Page 1
SX3242FX
Analog Mixer
32x4x2 Live/
Studio Mixer
Premium ultra-low noise,
high-headroom analog mixer
24 state-of-the-art XENYX Mic Preamps
comparable to stand-alone boutique
preamps
Neo-classic “British” 3-band EQs with
semi-parametric mid band for warm
and musical sound
2 independent studio-grade
24-bit stereo FX processors with
99 awesome presets including reverb,
chorus, fl anger, delay, pitch shifter and
various multi-eff ects
High-precision 9-band stereo graphic
EQ allows precise frequency correction
of monitor or main mixes
Revolutionary FBQ Feedback Detection
system instantly reveals critical
frequencies
Peak LEDs, Mute, Main mix and
subgroup routing switches, Solo and
PFL functions on all channels
2 fully featured stereo input channels
with 4-band EQ plus 2 additional
stereo input channels with Level and
pre-fader Aux controls
Inserts on each mono channel and
main mix for fl exible connection of
outboard equipment
4 Subgroup outputs and additional
Mono output with sweepable Low Pass
fi lter for subwoofer application
4 Aux sends per channel: 2 pre/post
fader switchable for monitoring/FX
applications, 2 post fader (for internal
FX or as external send)
Balanced Main mix outputs with ¼"
jack and gold-plated XLR connectors,
separate Control room, Headphone
and stereo Tape outputs
Solo-In-Place and Pre-Fader-Listen
functions plus full-featured Talkback
section
Standby switch mutes all channels
during breaks while background music
is provided via CD/Tape inputs
Long-wearing 60 mm logarithmictaper faders and sealed rotary controls
Internal autorange power supply for
maximum fl exibility (100 – 240 V~),
noise-free audio, superior transient
response plus low power consumption
for energy saving
High-quality components and
exceptionally rugged construction
ensure long life
Conceived and designed by
BEHRINGER Germany
behringer.com
EURODESK 32-Channel Analog Mixer With 24 XENYX Mic
Preamps and 99 Digital Eff ect Presets
If you want classic analog handling
but can’t skimp on superior digital
eff ects and studio-grade mic preamps,
the SX3242FX is your new best friend.
This mixer’s 24 mic inputs, 8 stereo
inputs and 4 buses give you enough
leeway to handle anything from a
graduation speech to a 5-piece band
to a whole church service with praise
99 awesome presets to provide the
perfect sonic garnish. “Sure they’re
great for live sound, but I have a lot
of cool plug-ins for recording,” we can
hear some of you saying. Truth be
told, you never have too many eff ects.
And when you hear the quality of the
SX3242FX’s FX, you may want to give
your overworked CPU a rest.
band and choir.
Classic control, state-of-the-art
sound
Each of the SX3242FX’s 24 mic
inputs connects to our world-famous,
studio-grade XENYX mic preamps.
They are legendary for their high
headroom, warm natural timbre and
utter lack of background noise. Plug
in a large-diaphragm condenser mic
and track a vocal to hear XENYX’s rich
detail and spaciousness. Plug in a
dynamic mic and stick it inside a bass
drum to appreciate the whopping
headroom.
You may experience side-FX…
Whether you need to add a dab of
reverb or delay to a live vocalist’s mic
or warp a hard day’s studio session
into psychedelic quicksand, the
SX3242FX has you covered. We gave
this mixer two independent studiograde 24-bit stereo FX processors with
Continued on next page
Page 2
SX3242FX
32x4x2 Live/
Studio Mixer
Eff ects
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 refl ections
Early Refl ections (17) Dense reverb with pronounced early refl ec tions
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 eff ect
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 eff ect combined with Reverb
Delay & Reverb (61-63) Delay combined with Reverb
Delay & Chorus (64-67) Widens the signals and produces repetition eff ects
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 specifi c period of time to make a
specifi c 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 specifi c frequency
band, similar to auto-wah or electric guitars
Tube Distortion (92-93) Simulates the tube distortion of classic guitar
amplifi ers
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.
Naturally we gave you a whole
palette of creative eff ects like reverb,
chorus, fl anger, delay and pitch shifter
tones, as well as mind-bending multieff ects to take your sound out of
this world. But you also get problem
solving workhorses like compression
and gating plus fi nal eff ects such as
Ultramizer, Ultrabass and Exciter that
can put a PA or studio mix over the top.
And because there are two processors,
you can cue two separate eff ects,
then apply one or both to channels
1 through 28 — compression for the
vocalist, reverb for the vocalist and
snare drum, for example.
What the heck is “British EQ”?
A good thing to have on your side
when you start reaching for those
channel equalization knobs. At a live
concert or in the studio.
Think of it as kinder, gentler, more
musical EQ like the type found on
classic British consoles from the 60’s
and 70’s. Single malt scotch instead of
Everclear. Home-baked cherry cobbler
instead of an artifi cial cherry lollypop.
British EQ’s distinct confi guration
of wider curves/lower Q and harmonic
phase characteristics allows you to add
or subtract EQ more generously than
you can with conventional EQ circuit
designs. When you add low midrange,
you get a fi rmer sound instead of
a nasty bonk. When you back high
frequencies off a bit, treble backs off
just a hair instead of turning muffl ed.
