Цифровой микшер behringer x32 compact инструкция

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User Manual

X32 COMPACT DIGITAL MIXER

Compact 40-Input, 25-Bus Digital Mixing Console with
16 Programmable MIDAS Preamps, 17 Motorized Faders,
Channel LCDs, 32-Channel Audio Interface and iPad/iPhone
Remote Control

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2 X32 COMPACT DIGITAL MIXER User Manual

Table of Contents

Important Safety Instructions ……………………………….. 3

Legal Disclaimer ……………………………………………………. 3

Limited warranty …………………………………………………… 3

Introduction………………………………………………………….. 4

1. Operational Overview ……………………………………….. 5

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

2.1 Channel Strip and Monitoring……………………………….. 12

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

2.3 Display ………………………………………………………………………. 13

2.4 Group/Bus Banks …………………………………………………….. 14

2.5 Scenes, Assign, Mute Groups ………………………………… 14

2.6 Rear Panel Connections …………………………………………. 15

3. Hook-Up Diagrams ………………………………………….. 16

4. FX Descriptions ……………………………………………….. 18

5. Topic Guide …………………………………………………….. 24

5.1 Starting up, shutting down,

and rmware updates ……………………………………………………. 24

5.2 Default setup for connecting to

monitoring and P.A. systems ………………………………………… 24

6. USB Interface Operation Guide ………………………… 32

6.1 Conguring the X-USB

card for use in theconsole ……………………………………………. 32

6.2 Conguring the PC to Interface

withtheX-USB Card ……………………………………………………….35

6.3 X-USB Specications……………………………………………….. 37

7. X32 Main Display ……………………………………………..38

7.1 O ve r view …………………………………………………………………… 38

7.2 Home Screen ……………………………………………………………. 41

7.3 Meters Screen …………………………………………………………… 45

7.4 Routing Screen………………………………………………………….46

7.5 Setup Screen …………………………………………………………….. 50

7.6 Libraries Screen ……………………………………………………….. 55

7.7 Eects Screen …………………………………………………………… 56

7.8 Mute Group Screen …………………………………………………. 57

7.9 Utility Screen ……………………………………………………………..58

7.10 Monitor/Talkback Screens: ……………………………………59

7.11 USB Screen ………………………………………………………………. 61

7.12 Assign Screen ………………………………………………………… 62

5.3 How do I connect a microphone,
process its signal and send it out

to the P.A. system? …………………………………………………………..24

5.4 How do I add one of the 8 internal

eects to the sound? ……………………………………………………… 25

5.5 How do I use an outboard eectsprocessor? …….. 25

5.6 How do I set up live stage monitoring? ………………..25

5.7 Everything you ought to know about

Solo and monitor sources ………………………………………………26

5.8 Using Mute Groups …………………………………………………. 27

5.9 Mix Buses, Sub Groups and DCA Groups …………….. 27

5.10 User Assignable control section ………………………….. 27

5.11 How do I share signals over AES50Supermac

network? ………………………………………………………………………… 28

5.12 What kinds of Utilities are available? ………………….. 28

5.13 How do I set up a Matrix for a delay

column/toweror a remote zone mix? ………………………….29

5.14 Using the X32 COMPACT in recording and

production studioenvironments …………………………………30

5.15 Remote control ………………………………………………………. 31

7.13 Scenes Screen …………………………………………………………. 64

8. Specications ………………………………………………….. 66

Block Diagram ……………………………………………………..68

MIDI Implementation …………………………………………..69

Dimensions …………………………………………………………. 71

5.16 Recording a 2-track directly with theconsole …… 31

5.17 Saving and recalling scenes …………………………………. 31

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3 X32 COMPACT DIGITAL MIXER User Manual

Important Safety
Instructions

Terminals marked with this symbol carry
electrical current of su cient 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 modi cation should be performed only
by quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the
enclosure-voltage that may be su cient 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
quali ed personnel.

Caution

To reduce the risk of  re 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  lled with liquids,
suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed 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 quali ed
servicepersonnel.

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  t 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 speci ed by
themanufacturer.

12. Use only with the
cart, stand, tripod, bracket,
or table speci ed 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 quali ed 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.

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.

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 ampli ers) 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

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4 X32 COMPACT DIGITAL MIXER User Manual

Introduction

Welcome to the X32 COMPACT User Manual! After years of intense development,
we are proud to oer a mixer that combines tremendous power and exibility
with a very user-friendly layout and intuitive workow that allow you to get
up-and-running right away.

