
    8. Stereo Delay
    9. 3-tap delay
    10. Stereo chorus
    11. Stereo Flanger
    12. Stereo Phaser
    13. Mood Filter

    14. Rotary Speaker
    15. Tremolo/Panner
    16. Delay & Chamber
    17. Chorus & Chamber
    18. Flanger & Chamber
    19. Delay & Chorus
    20. Delay & Flanger
    21. Dual Graphic EQ
    22. Stereo Graphic EQ
    23. Dual TruEQ
    24. Stereo TruEQ
    25. Wave Designer
    26. Precision Limiter

    27. Dual Enhancer
    28. Stereo Enhancer
    29. Dual Exciter
    30. Stereo Exciter
    31. Stereo Imager
    32. Dual Guitar Amp
    33. Stereo Guitar Amp
    34. Dual Tube Stage
    35. Stereo Tube Stage
    36. Dual Pitch
    37. Stereo Pitch

    6. Tap the 5th encoder to assign the selected effect to the currently highlighted
    effects slot.
    7. Adjust the 6th encoder to scroll among the eight effects slots, to select one
    for editing.
    8. Tap the 6th encoder to go to the edit page for the currently highlighted
    effects slot.
    7.7.2 Effects Screen: FX 1-8 Tabs:
    The effect editor tab allows you to edit the parameters for the specific effect
    processor assigned to the corresponding effects slot.
    In order to more closely simulate the look and feel of the outboard processors
    that are no longer necessary with a digital console, the individual effects
    processor screen provides a graphical representation of the effect processor’s real
    world physical counterpart. This provides greater ease of use to the user than a
    simple text list of parameters.
    To make adjustment on the FX screen’s editing tab, perform the following steps:
    1. Adjust the six rotary encoders to change the various effect parameters
    shown at the bottom of the screen.
    2. Use the Layer up/down buttons to switch the rotary encoders to a second
    set of parameters for effects that contain more than six adjustable
    parameters total.
    3. When the effect processor has been edited to your satisfaction, push the 6th
    encoder to go back to the FX home tab (or simply resume the mixing duties
    in general).
    4. See the FX Descriptions chapter for details on specific parameters.
    TIP: For the Graphic EQ effects, tap the 1st encoder to implement the “Graphic EQ
    on Faders” function. This allows you to boost-cut the different EQ bands using the
    8 console output faders, 8 faders at a time, with the relevant EQ bands displayed
    on the channel LCD screens.



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    7.8 Mute Group Screen
    The mute group screen allows for quick assignment and control of the console’s
    6 mute groups, and offers two separate functions:
    1. It mutes the active screen during the process of assigning channels to mute
    groups. This ensures that no channels are accidentally muted during the
    assignment process during a live performance.
    2. It offers an additional interface for muting/unmuting the mute groups in
    addition to the dedicated mute group buttons at the bottom of the console.
    When activated, the mute screen only covers the bottom portion of the
    main display, allowing the middle portion to continue displaying its usual
    screen content.
    To assign channels to one of the 6 mute groups, perform the following steps:
    1. Press the Mute Group button to switch the main display to the mute
    groups view.
    2. Press and hold the desired mute group button (1-6) on the lower right hand
    corner of the console.
    3. While holding the mute group button, press the select keys of any input or
    output channel, on any layer, that you wish to assign to the mute group.
    4. When you have assigned all the desired channels to the mute group,
    release the dedicated mute group button. The individual channel mute
    buttons will resume their normal function.
    To use the mute groups screen to mute/unmute the groups, perform the
    following steps:
    1. Tap any of the six encoders to mute the corresponding group, and thus mute
    all channels that are assigned to that mute group.
    2. Tap the encoder of a currently muted group to “un-mute” the mute group.
    3. When finished working with mute groups, tap the Mute Group screen button
    to exit the mute groups screen. The entire screen will again display its full set
    of controls for whatever page it was previously on.



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    7.9 Utility Screen
    The utility screen is a supplemental screen designed to work in conjunction
    with the other screens that may be in view at any particular moment. The utility
    screen is never seen by itself, it always exists in the context of another screen.
    To reinforce this point, when the utility screen button is pressed, it illuminates at
    the same time that another screen button is also illuminated, showing you which
    screen it is providing extra utilities for. For most screens, pressing the utility
    button simply acts as a shortcut to a page that can be navigated to by other
    means. In a few cases, a utility page provides extra utility functions not seen
    anywhere else.
    The utility button works in the following manner with the other screens on
    the console:
    Channel Preamp Screen:
    1. Home Page: Takes the user directly to the channel tab of the library screen.
    2. Config Page: Provides an interface for assigning a custom color, icon, and
    name to the input or output channel.
    • Adjust and tap the 6 encoders to assign a color, name, and icon to the

    currently selected input or output channel. Tap the 6th encoder to exit
    and save the changes.

    • By assigning custom names to each channel, which are then displayed

    in the channel LCD displays, the console achieves superior userfriendliness. For example, Input 1 can display “kick drum” and show a
    kick drum icon, while output channel 5 can display “Tom’s monitor mix”
    and show an icon of stage monitor.

