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Both sides of a dual type effect can be used as inserts on different channels or buses. 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. Setting up a live stage monitor mix using conventional monitors: 1. Adjust the first encoder to select a rear panel analog output e. Output 1 , then adjust the fourth encoder to select a mix bus e.

Mix Bus 1. When the source and destination have been selected, press the 4th encoder to complete the assignment. This will prevent the monitor mix from changing when the front-of- house mix is adjusted. 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. Rotate the Channel Select knob to select Bus 1, then press the knob. Adjust the Channel Level knob to 0 dB.

You can change the output on this bus later. On the stage, connect a cable from Output 1 of the S16 stagebox to the input of the stage monitor. 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.

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. 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. Communicating with talent on stage: 1.

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. Adjust the third encoder to set the volume of the talkback mic. Press the button below the Talk Level knob 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. Press the Monitor button. 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.

Adjust the first encoder to set the level of the monitor signal. This operation will not affect the mix that the audience is hearing, nor the monitor mix heard by the talent. 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. 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. 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. 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. Note: The master output level cannot be changed in this mode.

This mode has primarily been designed for using the X32 RACK as a pure monitor console where the main bus is not used for your PA system. 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.

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 shielded shielded Cat-5e 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. 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.

Ready to rock! The X32 RACK 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. 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.

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

A confirmation screen will pop-up, asking you to confirm you wish to load a preset to the currently selected channel. 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 shielded Cat5-e Ethernet cable is all that is needed to connect the channels of audio from S16 boxes and all of the Ultranet mixers, a much better alternative than a thick, noisy, and expensive analog snake.

See Chapter 6 for details. Note however, that the mic preamp gain also for recording will be controlled from the FOH console, and Gain changes during the show can be heard in the recording. Your PC provided it has the capacity to do so could perform as a 32 channel outboard effects processor, allowing you to apply your favorite production processing in a live environment to every single channel.

So, make sure that there are no adverse effects when applying outboard processing. The internal latencies of the console are typically times less than the the latency introduced by external processing.

See details in Chapter 6. Adjust the address fields with the encoders and assign the selected numbers with encoder 6. The IP address should be free within the network. Enter the IP address of the X32 in the network and press connect. The stereo channels are linked by default, so adjusting A7 left will automatically affect the right channel as well. Remarks: 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.

We also recommend you defragment your USB device prior to recording. The recording will be done as bit WAV file with the selected sample frequency of the console. 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. The Main Display will show various controls for saving and recalling console scenes.

A gray box will indicate which item is currently selected. All console parameters will switch to the state they were in when saved to the scene that was just recalled. The simultaneous in, out audio channels enable extremely powerful studio and live applications.

The high speed 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. Depending on your application, you may want to select an option other than the maximum 32 x 32 channel count to preserve system resources. Depending on its speed and memory configuration, some optimization for audio recording might be required.

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.

When the X32 RACK is used in a quasi in-line mode, the card with connected computer represents a classic tape machine. Once you are confident about the fundamental settings, you can switch the channel inputs to the X-USB Card inputs for laying the tracks and monitoring the DAW outputs. Make sure Scene Safes are set in a way that all other parameters remain unchanged.

All 32 tracks would be fed from your DAW into the console where all the magic happens. Then only tracks of the complete mixdown would be sent back to the DAW.

First, it will slow the required bandwidth on the interface down. 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 , while the tape card returns are put on channels The monitoring is directly fed from Ch 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. Double-click on Setup. Driver Control Panels Once the driver is installed, you can open the control panel by double-clicking on the small tray icon.

You can rename the card if necessary. Any detected drop outs will be documented as well, in which case a larger buffer should be selected. Main Display 7. 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. Screen selection buttons: These 10 illuminated buttons allow the user to immediately navigate to any of 10 master screens that address different sections of the console.

The 10 sections that can be navigated to with these buttons are: 1. Home 2. Meters 3. Routing 4. Library 5. Effects 6. Setup 7. Monitor 8. Scenes 9. Mute Group A graphical tab display shows which page you are currently on. When one or more channels are currently soloed, the meter switches to displaying the level of the currently soloed signal s. Whereas the dedicated front 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. 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. Adjustable content: Content that displays an adjustable parameter, controlled by a dedicated top-panel control. However, most screens contain alternate pages of information that are also useful.

Each tab is named to describe the functions it represents. Navigate to these alternate tabs by pressing the Page Select left and right keys. 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. These screen elements include, from left to right: Channel Indicator: Displays various elements of the currently selected, including: 1.

The number of the specific input or output channel that is currently selected 2. The custom channel name if one has been assigned 3. Channel color if one has been assigned 4.

Channel icon if one has been assigned Show Indicator: This number, presented in a large orange colored font, displays the currently loaded show. USB Recorder File: Displays the name of the active file that is currently being recorded or played back.

Displays the current sample rate of the console. The green LED illuminates when a valid internal or external clock is present. Press any of the 10 hardware buttons located on either side of the main display screen.

The hardware encoders are used to adjust parameters displayed in these slots, and operate in the following manner: 1. 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. Home: General signal path for the selected input or output channel 2. 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. It visually displays various parameters of the input, gate, insert point, equalizer, dynamics, output path, and buses. The home tab contains the following parameters divided into two pages that can be adjusted using the six rotary-push encoders.