The X32 COMPACT is a robust-yet-streamlined mixer that features all of the
core functionality and processing of BEHRINGER’s agship X32 console in a
smaller 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 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 USB.

Abundantanalogconnectivity is provided via 16 MIDAS-designed
digitally-controllable microphone preamps, 6 line-level auxiliary in- and outputs,
8 XLR outputs, stereo TRS monitoring outputs and dual phones outputs. Each of
the 16 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 talkback mic input allows
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 direc tly to external ash or harddrives.

A virtual FX rack oers 8 true-stereo (16 mono) multi-eects processors,
with39FX modelsthat eliminate the need for any additional outboard gear.
4high-quality eects such as delay, chorus and reverb can run concurrently with
8 channels of 31-band graphic equalization.

The built-in interface card enables streaming of up to 32 tracks to and from a
computer for recording, mixingandmastering purposes.

The X32 COMPACT 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 COMPACT’seaseof use, intuitivework ow, 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 oer! We also recommend that you check
behringer.com tomake sure you have the latest rmware installed as we release
frequentupdates.

The Input section is home for 8 high-resolution 100 mm motorized faders,
providing control over channels 1-16, 17-32 (from AES50), Aux inputs /
USB playback / FX returns, and Bus Masters. A separate section of 8 motorized
faders controls DCA groups 1-8, bus 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 eect. 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.

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5 X32 COMPACT DIGITAL MIXER User Manual

1. Operational Overview

(1) (3)

(4) (5)(2)

Mixer Operational Overview

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 dierent
screens and controls. The console’s user interface was designed to be extremely
to navigate through and learn. Morespecic details about various functions can
be referenced later in the manual.

View buttons rule

Throughout the top panel of the console, youwillnd 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.

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 COMPACT 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.

General user interface operation

The X32 COMPACT user interface is divided into ve majorsections:

(1) Channel Strip and Monitoring

(2) Input Channels

(3) Display

(4) Group/Bus/Main Channels

(5) Scenes/Assign/Mute Groups

Customizing the X32 COMPACT through the
Utilities page

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

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

pressingtheUtility button will oer copying, pasting, loading or saving
ofequalizersettings

• Pressing the Utility button while editing a channel’s Preamp/Conguration

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 oer loading or saving

dierent presets of routing scenarios

• In the Scenes menu, pressing the Utility button oers copying, loading,

saving or naming consolescenes

Sometimes there is more to say

Dir 05
Dir 06

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

1 2

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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6 X32 COMPACT DIGITAL MIXER User Manual

The channel strip consists of the following sub-sections:

• Cong/Preamp

• Gate, Dynamics

• Equalizer

• Main Bus

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.

Channel Strip and Monitoring

The X32 COMPACT’s channel strip oers dedicated controls for the most impor tant
processing parameter s 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.

Certain sections of the channel strip (such as the low cut lter, noise gate, EQ and
compressor) contain a respectively labeled button that can be pressed to switch
the specic eect on and o. Thebutton illuminates to show the eect is active,
and goes dark when bypassed.

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 o, it indicates that this specic control/parameter is not available for
the selected channel type. For example, if an output bus is currently selected,
theLED collar and the gainknob are turned o, because there is no input gain to
be controlled on an output bus.

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 next to the Phones Level knob, then press Page Select right to access the
Talkback A and B edit pages. These screens also contain settings for the optional
goose-neck lamp and the console’s internal test-tone generator.

• Input Channels 17-24

• Input Channels 25-32

• Aux Inputs 1-6/USB playback

• FX Returns

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 six layers listed above.
The button will illuminate, reminding you which layer is active.

Input Channel Banks

You will nd 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
amplier) cannot be selected because they control a number of assigned
channels rather than one specic channel.

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

• Input Channels 1-8

• Input Channels 9-16

Two more layers (Bus Master 1-8 and 9-16) are also oered, 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.

On each fader strip you will nd 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 8 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 diers from the default setup, the LCD displaywill also indicate
the name of the actual input source.

Ch01

Aux5

PC

Soundcard

Exampl e: Channel 01 has the nickn ame Soundcard an d is fed from Aux inpu t 5.