    3. All other pages: Takes the user directly to the channel tab of the
    library screen.
    USB Screen: Takes the user directly to the “select folder” tab of the USB screen.
    Monitor/Talkback Screens: There are no utility functions for any of the
    different pages of the monitor screen.
    Scenes Page: Provides an interface for copying, pasting, loading, and saving
    different scenes in the scene list. Adjust and tap the six rotary encoders to
    perform these functions.
    Custom Screen: There are no utility functions for any of the different pages of
    the custom screen.
    Meters Screen: There are no utility functions for any of the different pages of
    the meters screen.
    Routing Screen: Takes the user directly to the routing tab of the library screen.
    Setup Screen: There are no utility functions for any of the different pages of the
    setup screen.
    Library Screen: There are no utility functions for any of the different pages of
    the library screen.
    Effects Screen: Takes the user directly to the effects tab of the library screen.



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    “View” Based Screens

    • Mix Bus AFL/PFL: This toggles the AFL/PFL setting for the mix

    The screens described in the following sections are all “View” based screens.
    They are navigated to by pressing the “View” button in various sections of the
    console top panel.

    • DCA Group AFL: This puts the contents of a soloed DCA group into after-

    7.10 Monitor/Talkback Screens:
    The monitor screen is selected by pressing the “View” button of the top panel’s
    monitor section, as well as the “View” button of the top panel’s talkback section.
    The screen controls various aspects of the console’s solo bus, control room
    outputs, and talkback section.
    The monitor/talkback screen contains the following separate tabs:
    Monitor: This screen controls various solo options, dimming, speaker delay,
    and sources for the control room output.
    Talkback A: This screen controls various adjustments for the talkback A path
    of console.
    Talkback B: This screen controls various adjustments for the talkback B path
    of console.
    Oscillator: This screen offers various controls for the onboard oscillator and how
    it is routed throughout the console.
    7.10.1 Monitor/Talkback Screen: Monitor Tab:
    The monitor tab controls various console options related to the solo bus, as well
    as the console’s control room outputs. These options include various solo
    settings, speaker dimming, speaker delay, and selection of sources for the control
    room output.
    To adjust the various settings on the monitor tab, perform the following steps:
    1. Adjust the 1st encoder to change the gain of the monitor signal. This digital
    gain stage occurs as a first preliminary level control, before the top panel’s
    analog-based monitor level control. A display above the encoder shows the
    currently set gain value in dB.
    • A multi-segment level meter is displayed on the color screen to allow for

    proper gain staging of the monitor signal.

    2. Adjust the 2nd encoder to scroll through the various solo methods
    available to the console when audio is routed to the solo bus.
    Available options include:
    • Exclusive (Last): In this mode, pressing another solo button disengages

    the previous solo.

    • Solo Follows Select: When this method is selected, the audio of the

    currently selected channel will automatically be sent to the solo bus.
    Since a user will often select a channel to adjust its dedicated DSP
    controls, this method is useful because the audio of the channel will
    now already be feeding the solo bus where it can be monitored with
    headphones in a live sound environment.

    • Select Follows Solo: When this method is selected, any channel that is

    soloed will automatically become the currently selected channel.

    • Channel Solo AFL: With this method, the channel and select button do

    not have any correlation to each other. When a channel’s solo button
    is pressed, its audio is sent to the solo bus in “after-fader listen” mode,
    reflecting the current level of the channel fader and any channel DSP
    that has been applied.

    buses when they are soloed (as opposed to the soloing of a single
    input channel).
    fader listen mode when the solo button is pressed on a DCA channel.

    • Use Master Fader: This allows the Main Fader/mute button to control the

    solo/mon output.

    3. Tap the 2nd encoder to select and assign the currently chosen solo option.
    4. Adjust the 3rd encoder to adjust the amount of digital delay that is applied to
    the control room signal path. The display on the screen will show the current
    amount of delay in feet, meters, and milliseconds.
    5. Tap the 3rd encoder to toggle the delay function on/off.
    TIP: The delay function is useful for aligning the sound of audio monitored
    through headphones or speakers used at the Front-of-House position with audio
    that is coming from the stage location.
    By delaying the control room audio, it can be brought into alignment with
    the slightly delayed audio that has to travel from the stage to the Front of
    House position.
    6. Adjust the 4th encoder to set the amount of volume reduction that occurs
    when the control room bus has its “dim” function enabled. The amount of
    volume reduction ranges from -40 dB to 0 dB (no change).
    7. Tap the 4th encoder to toggle the dim function on/off.
    8. Adjust the 5th encoder to adjust the volume trim for the source currently
    feeding the control room bus, allowing it to be level/matched with other
    sources. The amount of trim can be adjusted from -20 dB to +20 dB.
    9. Tap the 5th encoder to toggle the control room between mono and stereo
    operation. This is very useful in a studio context for checking how a mix
    sounds when played back on a mono speaker such as a clock radio.
    10. Adjust the 6th encoder to select what specific signal source to monitor in the
    control room bus. Choices include:
    • Off (No source)
    • LR Bus
    • LR + C/M
    • LR PFL (pre-fader listen solo bus)
    • LR AFL (after-fader listen solo bus)
    • Auxiliary returns 5/6
    • Auxiliary returns 7/8

    11. Tap the 6th encoder to activate the signal source that has been chosen.



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    7.10.2 Monitor/Talkback Screen: Talkback Tabs:

    7.10.3 Monitor/Talkback Screen: Oscillator Tab:

    The talkback tabs offer various adjustments for the talkback paths of the console,
    such as destination of the talkback signal and more.

