Behringer EURODESK SX3242FX Brochure - Page 3

Page 3 of 8 EURODESK SX3242FX Effects PARALLEL EFFECTS: Cathedral (01-02) Very dense and long reverberation of a large cathedral Plate (03-04) Simulates early plate reverb Concert (05-06) Simulates a small theater or large concert hall Stage (07-08) Very dense reverb, especially for live applications Room (09-10) Simulates room's wall reverb. This particular room has two windows and yellow wallpaper Studio (11-12) Adds spaciousness to the sound Small Hall (13-14) Simulates hallway reverberation Ambience (15-16) Simulates the reverb of a middle-sized room without late reflections Early Reflections (17) Dense reverb with pronounced early reflections Spring Reverb (19-20) Simulates spring reverb Gated Reverb (21-22) Reverb that's synthetically cut off Reverse Reverb (23-24) Reverb that slowly gets louder Chorus (25-30) Slight detuning of the original signal Flanger (31-35) A delayed signal is added to the original signal, causing a phase shift Phaser (36-39) Another phase-shift effect Rotary Speaker (40-42) Simulation of a rotating electronic organ speaker Delay (43-52) Delay of the input signal with repetitions Chorus & Reverb (53-54) Combination of chorus and reverb Flanger & Reverb (55-56) Flanger combined with reverb Phaser & Reverb (57-58) Phaser combined with reverb Rotary Speaker & Reverb (59-60) Rotary Speaker effect combined with Reverb Delay & Reverb (61-63) Delay combined with Reverb Delay & Chorus (64-67) Widens the signals and produces repetition effects Delay & Flanger (68-70) Similar to Delay & Chorus, but with audible up/downward modulation INSERT EFFECTS: Compressor (71-73) Soft or loud passages are raised or lowered in level respectively Expander (74-76) Noise and hum is reduced in level Gate (77-78) A gate opens for a specific period of time to make a specific signal pass, then closes abruptly Ultramizer (79-80) Compression through automatic adaptation of compression parameters Ultrabass (81-82) Combines sub-harmonics processor, bass exciter, and limiter Panner (83-85) The signal "wanders" between the sides of the stereo basis Exciter (86-88) Adds synthetic harmonics to the signal, resulting in increased presence and "loudness" Auto Filter (89-91) Level-dependent boost of a specific frequency band, similar to auto-wah or electric guitars Tube Distortion (92-93) Simulates the tube distortion of classic guitar amplifiers Guitar Amp (94-97) Guitar amp simulation Vinylizer (98) Adds the clicks and noise of old vinyl records Test Tone (99) 1-kHz test tone. Virtually indistinguishable from some genres of techno. Next comes is an insert for connecting up individual signal processors or feeding a remote broadcast feed or multitrack recorder directly. Trim control and level set LED let you adjust the channel's input level for maximum headroom and minimum noise - the huge range of this control can handle anything from a very timid vocalist to a close-miked guitar amp stack. Each mono channel features a 3-band EQ with semi-parametric mids (giving you control of the Mid level and a sweepable frequency with a boost or cut of 15 dB) and a Trim control for adjusting input gain via a Level Set LED. A Low Cut button eliminates the frequencies where unwanted infrasonics such as mic handling, P-pops or wind noise occur. FX1 and FX2 dials add a blend of up to two effects, and AUX1 and AUX2 dials help create your monitor mix. Press the PRE button to send a raw, EQ-free signal to the monitors. Near every mono channel's fader you'll find a 1-2, 3-4 and MAIN button. By engaging the MAIN button, the signal is sent to the main mix. Or, if you engage the 1-2 button, the channel becomes part of a bus. Twist the PAN control all the way to the left to assign it to Sub 1, or all the way to the right for Sub 2. The same principle applies to the 3-4 button. A Mute button with accompanying LED cuts the signal from the channel, and a Clip LED helps you dial in a distortion-free post-EQ signal. The Solo button on individual channels routes the subgroup signal to the solo bus or Pre-Fader Listen-depending on whether the signal has been included in a subgroup. Instead of XLR inputs, stereo channels 25-32 have left and right balanced/unbalanced line level inputs. Channels 25-28 feature the same controls as the mono channels, but with a four-band EQ that gives you control of HIGH, HIGH MID, LOW MID and LOW. This is especially useful for EQ'ing the critical midrange frequency content found in keyboard signals. Stereo channels 29 through 32, designed for signals that do not require EQ, have a simplified interface consisting of a Level, AUX1 and AUX2 dial. Can you say laptop backing track feeds, drum machines, tone modules, DJ mixers or CD players? Finally, all four sub-mix buses feature an independent fader (naturally), Solo switch with bright LED, and assign buttons for routing them to Left or Right stereo channels. Packed with tasty details that make your creative life easier. • We solved the problem of what to do when you want to play music during breaks but don't want to have to mute every channel or turn down every fader. Just push CD/Tape STANDBY button to A) mute all mixer channels and B) solo just your CD/Tape source. • We didn't just give you a MONO output for subwoofers. We gave it a built-in variable low pass crossover, saving you money on outboard gear. • We added a footswitch jack that you can use to control either internal or external effects. • We gave you a complete Phones and Control Room assignment matrix so you can send mains, buses, CD/Tape or auxes out at the touch of a button. • We added a routing button to Talkback so you can talk directly to either a monitor mix or the house mix for public announcements. • We made the 9-band equalizer assignable to either AUX 1 or the main mix. Take On The World Not every town on the planet uses the same voltage common in yours. Unfortunately, this sometimes doesn't occur to jet-setting sound technicians until they're 5,000 miles from home. With the SX3242FX, this is never an issue. The internal autorange power supply can run on anything from 100 to 240 V with noise-free audio, top-quality transient response and low power consumption. Continued on next page