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7 X32 COMPACT DIGITAL MIXER User Manual

Ch01

FatSnare

OpeningScene

01 15:33

02: next 0:00 — 0:00

home

cong

gate dyn eq sends main

A: S16 A: 48K
B: — C: X-USB

Main Display Area

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

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 le 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/Cong.

: 15

When working with any given screen, press the Page keys located on the display
bezel to switch to dierent 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.

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

corresponding knob forediting, which is indicated by various circularicons

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

a broad rectangular button along the lower edge of the eld. Pressing the
encoder changes the on/o state of the corresponding func tion. When the
rectangular button in the display is dark grey, thecorresponding function is
o/inactive; whenit is amber, the function is on/active

Group/Bus Channel Banks

This section of the console oers eight channel strips, divided into the
followinglayers:

Various Assignments (DCA groups, mute groups,
custom assignable controls)

• Assigning DCA Groups

Thanks to the two distinct fader groups (inputs on the lef t, outputs on the right),
the task of assigning channels or buses to a virtual DCA Group is a breeze on the
X32 COMPACT. Simply hold the respective DCA Group Selec t button on the right­hand 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.

• Eight DCA (digitally controlled amplier) groups

• Mix Bus masters 1-8

• Mix Bus masters 9-16

• Matrix Outputs 1-6, and the main center bus

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.

button, selec t the desired input and output channels, whichwill now be assigned
to the Mute Group. When you are done with assignment, switcho Mute Grp at the
display, andthe 6 Mute Group buttons will work asintended.

• Custom Assignable Controls:

The Assign section of the console oers three banks of 8 buttons, allowing for
freely customizable access to 24 random functions of the X32 COMPACT.

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)

• 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 rst switch on the
Mute Grp button next to the main display. While holding the desired Mute Group

• Select the control 1-8 you wish to assign

• Select the parameter you wish to control and assign the function

Usually this is used to control a specic channel’s parameter, like the lead
vocalist’s reverb on/o status.

The Jump-to-Page control is a special target type that does not alter any audio
parameter, but rather brings you direc tly to any specied display page.

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8 X32 COMPACT DIGITAL MIXER User Manual

The “Sends on Faders” Function

The X32 COMPACT console features a very useful function thatcan be
accessed by pressing the dedicated Sends on Faders button, located between the
twofader sec tions.

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 specic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 six input channel layers

• 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 COMPACT.

Ch01

Inputs 1-8 Inputs 17-24Inputs 9-16

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

01

home

01:

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

0:00 — 0:00

analog out

Channel Processing Block Patch

aux out

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

p16 out

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

A: S16 A: 48K
B: — C: X-USB

card out aes50-a aes50-b

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

Routing I/O

The X32 COMPACT console features 16 analog rear-panel XLR inputs with
microphone-preamps, as well as 8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.

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

13:45

Connected Devices

AES50 A

AES50 B

: 19

Local inputs 17-24 and 25-32 are listed with brackets, indicating that these are
not physically available on this device. Assigning these will obviously carry no
signal, but they can still be used when preparing shows for a full X32 console.

Cabling for all AES50 connections between X32 and S16 stageboxes:

• Shielded CAT-5e cable, Ethercon terminated cable ends (recommended)

• Maximum cable length 100 meters (330 feet)

Note: All signal blocks patched to the audio processing will be connected to the
corresponding input channels automatically.

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9 X32 COMPACT DIGITAL MIXER User Manual

Ch01

Analog Output

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

01

01:

analog out

home aux out

Edit Output Assignment

MixBus

Select Select Select Select

0:00 — 0:00

CategoryCurrent Setting

OFF
Main (LRC)
Mix Bus
Matrix
Direct Out
Monitor

p16 out

Processed Output Signal Tap

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

A: S16 A: 48K
B: — C: X-USB

card out aes50-a aes50-b

Pre EQ
Post EQ
Pre Fader
Post Fader

Set DelayAssign

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

• 8 analog local XLR outputs (with adjustable digital delay for time-alignment

of speakers)