    The oscillator tab offers controls for the console’s onboard oscillator, a very handy
    tool that can be used for setting up PA systems and testing various signal flow
    paths without the need for a live source feeding a microphone. Settings include
    oscillator type, frequency, volume, and routing destinations.

    To adjust the various settings on the Talkback A tab, perform the following steps:
    1. The screen displays a multi-segment level meter showing the signal strength
    of the talkback signal as it has currently been set. It also displays a multisegment gain reduction meter, showing the user how much compression has
    been automatically applied to the talkback signal to keep its level even to
    the recipient.
    2. Tap the 1st encoder to enable the talkback circuit. The internal/external
    talkback microphone will now transmit audio to the Talkback A path’s
    assigned destination.
    3. Tap the 2nd encoder to switch the talkback circuit from the internal talkback
    to the external microphone connector. A 2nd tap of the encoder switches the
    console back to using the internal talkback microphone.
    4. Adjust the 3rd encoder to set the gain of the talkback A signal. This is an
    additional gain stage that follows the initial gain stage set by the top panel
    Talk Level knob.
    5. Tap the 3rd encoder to toggle on/off the talkback circuit’s “auto-dim”
    function. This function is useful in a studio setting, and will automatically
    dim the control room outputs when the talkback circuit is active.
    This prevents a feedback loop from occurring between the talkback
    microphone and the nearby studio monitors.
    6. Adjust the 4th encoder to scroll through the various talkback destinations,
    which include:
    • Mix Bus 1-16
    • LR Bus
    • Center/Mono Bus

    7. Tap the 4th encoder to activate any talkback destination when it is currently
    selected. Multiple talkback destinations can be selected, allowing the
    talkback signal to reach many destinations at the same time.
    8. Tap the 5th encoder to toggle the dedicated top-panel talkback buttons
    between latching and non-latching operation.
    9. Adjust the 6th encoder to adjust the brightness of the lamp that is connected
    to the console’s top-panel lamp connector.
    10. Tap the 6th encoder to toggle the attached lamp on/off.
    All controls for the talkback B tab work as described above, but pertain to the
    talkback B signal path.

    To adjust the various settings on the Oscillator tab, perform the following steps:
    1. Adjust the 1st encoder to set the level of the onboard oscillator.
    2. Tap the 1st encoder to toggle the onboard oscillator on/off.
    • The color screen displays a multi-segment level meter that show the

    current level of the oscillator.

    3. Adjust the 2nd encoder to set the frequency of the primary
    onboard oscillator.
    4. Adjust the 3rd encoder to set the frequency of the alternate
    onboard oscillator.
    5. Tap the 3rd encoder to alternate between the 2 onboard oscillators.
    6. Adjust the 4th encoder to select the type of oscillator to be used.
    Choices include:
    • Sine Wave
    • Pink Noise
    • White Noise

    7. Tap the 4th encoder to engage the selected oscillator type.
    8. Adjust the 6th encoder to select a destination for the onboard oscillator.
    Choices include:
    • Mix Bus 1-16
    • Main L Bus
    • Main R Bus
    • Main L+R Bus
    • Main Center/Mono
    • Matrix Outputs 1-6

    9. Tap the 6th encoder to assign the selected oscillator destination.



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    7.11 USB Screen

    7.11.2 USB Screen: Configuration Tab

    The USB screen controls various aspects of the console’s onboard audio file
    player/recorder, allowing the user to record stereo audio to an attached
    USB drive, as well as playback audio files from the drive through the console.

    The configuration tab allows setting up all aspects of the stereo recorder. In this
    screen, one can select audio paths to feed to the recorder and adjust the level of
    incoming audio.

    The USB screen contains the following separate tabs:

    To adjust the various settings on the USB screen’s configuration tab, perform the
    following steps:

    Home: This screen provides a general overview of the USB record/playback
    interface.

    1. Tap the 1st encoder to select a folder to save the recorded audio files to.

    Config: This screen allows configuration of the various parameters associated
    with recording to and playback from the USB drive, such as audio paths,
    record folders, etc.

    • A pop-up window appears, displaying all available folders on the

    7.11.1 USB Screen: Home Tab:

    • Tap the first encoder to select the currently highlighted folder.

    The USB screen’s home tab provides a general overview of the recording/playback
    process for audio files residing on the attached USB drive. It offers a basic set of
    transport controls, as well as metering and a list of files available for playback.