Page 1 1. Adjust the 1st encoder to control the input gain trim of the channel. Tap the 1st encoder to link the channel with its adjacent channel. Adjust the 2nd encoder to set the threshold of the channel noise gate. Adjust the 4th encoder to toggle the channel dynamics between pre-EQ and post-EQ status. Adjust the 5th encoder to set the threshold of the channel compressor.

Adjust the 6th encoder to pan the selected channel within the main stereo output. 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.

Adjust the 3rd encoder to select which of the 8 DCA groups the currently selected channel will be assigned to. Tap the 3rd encoder to assign the currently selected channel to the selected DCA group.

Adjust the 4th encoder to select which of the 6 mute groups to assign the currently selected channel to. Tap the 4th encoder to assign the currently selected channel to the selected mute group. Adjust the 6th encoder to adjust the fader level for the currently selected channel.

The config tab contains the following parameters that can be adjusted using the six rotary-push encoders: 1. Tap the 1st encoder to allow linking of the channel with adjacent channel. Adjust the 2nd encoder to set the low-cut frequency of the channel. Adjust the 3rd encoder to scroll among all of the possible sources for the channel. Tap the 3rd encoder to select the currently highlighted source and assign it to the channel. Adjust the 4th encoder to set the amount of digital line delay applied to the channel.

Adjust the 6th encoder to scroll among the signal path choices for the insert point. Tap the 6th encoder to assign the selected signal path to the insert point. Adjust the 1st encoder to set the input threshold of the gate. Adjust the 3rd encoder to set the attack time of the onset of the noise gate effect.

Adjust the 4th encoder to set the hold time of the noise gate effect. 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.

Encoders 1 and 2 function the same on pages 1 and 2. Adjust the 4th encoder to set the frequency of the key filter that can be used to trigger the noise gate. Adjust the 5th encoder to set the steepness of the EQ slope used in the key filter. Tap the 5th encoder to send the key source to the solo bus, allowing the key source to be monitored and evaluated.

Adjust the 6th encoder to select the specific key source to be used. Tap the 6th encoder to assign the selected key source to the gate. Adjust the 1st encoder to set the input threshold of the compressor.

Adjust the 2nd encoder to set the ratio of the compressor. Tap the 2nd encoder to switch the channel dynamics effect between compression and expansion. Adjust the 3rd encoder to set the attack time of the compressor effect. 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. While providing tighter peak control, peak sensing might yield very quick changes in gain reduction, more evident compression, or sometimes even distortion.

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.

This delay prevents the compressor from releasing until a certain time has passed. Tap the 4th encoder to switch between Linear and Logarithmic modes for the compressor.

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. 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. Adjust the 5th encoder to set the release time of the compressor.

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. Tap the 3rd encoder to move the compressor effect before or after the equalizer in the channel signal path. Adjust the 4th encoder to set the frequency of the key filter that can be used to trigger the compressor.

Adjust the 5th encoder to set the steepness of the EQ slope used in the compressor. Tap the 6th encoder to assign the selected key source to the compressor. If the currently selected channel is an input, the channel equalizer contains four bands, with various aspects of each band adjusted by encoders If the currently selected channel is a bus, the channel equalizer contains six bands, with various aspects of each band adjusted by encoders Adjust the 1st encoder to set the frequency of the channel low-cut filter.

Page 2 Frequency 1. Works as above, but the encoders now adjust the frequency center points for the different EQ bands. 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. Adjust the 1st encoder to set the level for the first send of the currently selected four-send group. Tap the 1st encoder to mute the first send of the currently selected four-send group. Repeat process with the next three encoders for the other three sends in the currently selected four-send group.

Adjust the 6th encoder to select which four sends to control with the screen encoders, shifting focus two sends at a time. Tap the 6th encoder to select which four sends to control with the screen encoders, shifting focus four sends at a time.

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. It also has a MIDI input and output. A networked remote control connection is available, via Ethernet, for show setups with on-screen software editors. It features powerful scene management capable of handling and recalling complex productions. A front-panel USB type-A port provides preset storage, system updates, and uncompressed stereo recordings.

If you own a Behringer digital mixers and have a user manual in electronic form, you can upload it to this website using the link on the right side of the screen. Table Of Contents.

Quick Links. See also: Service Manual , User Manual. Table of Contents. Previous Page. Next Page. Page 2: Table Of Contents 5. Page 4: Introduction A virtual FX rack offers 8 true-stereo 16 mono multi-effects processors, with 39 FX models that eliminate the need for any additional outboard gear.

After years of intense development, 4 high-quality effects such as delay, chorus and reverb can run concurrently with we are proud to offer a mixer that combines tremendous power and flexibility 8 channels of band graphic equalization. Page 5: Operational Overview Assigning these will obviously carry no and a card slot for 32 channels of input and output to and from a connected computer signal, but they can still be used when preparing shows for a full X32 console.

Page 8 Switch the console off and back on without holding the USB button to boot the console with the existing firmware. Routing is defined in the 16 to glow green.

Page 10 AES50 A and B connectors allow 96 channels of bidirectional audio for 23 30 connection to S16 digital snakes or other X32 family products. Vocal 2 3. Vocal 3 4. Vocal 4 5. 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.

Page 16 Stereo Tremolo creates an up and down volume change at a constant and even mix or level out volume inconsistencies of slap bass tracks. Inspired by the SPL tempo just like the guitar amps of yesteryear. Uses only one FX slot.