• 8 virtual outputs (marked with *) for routing over AES50 or card outputs

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

14:09

0.3

0.10

0.3

Delay

Delay

Delay

: 37

ft
m
ms

0.3

ms

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

• 48x channels on AES50 port A

• 48x channels on AES50 port B

• 32x channels on USB interface card

• 16 channels of personal monitoring using the console’s P-16 Bus

output connector

Ch01

01

01:

dB

Lo Cut

Lo Cut

Lo Cut

cong

2.0

20

Hz

Hz

home gate dyn eq sends main

clip

-6

48V

-12

Reverse

-18

-24

-30

Link Lo Cut

-36

-42

+0.0

-48

-54

Gain

Gain

+0.00

dB

Link

0:00 — 0:00

In

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

Source
Input

Select

Delay

0.3

0.10

0.03

Delay

Delay

t

Delay

0.3

ft
m
ms

A: S16 A: 48K
B: — C: X-USB

Insert Position

Pre PostIns

Ins Pos

ms

PRE

Insert

Input Channels 1-16 are pre-congured to use the local input signals 1-16,
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 Congpage.

Input Channels 17-32 are pre-congured to AES50 A inputs 1-16, so that
connecting an S16 stage box to port A will automatically feed the channels.

14:11

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

Insert

Connect

Insert

InsF

: 37

Aux Return Channels 1-8 are pre-congured 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FX 1-4.

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LeOnde.mp3

00.05.00 00.00.00

home gate dyn eq sends main

clip

-6

-12

-18

Link

-24

-30

-36

-42

-48

-54

Gain

00.00

dB

Link Bus Sends

cong

Bus Conguration Bus Insert Position

13:44:43 MyProj.prj

29 November 2010 Scene01

Channel Sends

All Channel Sends

Pre Conguration

…
Inputs

Pre EQ
Pre Fader

Post Fader
Sub Grou

Send Pos. Insert Pos. Insert

Inputs

∑

Insert PostPre

Pre

Insert

The conguration of Mix Bus Channels 1-16 can be pre-set (in the Setup/Global
page) or can also be congured 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

• 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)

Insert

Ins 01
Ins 02
Ins 03

Ins 04
…

FX 01
FX 02

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)

Eects Processing 1-8

The X32 COMPACT console contains eight true-stereo internal eects engines.

• FX 1-4 can be congured as side chain or inser t eects, 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 6th bank

(layer) of the input channels — Eects Returns. Note that the return signals of
FX 1-4 have separate faders for left and right

• 6-band fully parametric EQ

• Compressor/expander (swappable between post-EQ and pre-EQ operation)

• Bus sends to 6 matrices

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

the eect s 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 eec ts processor

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11 X32 COMPACT DIGITAL MIXER User Manual

iPad App for X32 COMPACT

Many functions of the X32 COMPACT console can be remotely controlled by a
dedicated iPad app. Details about the app’s download, setup and operation are
available on the X32 COMPACT product page.

The app’s User Interface is optimized for the touchscreen nature of the iPad device
and concentrates on the most important remote features of the console.
Using the app, you can perform functions such as adjusting monitor mixes from
the stage while interac ting with musicians, or adjusting the front-of-house mix
from the audience, while hearing the mix exactly as the audience does.

Windows-based application and Linux/OS X application
for X32 COMPACT

Also oered is a separate remote editor running on host computers that will
allow for complete editing control of the X32 COMPACT via Ethernet. Check out
behringer.com for more information.

Tip: The X32 COMPACT remote communication is OSC-based (open sound control)
and we will share the protocol on our website, allowing developers to design
their own control sof tware. Stay tuned to behringer.com for details on the OSC
protocol.

X-USB expansion card

The X-USB card allows transmission of up to 32 channels to and from a connected
computer. Please download the X-USB drivers and Quick Start Guide from
behringer.com before connecting the mixer to your computer.

If the console has been used by someone else, and you feel unsure about its
specic routing status, you can reset the X32 COMPACT to default settings in two
convenient ways:

• While the console is booting and the “X32” logo appears on the screen,

press and hold the Scenes/Undo button until the console is fully operational
and the Home screen is displayed. The console will now be in the same state
as it was when shipped from the factory. However, you can immediately
revert to the status the console was in when being switched o the last time
by pressing the Scenes/Undo button

• You can also reset the console any time after booting by pressing

Setup/Cong, then Initialize

NOTE: Initializing the console does not automatically erase the current show data
or any stored scenes. If you wish to clear all scenes, please use the ’Initialize All
Show Data’ option on Setup/Cong page.

In order to prevent any errors by losing power during a store operation,
we recommend using the “Safe Shutdown” function from the Setup/Global page.