    • Tap the 2nd encoder to select the folder and return to the

    To adjust the various settings on the USB screen’s home tab, perform the
    following steps:
    1. Tap the 1st encoder to stop playback of the audio file.
    2. Tap the 2nd encoder to play back audio from the currently loaded audio file.
    3. Tap the 3rd encoder to rewind the audio.
    4. Tap the 4th encoder to fast forward the audio.
    5. Tap the 5th encoder to record audio from the currently configured audio
    path, to the attached USB drive.
    6. Rotate the 6th encoder to select an audio track from the currently attached
    USB drive.
    7. Tap the 6th encoder to begin playback of the selected audio file.
    A list of available audio files is displayed on the right hand side of the screen.
    When the currently loaded track finishes playback, the next track in the list will
    begin playback. This allows assorted audio tracks on the USB drive to be played
    back in sequence and used as “break music” during a break in the band’s set.
    The USB screen’s home tab also contains the following helpful displays:
    • Stereo meter displays for the recorder input level
    • Stereo output meters for the playback level of the file currently

    playing back

    • A list of available tracks on the attached USB drive

    attached drive.

    • Rotate the first encoder to select an available folder.

    main interface.

    2. Rotate the 2nd encoder to adjust the input trim for the currently selected
    channel of the stereo recorder. A stereo input meter on the left side of the
    screen shows the current input level.
    3. Tap the 2nd encoder to select the left or right input of the stereo recorder for
    further configuration.
    4. Rotate the 3rd encoder to select the category of input to feed to the currently
    selected channel of the stereo recorder. Choices include:
    • Main (LRC)
    • Mix Bus
    • Matrix
    • Direct Out
    • Monitor



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    5. Rotate the 4th encoder to select the specific signal source to feed the
    currently selected channel of the stereo recorder. Choices include:
    • Main L
    • Main R
    • Main C/M
    • Any of the 16 Mix Bus Outputs
    • Any of the 6 matrix outputs
    • Any of the 32 direct outputs
    • Direct Outputs Aux 1-8
    • Any of the FX Direct Outputs
    • Monitor L
    • Monitor R
    • Talkback

    6. Rotate the 5th encoder to select the signal tap point that the selected audio
    path is tapped from when feeding currently selected channel of the stereo
    recorder. Choices include:
    • Pre EQ
    • Post EQ
    • Pre-Fader
    • Post-Fader

    7. Tap the 6th encoder to toggle the “playback folder” mode on/off.
    • When playback folder mode is OFF, the transport will stop after playing

    the currently selected audio file. This is useful for situations like
    triggering audio cues or sound effects in a theatrical setting.

    • When playback folder mode is ON, the transport will continue playing

    back all audio files residing in the currently selected folder one by one.
    This is useful for playing back several songs during a break in the main
    set, allowing the attached USB drive to act as a source for “break music”.



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    7.12 Assign Screen

    7.12.2 Assign Screen: Set A Tab

    The assing screen allows setup for the 4 user-assignable rotary encoders and
    eight user-assignable buttons. Using this screen, the console operator can assign
    3 sets of 12 custom controls to be available for adjustment at all times.

    The “Set A” tab allows mapping of specific console parameters to the 8 assignable
    buttons and 4 assignable rotary encoders. Using this screen, the user can map
    the exact parameters that are most useful to them to the desired controls, in the
    desired order.

    The assign screen contains the following separate tabs:
    Home: This screen provides a general overview of the 12 assigned controls for all
    three control sets at the same time.
    Set A: This screen allows assignment of different console parameters to the
    12 custom controls for set A.
    Set B: Works as described above but for custom controls set B.
    Set C: Works as described above but for custom controls set C.
    7.12.1 Assign Screen: Home Tab
    The assign screen’s “home” tab provides a visual overview of the 12 assigned
    controls for all three sets at the same time.
    The home tab offers visual feedback of the controls that have been assigned to
    all three sets of custom controls, without having to bank between the three sets
    one-by-one or relying on the abbreviated syntax shown in the custom control’s
    dedicated LCD displays.
    To adjust the various settings on the home tab, perform the following steps:
    1. Rotate any of encoders 1-5 to move screen focus to the different custom
    assignable encoders and buttons in the A, B, and C sets. The controls
    currently selected with each of the four encoders are highlighted with a
    green outline.
    2. Tap any of encoders 1-5 to switch to the edit screen for the specific custom
    control that was highlighted on the home tab screen.