NOTE: The X32 COMPACT can be locked against unintended use by ac tivating
’Lock Console’ from the Setup/Global page. In this state the UI will not allow any
changes to be made and the display shows “X”. Keep HOME depressed for about
5 seconds to unlock the X32 again.

The X32 rmware can easily be updated by performing the following steps:

• Download the new console rmware from the X32 COMPACT product page

onto the root level of a USB thumb drive

Note — the rst X32 produc tion units shipped with the X-UF FireWire/USB card.
See the “USB Interface Operation Guide” for details.

Startup and Shutdown, and Update:

We recommend switching the X32 COMPACT mixer on rst, and shutting it o
last when any sound system is connected. This will prevent the possibility of any
unexpected noises being transmitted during the startup/shutdown process.

The Setup screen’s general preference page contains a Safe Main Levels
function. When activated, the console automatically mutes the main LRC levels
when booting the console. It also prevents any scene loading from aecting
(i.e. turning up) the mains levels.

Synchronization and Sample Rate settings for the console can be adjusted on
the Setup/Cong page, but please note that sample rate changes will require a
reboot of the console. When you see a red square indication at the top section of
the main display, please verify if the synchronization settings on Setup/Cong
make sense (see section 3).

• Plug the USB thumb drive into the top panel USB connector while the

console is turned o

• Hold the USB View button depressed while switching the console on.

While booting, the X32 COMPACT will run a fully automatic rmware update,
which will take 2-3 minutes longer than the regular boot sequence

When no update le is available on the USB drive, or when it is corrupted,
the update mode will remain active, preventing the X32 COMPACT from booting
regularly. Switch the console o and back on without holding the USB View
button to boot the console with the existing rmware.

CAUTION: Please do not block the fan opening on the bottom of the X32 COMPACT
cabinet! The large slow-turning fan is barely audible, but it is still working.
Specically when mounting the X32 COMPACT in a road case, please ensure there
is sucient space underneath to allow for some airow.

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12 X32 COMPACT DIGITAL MIXER User Manual

2. Callouts

2.1 Channel Strip and Monitoring

(7) (8) (9) (10)

(6)

(1)

(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. Note — It is best practice to mute the respective channels prior
to switching their phantom power supply on or o. Otherwise, the change
of charge may cause an audible popping noise. Gain adjustments might
also produce audible click noise when adjust shortly after having switched
phantom power on or o.

(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)

(4)

(5)

(4) USB Recorder – Connect a thumb drive to install rmware updates and to

record performances. See the Topic Guide section for details.

(5) 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.

(6) 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.

(7) Talk Level – Adjust the level of the talkback mic with this knob.

(8) Monitor Level – Adjust the level of the Monitor outputs with this knob.

(9) Dim – Press this button to reduce the monitor volume. Press the View

button to adjust the amount of attenuation along with all other monitoring­related functions.

(10) Phones Level – Adjust the volume of the headphone outputs, located

inside the left and right side caps.

(3) Equalizer – Press the Equalizer button to engage this section. Selectone

of the 4 frequenc y bands with the High, High Mid, Low Mid, and Low knobs.
Press the Mode but ton to cycle through the types of EQ available. Selectthe
specic 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.

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13 X32 COMPACT DIGITAL MIXER User Manual

2.2 Input Channel Banks (11) Layer Select – Select either the channels 1-8, 9-16, 17-24,

25-32, Aux in 1-6/USB REC, Eects Returns, Bus 1-8, or Bus 9-16.

(12)

Thecurrently active layer will light.

(12) 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.

(11)

2.3 Display

(13)

(14)

(15)

(16)

(17)

(13) 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.

(14) Solo – Press this button to send the channel to the Solo Bus.

(15) Mini Display – Information such as channel number,

nickname,inputsource and graphical icon are displayed on this
colorLCDscreen.

(16) Mute – Press this button to mute the channel.

(17) 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.

(21)

(18) (19) (20)

(18) 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.

(19) 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.

(22)

(20) Page Select Buttons – Use these to scroll through the available screens or

to conrm/decline certain actions.

(21) Main/Solo Meters – The main stereo output level is displayed here along

with the solo level of all channels whose Solo button is active.

(22) Category Select Buttons – Press one of these buttons to jump directly to

the subject you wish to edit or congure.

NOTE — See Chapter 7 for detailed descriptions of each screen.