    To adjust the various settings on the set A tab, perform the following steps:
    1. Adjust the 1st encoder to select the color used for the LCD screens within that
    set.
    2. Adjust the 2nd encoder to select which of the 12 assignable controls in set A
    you wish to map a parameter to. Choices include encoders 1-4 and buttons
    5-12.
    3. Adjust the 3rd encoder to scroll through a list of parameter categories
    that the selected assignable control can be mapped to. Choices for the
    buttons include:
    • Not Assigned
    • Jump to Page
    • Mute Channel
    • Inserts
    • Effect button
    • MIDI
    • Remote

    Choices for the encoders include:
    • Not Assigned
    • Panorama
    • Sends
    • Dynamics
    • FX Parameters
    • MIDI
    • Remote

    4. Tap the 3rd encoder to assign the selected.
    5. Adjust the 4th encoder to scroll through a list of parameters that can be
    mapped to the currently selected assignable control.
    6. Tap the 4th encoder to assign the selected parameter.
    7. Adjust the 5th encoder to select from additional parameters that can be
    mapped to the assignable controls.
    Assign Screen: Set B Tab and Set C tabs
    The Assign screen’s “Set B” and “Set C” tabs works as described above, but are
    used to configure the set B and set C controls instead of the set A controls.



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    7.13 Scenes Screen
    The scenes screen allows setup for saving and recalling different memory scenes
    of the console. The comprehensive recallability of the console (including gain
    settings for the digitally controlled mic preamps) is one of the most powerful
    aspects of the console.
    The scenes screen contains the following separate tabs:
    HOME: This screen contains a general overview of the scenes contained in the
    console, along with their custom names and what parameters are included in
    each scene.
    MIDI: This screen allows the console to associate different scenes with incoming
    and outgoing MIDI messages, allowing the console’s scene changes to control or
    be controlled by external MIDI equipment.
    PARAMETER SAFE: This screen configures which console parameters are and are
    not saved/switched with the console scenes.
    CHANNEL SAFE: This screen configures which console channels are and are not
    changed when a console scene change occurs.
    7.13.1 Scenes Screen: Home Tab
    The scenes screen’s home tab shows a general overview of the scenes that
    have been configured in the console, along with their custom names and what
    parameters are included in each scene.
    For a setting where scenes are used heavily and are very critical (such as a theater
    performance), this would be a good screen to leave on at all times so that the
    console operator can be completely sure, at all times, what scene the console
    currently resides on and what scene will come up next when the “Go” button
    is pressed.
    To adjust the various settings on the home tab, perform the following steps:
    1. Rotate the 1st encoder to scroll among the available scenes in the scenes list,
    which is displayed on the left side of the color screen.
    2. Tap the 1st encoder to “go” to the currently selected scene in the list,
    switching the console to the state it was in when that scene was stored
    3. Rotate the 2nd encoder to select a scene in the list to be “skipped”
    when cycling through scenes using the Prev and Next buttons.
    4. Tap the 2nd encoder to complete the “skip” command on the currently
    selected scene. That scene will now be skipped when scrolling through
    the list.
    5. Rotate the 3rd encoder to scroll back through recent changes.
    6. Tap the 3rd encoder to undo the recent change.
    7. Rotate the 4th encoder to select a slot to save a new scene.

    8. Tap the 4th encoder to complete the save operation. The console’s current
    state will be overwritten on the scene number that was selected with
    the encoder.
    9. Rotate the 6th encoder to select which aspects of the console’s routing
    are made “safe” from a scene change, and will be unaffected by any scene
    changes that occur. Routing choices that can be safed include:
    • Routing
    • Output Patch
    • Mic Preamp Gain (HA, short for head-amplifier)
    • Configuration
    • Channel Processing
    • Mix Buses
    • Effects
    • Talkback

    10. Tap the 6th encoder to select any of the above choices as the encoder
    rotation is used to select them. Multiple categories can be selected at the
    same time.
    7.13.2 Scenes Screen: MIDI Tab
    This MIDI tab of the scenes screen allows the console to associate different
    scenes with incoming and outgoing MIDI messages, allowing the console’s scene
    changes to control or be controlled by external MIDI equipment.
    For instance, the user could configure the console to issue a MIDI program
    change message as each new scene is recalled, with the outgoing MIDI message
    triggering a new scene of a MIDI-equipped lighting controller.
    Conversely, the user could configure the console to change scenes in response
    to an incoming MIDI program change message, allowing the console to
    switch to a new audio scene when a new scene is recalled on a MIDI-equipped
    lighting controller.
    To adjust the various settings on the MIDI tab, perform the following steps:
    1. Rotate the 1st encoder to select a scene to edit.
    2. Tap the 2nd encoder to “safe” the console from any incoming MIDI messages,
    preventing the console from switching scenes in response to MIDI data.
    3. Rotate the 3rd encoder to select what type of MIDI event is transmitted by
    the console when a scene change is issued. The choices include:
    • Off (No MIDI event)
    • MIDI program change
    • MIDI control change
    • Note

    4. Encoders 4,5 and 6 adjust the channel, number, and velocity (if applicable).
    The color screen displays the MIDI data associated with the currently
    selected scene.



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    7.13.3 Scenes Screen: Parameter Safe Tab

    7.13.4 Scenes Screen: Channel Safe Tab

    The scenes screen’s “parameter safe” tab configures which console parameters
    are and are not saved/switched with the console scenes. This is very useful
    when the operator has certain parameters that they wish to remain in control
    of, and would never want to have altered during a scene change, for example,
    the mic pre gains on the input channels.

    The scenes screen’s “channel safe” tab configures which console channels are
    and are not changed when a console scene change occurs. This allows the
    user to “protect” certain channels from ever changing during a scene change,
    giving them as much control as possible for key audio sources.

    To adjust the various settings on the Parameter Safe tab, perform the
    following steps:
    1. Rotate any of the first 4 encoders to navigate among the checkboxes in the
    color screen, which represent various console areas that can be isolated from
    scene changes.

    For example, in a theater context, the console operator may have dialed in just
    the right EQ and compressor settings and channel volume for the voice of the lead
    actor, and does not wish to have them altered when the console changes scenes
    and alters various parameters.
    To adjust the various settings on the Channel Safe tab, perform the
    following steps:

    2. Tap any of the first 4 encoders to select the console areas that have been
    selected with the encoders. In each of the four columns, multiple console
    areas can be selected and isolated from scene changes.

    1. Rotate any of the 6 encoders to navigate among the check boxes in the color
    screen, which represent various groups of channels that can be isolated from
    scene changes.

    The following areas of the console can be isolated from scene changes, and are
    divided up into 4 columns on the color screen:

    2. Tap any of the 6 encoders to select the console areas that have been
    highlighted with the encoders. In each of the 6 columns, multiple console
    areas can be selected and isolated from scene changes.

    Column 1: Input Channels
    • HA (Head Amp/Microphone Preamp)
    • Configuration
    • Channel Equalizer
    • Channel Gate/Compressor
    • Channel Insert
    • Channel Groups
    • Fader, Pan, Mute, Mix Ons

    Column 2: Input Channels
    • Mix sends 1-16

    Column 3: Mix Buses
    • Mix sends 1-16
    • Configuration
    • Equalizer
    • Compressor
    • Insert
    • Groups
    • Fader, Pan, Mute, Matrix Ons

    Column 4: Console
    • Configuration
    • Solo
    • Routing
    • Output Patch

    The following areas of the console can be isolated from scene changes, and are
    divided up into six columns on the color screen:
    Column 1: Channels
    • Input Channels 1-16

    Column 2: Channels
    • Input Channels 17-32

    Column 3: Buses
    • Aux 1-8
    • FX 1L through 4R

    Column 4: Returns
    • Mix 1-16

    Column 5: Main/Matrix/Groups
    • Matrix 1-6
    • LR Bus
    • Center/Mono Bus
    • DCA groups 1-8

    Column 6: Effects Slots
    • FX 1-8



  • Page 65

    A/D

    AUX
    RETURN
    (1-6)

    SLOT
    (32ch OUT)

    AES-50 B
    (48ch OUT)

    AES-50 A
    (48ch OUT)

    SLOT
    (32ch IN)

    AES-50 B
    (48ch IN)

    AES-50 A
    (48ch IN)

    A/D

    PHANTOM

    INPUT
    (1-32)

    +48V

    MONITOR L+C/R+C OUT

    MONITOR SOURCE IN

    MONITOR LR OUT

    MAIN LRC PRE EQ OUT

    MAIN LRC OUT

    MATRIX 1-6 OUT

    MIX 1-16 OUT

    PATCH CUE

    MAIN LRC INSERT SEND

    MAIN LRC INSERT RETURN

    MATRIX 1-6 INSERT SEND

    MATRIX 1-6 INSERT RETURN

    MIX 1-16 INSERT SEND

    MIX 1-16 INSERT RETURN

    FX 1-8 IN (L / R)

    FX 1-8 OUT (L / R)

    USB
    PLAY
    USB
    REC

    2

    2

    2

    3

    3

    6

    16

    3

    3

    6

    6

    16

    16

    8x2

    8x2

    I/O
    PATCH

    Block Diagram

    16

    40

    16

    DSP
    PATCH

    8x2

    8

    32

    32

    32

    32

    32

    DELAY

    LOW
    CUT
    Pre EQ

    INSERT

    GAIN

    GAIN

    GAIN

    GAIN

    D/A

    D/A

    EQ

    KEY-IN

    Pre EQ

    P16 BUS
    (16ch)

    AES/EBU OUT

    AUX OUT 1-6

    OUT 1-16

    Pre Fader

    +48V

    A/D

    A/D

    SOLO

    MUTE

    MUTE

    SOLO

    MUTE

    TALKBACK

    FX IN R

    FX IN L

    SOLO

    MUTE

    EFFECTS 1-8

    Pre Fader/Post Fader/Post Pan L
    Pre Fader/Post Fader/Post Pan R

    Pre Fader/Post Fader/Post Pan R

    Pre Fader/Post Fader/Post Pan L

    Pre Fader

    Pre EQ/Pre Fader/Post Fader/Post Pan L
    Pre EQ/Pre Fader/Post Fader/Post Pan R

    Pre EQ/Pre Fader/Post Fader/Post Pan R

    Pre EQ/Pre Fader/Post Fader/Post Pan L

    ATT

    4BAND
    EQ

    Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L
    Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R