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14 X32 COMPACT DIGITAL MIXER User Manual

2.4 Group/Bus Banks (23) DAW Remote – Press this to enable DAW remote control.

(23)

(25)

(24)

(26)

(27)

(28)

(29)

(30)

(31)

(32)

(33)

(34)

(35)

(36)

(24) 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.

(25) Sends on Faders – Press this button to activate the Sends on Faders

function. See the Topic Guide for more details.

(26) 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.

(27) 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.

(28) Solo – Press this button to solo the DCA or bus.

(29) Mini Display – Information such as matrix/bus number,

nickname, input source and graphical icon are displayed on this color
LCDscreen.

(30) Mute – Press this button to mute the DCA or bus.

(31) Fader – Use this to adjust the bus level. The faders will automatically display

the current status as layers and functions are changed.

(32) Main Select – Press this button to select the main bus for editing.

(33) Clear Solo – Press this button to release all sources assigned to the solobus.

(34) Main Solo – Press this button to solo the main bus.

(35) Main Mute – Press this button to mute the main bus.

(36) Main Fader – This fader adjusts the output of the main bus.

2.5 Scenes, Assign, Mute Groups (37) Mute Groups – Press one of these buttons to activate one of the mute

groups. See the Topic Guide for details.

(39)

(38) Custom Assign Buttons – Assign these 8 buttons to various parameters

for instant access to commonly used functions. See the TopicGuide
fordetails.

(39) Scenes Buttons – Use these buttons to select and activate saved scenes.

Seethe Topic Guide for details.

(38)

(37)

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15 X32 COMPAC T DIGITAL MIXER User Manual

2.6 Rear Panel Connections

(46) (47) (40)

(42)

(45)

(41)

(43) (44)

(40) MON OUT — Connect a pair of studio monitors using balanced ¼» cables.

(41) Outputs 1-8 – Send audio to external equipment using XLR cables.

Outputs 7 and 8, by default, carry the main stereo bus signals.

(42) Power Switch – Turn the power on and o with this switch.

(43) X-USB card – Transmit up to 32 channels of audio to and from a

computer via USB 2.0.

(44) Remote Control – Connect to a PC for remote control via USB or

Ethernetcable.

(48) (49) (50) (51)

(48) MIDI In/Out – Send and receive MIDI commands via 5-pin DIN cables.

(49) AES/EBU Out – Send digital audio via 3-pin AES/EBU XLR cable.

(50) Ultranet – Connect to a BEHRINGER P-16 personal monitoring system via

Ethernet cable.

(45) AUX IN/OUT – Connect to and from external equipment via ¼» or

RCA cables.

(46) Lamp Input – Connect a standard 12 V, 5 Watt gooseneck lamp here.

(47) Talkback Input – Connect a talkback mic via standard XLR cable to

this input.

(51) AES50 A/B – Transmit up to 96 channels in and out via shielded

CAT-5e cables.

(52)

(52) In puts 1-16 – Connect audio sources via XLR cables.

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16 X32 COMPACT DIGITAL MIXER User Manual

3. Hook-Up Diagrams

B215D

F1320D

B3031A

B1800D-PRO

Laptop

FCB1010 MIDI Pedal

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17 X32 COMPACT DIGITAL MIXER User Manual

Keyboard

DI Box

XM8500

HPX6000

(Sidecap output)

P-16 D

2-TRACK HARD DISK RECORDER

Note — Shielded CAT-5e cable should always be used for AES50 connections
between X32 and S16 units.

S16 Digital Snake

GTX30

P-16 M

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18 X32 COMPACT DIGITAL MIXER User Manual

4. FX Descriptions

FX Descriptions

Here is a list and brief description of the eects available on the X32 COMPACT.
WhenStereoand Dual versions of an eect are oered, 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 dierent settings for the left
and right signal. See the Topic Guide for instructions on how to add eects 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 nal 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 sof t limiting threshold point from hard
limiting (0 dB) to maximum soft limiting (10 dB).

Triple Delay

Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with
independent frequency, gain, and pan controls. Create time-based echo eects
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 rst
stage. GAIN BASE sets the gain level of the rst stage of the delay. PAN BASE sets
the position of the rst delay stage in the stereo eld. 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 eld. 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 eld.

Ambience

Stereo Delay

Stereo Delay provides independent control of left and right delay (echo)
timesand features high and low pass lters for enhanced tone shaping of the
delayed signals. Use the Stereo Delay to give your mono signals a wide presence
in the stereo eld.