    MUTE

    Mix 2,4...16

    Mix 1,3...15

    GAIN

    PAN (LCR)

    Post Pan

    PAN (LR)

    mute

    mute

    stereo

    mono

    stereo

    mute

    mute

    stereo

    mono

    stereo

    mute

    mute

    stereo

    mono

    stereo

    ON

    FX OUT R

    FX OUT L

    LCR

    Mix 2,4...16

    Mix 1,3...15

    GAIN

    PAN (LCR)

    Post Pan

    PAN (LR)

    LCR

    Mix 2,4...16

    GAIN

    PAN (LCR)

    Post Pan

    LCR

    GENERATE

    Mix 1,3...15

    GAIN

    GAIN

    PAN (LR)

    COMP

    31 BAND GEQ

    31 BAND GEQ

    EFFECT

    GAIN

    Post Fader

    FADER

    GAIN

    Post Fader

    FADER

    GAIN

    Post Fader

    FADER

    PINK NOISE
    WHITE NOISE
    SINE WAVE

    OSCILLATOR

    MUTE

    INSERT

    Pre Fader

    COMP/
    EXPAN

    Post EQ

    4-BAND
    EQ

    USB
    PLAY

    Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R

    STEREO FX RETURNS 1 L/R – 8 L/R

    DELAY

    COMP/
    EXPAN

    USB MEMORY
    RECORDER

    USB
    MEMORY

    Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L

    KEY-IN

    EQ

    GATE/
    DUCK

    AUX Returns 7–8 by default on USB Play

    AUX Returns 1–8

    POST FADER OUT

    PRE LOW CUT OUT

    INSERT SEND

    INSERT RETURN

    ATT

    CH 1–32

    USB
    REC

    REC
    LEVEL

    USB RECORDER
    1 2 15 16 L R C

    12

    56

    LR

    MIX BUS MAIN MATRIX SOLO

    Matrix 2,4,6

    Matrix 1,3,5

    SOLO

    Pre EQ

    +

    +

    GAIN

    COMP/
    EXPAN

    MUTE

    L+C OUT
    R+C OUT

    L+C/R+C MIX

    SOLO / SOURCE

    MONITOR SOURCE IN

    MONITOR

    2

    GAIN

    INSERT

    Matrix 2,4,6

    Matrix 1,3,5

    MATRIX
    1-6

    mute

    mute

    SOLO

    PAN (LR)

    MUTE

    SOLO

    +

    6BAND
    EQ

    6BAND
    EQ

    EQ

    KEY-IN

    EQ

    DELAY

    DELAY

    MONITOR LR OUT

    MONO

    Post Fader

    KEY-IN

    INSERT

    Pre Fader

    COMP/
    EXPAN

    Post Fader
    Post Fader

    Post EQ

    INSERT

    Pre Fader

    Post Fader

    Post EQ

    COMP/
    EXPAN

    Post Fader

    Post Fader
    Post Fader

    KEY-IN
    Post Fader

    EQ

    INSERT

    Pre Fader

    COMP/
    EXPAN

    Post EQ

    6-BAND
    EQ

    PAN (LCR)

    GAIN

    COMP/
    EXPAN

    COMP/
    EXPAN
    Pre EQ

    INSERT

    LCR

    GAIN

    Pre EQ

    INSERT

    MAIN LRC

    stereo

    mono

    stereo

    mute

    mute

    MIX 1–16

    DIM

    D/A

    D/A

    MUTE

    MUTE

    MUTE

    GAIN

    GAIN

    GAIN

    Post Fader

    FADER

    Post Fader

    FADER

    Post Fader

    FADER

    MATRIX 1-6
    OUT

    MAIN LRC
    OUT

    MIX 1-16
    OUT

    MONITOR R
    OUT

    MONITOR L
    OUT

    PHONES
    OUT

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    Block Diagram



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    8. Specifications
    Processing

    Number of input processing channels
    Internal effects engines, true-stereo / mono
    Internal total recall scenes (incl. preamp and fader)
    Signal processing
    A/D-D/A conversion
    I/O latency (console input to output)
    Network latency (stagebox in > console > stagebox out)

    32 input channels, 8 aux channels, 8 fx return channels
    8/16
    100
    40-bit floating point
    24-bit @ 44.1 / 48 kHz, 114 dB dynamic range
    0.8 ms
    1.1 ms

    Connectors

    XLR inputs, programmable mic preamp, designed by MIDAS
    Talkback mic input, XLR
    RCA inputs/outputs
    XLR outputs
    Monitoring outputs XLR / 1/4" TRS balanced
    Aux inputs/outputs, 1/4" TRS balanced
    Phones outputs, 1/4" TRS
    Digital AES/EBU output, XLR
    AES50 ports, Supermac
    Expansion card
    P-16 connector, Ultranet (no power supplied)
    MIDI inputs / outputs
    USB Type A, top panel, for audio and data export/import
    USB Type B, rear panel, for remote control
    Ethernet, RJ45, rear panel, for remote control