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 unaected by the delay.
HI CUT adjusts the high frequency cut, allowing higher frequencies to remain
unaected 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 frac tions of the master delay time. OFFSET LR adds a delay dierence
between the lef t and right delayed signals. The FEED LO CUT/HI CUT adjusts lters
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. 

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 aected signal. LO CUT adjusts the low frequency cut,
allowing lower frequencies to remain unaected by the reverb. HI CUT adjusts
the high frequency cut, allowing higher frequencies to remain unaected 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 eec t builds

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19 X32 COMPACT DIGITAL MIXER User Manual

up. DIFF(USION) controls the initial reection density. SPREAD controls how the
reection 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 lter at the input of the
reverb eect.

Gated Reverb

This eect 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 eective 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 reection density builds up. DENSITY shapes
the reverb decay tail. The higher the density, the greater the number of sound
reections. SPREAD controls how the reec tion 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 lter
at the input of the reverb eect. DIFF(USION) controls the initial reection density.

Plate Reverb

Hall Reverb

Classic Hall Reverb simulates the reverberation that occurs w hen 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 per formance sound
larger than life. (Inspired by the Lexicon Hall)

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 eect. The DAMP slider adjusts the decay of high frequencies within
the reverb tail. DIFF(usion) controls the initial reection 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)

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 diusion 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
eect. The DAMP knob adjusts the decay of high frequencies within the reverb
tail. DIFF(USION) controls the initial reection 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 VU meter displays the input and output levels. Set the early reection times
for the left and right channel with ER DELAY L and ER DELAY R. ER LEVEL sets the
loudness of the early reection 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
eect. ROOM SIZE adjusts the size of the room eect 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 reection 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 legendar y 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 sacricing clarity.

When layer 1 is selected, the rst 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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20 X32 COMPACT DIGITAL MIXER User Manual

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 reective. Front is well-suited for vocals and other dynamic instruments.
TheVintage button enables the simulation of the input transformers.

Stereo/Dual Tube Stage/Overdrive

Tube Stage/Overdrive is a versatile eect 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 eect. EVEN and ODD
adjust the amount of even and odd harmonics. GAIN adjusts the output gain of
the eect. LO CUT sets the input frequency below which the source signal will not
pass through the eect. HI CUT sets the input frequency above which the input
signal will not pass through the eect. BASS GAIN/FREQ adjust a low shelving
lter at the output of the eect. TREBLE GAIN/FREQ adjust a high shelving lter at
the output of the eect.

Stereo Imager

Chorus / Stereo Chorus

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.

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 eected signal
with the LO and HI CUT knobs. Additionally, the PHASE knob can tweak the
phase oset of the LFO between lef t 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

A Stereo Imager is typically used to control the placement of a signal within the
stereo eld 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 eect. The phase can also be shif ted using the
shelving knobs. Select the frequency and bandwidth (Q) using the corresponding
knobs, then adjust the gain with the SHV GAIN knob.

Rotary Speaker

Rotary Speaker emulates the sound of a Leslie rotating speaker. X32’s Rotary
Speaker provides more exibility than its electro-mechanical counterpart,
andcan be used with a variety of instruments, and even vocals, to create a
whirling, psychedelic eect.

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 but ton.
TheACCEL(eration) knob adjusts how quickly the speed increases and decreases
from the Slow mode to the Fast mode. The rotation eect can also be disengaged
with the STOP button, which will stop the movement of the speakers.

The Flanger emulates the phase-shifting sound (comb-ltering)
originallycreated by applying pressure against the ange of the reel on a tape
recorder. This eect creates a unique “wobbly” sound that is quite dramatic when
used on vocals and instruments.

The controls of this eect are nearly identical to the Chorus eect 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

A Stereo Phaser, or phase shifter, applies multiple STAGES of modulated lters to
the input signal to create a “notch” in the frequency response, and then applies
a MIX with the original for a “swirling” eect. Use X32’s Stereo Phaser to add a
“spaced-out” sound to vocal or instrument tracks.

SPEED adjusts the LFO rate and DEPTH sets the LFO modulation depth.

The BASE knob adjusts the frequency range of the modulated lters.
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 dierence
between the lef t 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 eect takes place (positive and negative modulation
is possible), and the ATTACK, HOLD and RELEASE knobs all tailor the response of
this feature.

DISTANCE adjusts the distance between the Rotary speakers and the
virtualmicrophone.