    32
    1
    2/2
    16
    2/2
    6/6
    2 (stereo)
    1
    2
    32 channel audio input/output, various standards
    1
    1/1
    1
    1
    1

    Mic Input Characteristics

    Design
    THD + noise, 20 dB gain, 0 dBu out
    Input impedance XLR, unbal. / bal.
    Non clip maximum input level, XLR
    Phantom Power, switchable per input
    Equivalent input noise level, XLR (input shorted)
    CMRR, XLR, @ 20 dB gain (typical)
    CMRR, XLR, @ 40 dB gain

    MIDAS
    < 0.006% A-weighted
    5 kΩ / 10 kΩ
    +23 dBu
    48 V
    -128 dBu
    > 70 dB
    > 80 dB



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    Input/Output Characteristics

    Frequency range, @ 48 kHz sample rate, 0 dB to -1 dB
    Dynamic range, analog in to analog out (typical)
    A/D dynamic range, preamp and converter (typical)
    D/A dynamic range, converter and output
    Cross talk rejection @ 1 kHz, adjacent channels
    Output level, XLR, nom./max.
    Output impedance, XLR, unbal. / bal.
    Input impedance TRS Jack, unbal. / bal.
    Non clip maximum input level, TRS
    Nominal output level, TRS
    Output impedance, TRS, unbal. / bal.
    Phones output impedance / level
    Residual noise level, XLR and TRS

    10 Hz - 22 kHz
    106 dB
    109 dB
    108 dB
    100 dB
    +4 dBu / +21 dBu
    75 Ω / 75 Ω
    20 kΩ / 40 kΩ
    +16 dBu
    +4 dBu / +16 dBu
    150 Ω / 300 Ω
    40 Ω / +25 dBm (stereo)
    -87 dBu A-weighted

    Display

    Main screen
    Channel LCD screen
    Main meter

    7", 800 x 480, 262k color TFT
    128 x 64, LCD with RGB color backlight
    24-segment (-57 dB to clip)

    Power

    Switch-mode power supply
    Power consumption

    Autorange 100-240 V (50/60 Hz)
    120 W

    Physical

    Dimensions
    Weight

    35.4 x 20.8 x 7.9" / 900 x 528 x 200 mm
    45.4 lbs / 20.6 kg



  • Page 68

    900.23 mm

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    X32 DIGITAL MIXER Preliminary User Manual

    Dimensions
    900.23 mm

    527.05 mm

    527.05 mm

    Top view

    169.46 mm

    22.00 mm

    Side view

    Back view

    22.00 mm

    169.46 mm

    221.33 mm

    221.33 mm



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    FEDERAL COMMUNICATIONS
    COMMISSION COMPLIANCE
    INFORMATION

    X32 DIGITAL MIXER
    Responsible Party Name:

    MUSIC Group Services US Inc.

    Address:

    18912 North Creek Parkway,
    Suite 200 Bothell, WA 98011,
    USA

    Phone/Fax No.:

    Phone: +1 425 672 0816
    Fax: +1 425 673 7647

    X32 DIGITAL MIXER
    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.



  • Page 70

    We Hear You






Missbrauch melden von Frage und/oder Antwort

Libble nimmt den Missbrauch seiner Dienste sehr ernst. Wir setzen uns dafür ein, derartige Missbrauchsfälle gemäß den Gesetzen Ihres Heimatlandes zu behandeln. Wenn Sie eine Meldung übermitteln, überprüfen wir Ihre Informationen und ergreifen entsprechende Maßnahmen. Wir melden uns nur dann wieder bei Ihnen, wenn wir weitere Einzelheiten wissen müssen oder weitere Informationen für Sie haben.

Art des Missbrauchs:

Zum Beispiel antisemitische Inhalte, rassistische Inhalte oder Material, das zu einer Gewalttat führen könnte.

Beispielsweise eine Kreditkartennummer, persönliche Identifikationsnummer oder unveröffentlichte Privatadresse. Beachten Sie, dass E-Mail-Adressen und der vollständige Name nicht als private Informationen angesehen werden.

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Das Handbuch ist 11,11 mb groß.

 

Sie erhalten das Handbuch in Ihrer E-Mail innerhalb von Minuten. Wenn Sie keine E-Mail erhalten haben, haben Sie wahrscheinlich die falsche E-Mail-Adresse eingegeben oder Ihre Mailbox ist zu voll. Darüber hinaus kann es sein, dass Ihr ISP eine maximale Größe für E-Mails empfangen kann.

Andere Handbücher von Behringer X32

Behringer X32 Kurzanleitung - Deutsch, Englisch, Französisch, Portugiesisch, Spanisch - 28 seiten


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Wenn Sie innerhalb von 15 Minuten keine E-Mail mit dem Handbuch erhalten haben, kann es sein, dass Sie eine falsche E-Mail-Adresse eingegeben haben oder dass Ihr ISP eine maximale Größe eingestellt hat, um E-Mails zu erhalten, die kleiner als die Größe des Handbuchs sind.

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