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21 X32 COMPACT DIGITAL MIXER User Manual

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 dierence between the left and right
channel, which can be used for panning eects. 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).

Stereo / Dual Pitch

Pitch shifting is often used in two dierent ways. One is to set the Mix knob lower
and only use the Cent knob to make a small oset in pitch between the wet and
dry tones. This results in a “voice doubling” eect that thickens the overall sound
in a more subtle way. The extreme use of the eect is to turn the Mix knob fully­clockwise so the entire signal is eected. 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 eect.

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 eect,
whereaschanges to the CENT knob will be very minor. The DELAY knob creates a
time dierence between the wet and dry sound. The LO and HI CUT knobs allow
the eected signal to be band-limited. The Dual Pitch eect allows the left and
right channels to be adjusted independently, and allows GAIN compensation and
panning of the two channels.

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 eect can also be used to reduce the
sustain for a more staccato sound. The GAIN knob compensates for level changes
caused by the eect.

Stereo Exciter / Dual Exciter

Exciters increase presence and intelligibility in live sound applications, and are
indispensable for adding clarity, air and harmonic overtones in the recording
studio. This eect is particularly useful for lling out the sound in dicult rooms
and for producing a more natural live/recorded sound. (Inspired by the famous
Aphex Aural Exciter)

Set the frequency of the side-chain lter with the TUNE knob, and fur ther shape
the lter 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 eected signal with the MIX knob.
Engagethe SOLO MODE to isolate only the audio resulting from the eect so you
can hear exactly what you’re adding to the mix.

Stereo Enhancer / Dual Enhancer

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-specic
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 eec t to function like a
boost or distor tion pedal. The Dual Guitar Amp allows the left and right channels
to be adjusted independently.

X32’s Enhancers are so called “Psycho EQs”. They can enhance the signal
spectrum in bass, midrange and high frequencies but they dier 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 specically selected, while the
MID Q (bandwidth) can be adjusted instead. The OUT GAIN knob compensates for
changes in level resulting from the eect, 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 eect so you can hear exactly what
you’re adding to the mix.

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22 X32 COMPACT DIGITAL MIXER User Manual

Mood Filter

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

This lter 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 lter. The WAVE knob selects between 7 dierent wave forms
– triangular, sine, saw plus, saw minus, ramp, square, and random. The PHASE
can be oset 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 lter until self-oscillation with the RESO(nance) knob. BASE adjusts the range
of the lter 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
eected 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 eect (as with real analogue lters)
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.

Chorus + Chamber

Taking up only one FX slot, the Chorus + Chamber eect 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)

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 eect is added to the signal. SPEED, DELAY and DEPTH adjust
the rate, delay, and modulation depth of the chorus. The LFO PHASE between lef t
and right channel can be oset 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 aects 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

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 eect 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 eect, so instead of running completely parallel, the reverb
eects the echos to a selected degree. The PREDELAY knob determines the
hesitation before the reverb aects 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.

Add the mind-bending, lter-sweeping eect 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)

The BALANCE knob adjusts the ratio between anger and reverb. Low frequencies
can be excluded with the LO CUT knob, and the MIX knob adjusts how much of
the eect is added to the signal. SPEED, DELAY and DEPTH adjust the rate, delay,
and modulation depth of the anger. FEEDback can be adjusted with positive and
negative amounts. The PHASE can be oset by up to 180 degrees. The PREDELAY
knob determines the hesitation before the reverb aects 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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23 X32 COMPACT DIGITAL MIXER User Manual

Delay + Chorus

This combination eect merges a user-denable 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 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 eect. 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
oset 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 eected signal with the “dry” sound.

Delay + Flanger

Dual / Stereo TruEQ

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

Graphic equalizer without frequency response corre ction.

This handy dynamic duo blends the “woosh” of soaring jet planes with classic
Delay, and can be adjusted from mild to wild. This combination eect 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 anger eect. The BALANCE knob
adjusts the ratio between delay and anger. SPEED, DELAY and DEPTH adjust the
rate, delay, andmodulation depth of the anger. The right channel LFO PHASE
can be oset by up to 180 degrees, and FEED (positive and negative amounts)
adjuststhe feedback eect. Use the MIX knob to blend the eected signal with
the “dry”sound.

Dual / Stereo GEQ

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

Graphic equalizer with frequency response correc tion.

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.

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