All SX3242FX mono channels
have low and high shelving plus
a sweepable “midrange” you can
move anywhere from 100Hz to 8kHz.
Think of it as your roving English
troubleshooter.
Kill feedback before it maims your
audience.
When it comes to suppressing
feedback, the SX3242FX is like having
a bloodhound trained to spot trouble
frequencies a mile away.
The 9-band graphic EQ (which you
can choose to apply to your main mix
or monitor mix via the MAIN/AUX1
button) features the FBQ Feedback
Detection system. It makes fi nding and
adjusting critical frequencies a snap.
Just push FBQ IN, then watch as LEDs
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on the individual EQ sliders light up,
indicating which frequency bands are
causing feedback. Simply adjust until
the LED goes dim.
The Ins and Outs
Some manufacturers make what
they call 32-input mixers that count
stuff like CD/TAPE IN as an input. But
the SX3242FX really gives you twentyfour honest mono channels plus eight
stereo channels, making it easy to
accommodate a variety of studio or
live performance confi gurations. You
can connect up to 24 microphones
or other mono instruments and up to
four stereo instruments (keyboards or
tone modules, for example).
You can combine these input
in four diff erent sub-mixes (we call
them buses). That allows you to blend
multiple channels—say all the mics
on a drum kit or all the backup singers’
mics—to a single fader, which is easier
to adjust for the overall mix that goes
to the PA speakers. You can also use
one or more of the sub-mix buses to
create custom monitor mixes for picky
members of your band (“More me!
More me!”).
A zillion ways to change the channel
At the top of each mono channel,
you’ll fi nd both a balanced XLR
input with a XENYX mic preamp
and a ¼" input. A phantom power
switch located on the back near the
main power switch accommodates
condenser mics.
Next comes is an insert for connecting
up individual signal processors or
feeding a remote broadcast feed or
multitrack recorder directly.
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SX3242FX
32x4x2 Live/
Studio Mixer
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 15dB) 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
eff ects, 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 fi nd 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
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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 simplifi ed 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?
Bass
Drums
GI100
Direct Box
GI100
Direct Box
B-2
Condenser Mic
Studio Set-Up
Computer
Keyboard
UCA202
USB Interface
HA4700
Headphone
Distribution Amp
TRUTH B2031A
Active Studio Monitors
DAT
Recorder
Guitar
LX112
Guitar Amp
HPS3000 HPS3000 HPS3000 HPS3000
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SX3242FX
32x4x2 Live/
Studio Mixer
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 eff ects.
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 assign-•
able 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
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100 to 240 V with noise-free audio,
top-quality transient response and low
power consumption.
Buy it now. Teach your great grandkids how to run it.
BEHRINGER mixers last and last.
We use top quality parts such as longwear faders, sealed rotary controls and
premium circuit boards. We have
20 years of experience fi guring out
how to compensate for clumsy
load-ins, spilled drinks, crazed
guitarists and millions of road miles.
The result is a mixer you can count on
day after day and night after night.
Why do you need this mixer?
Built-in pristine XENYX mic pre-•
amps…LOTS of them
Dual 24-bit FX processor with 99 •
presets including reverb, chorus,
fl anger, delay and pitch shifter tones
British-style EQ dials give you the •
Bass
Guitar
Drums
GI100
Direct Box
GI100
Direct Box
Guitar
XM8500 Dynamic Mics
LX112
Guitar Amp
Live Set-Up
MDX1600 Expander/
Gate/Compressor/Limiter
MDX1600 Expander/
Gate/Compressor/Limiter
Keyboard
Keyboard
Active Floor Monitor
Active Floor Monitor
MP3
Player
F1220A
F1220A
DEQ2496 Processor
DAT
Recorder
B1220 PRO
12" 2 Way Loudspeakers
EP2000
Power Amp
HPS3000
EP4000
Power Amp
AB200
Programable
Footswitch
B1800X PRO
B1800XPRO
Page 5
SX3242FX
32x4x2 Live/
Studio Mixer
sound and control preferred by top
studio engineers
The built-in FBQ Feedback Detec-•
tion system instantly reveals critical
frequencies and the 9-band stereo
graphic EQ allows precise correction
Page 5 of 6
of those frequencies in monitor or
main mixes
Awesomely complete I/O – every-•
thing from bus inserts to mono
output
SIXTEEN MONO
channels, each
with balanced
XLR in with XENYX
mic preamp and
phantom power for
condenser mics.
¼" TRS balanced/
unbalanced input.
Insert I/O for signal
processing on
individual channels
(pre-fader, pre-EQ
and pre-aux send).
TRIM control
adjusts input gain
via Level Set LED.
LOW CUT fi lter
(mono channels)
eliminates
unwanted
infrasonics.
12kHz shelving
HIGH EQ.
Semi-parametric
MID EQ is
sweepable from
100Hz to 8Khz.
80Hz shelving
LOW EQ.
AUX 1 & 2 level
controls with PRE/
post switch.
FX1 and FX2 inject
built-in FX into the
channel or can be
used to control an
FX eff ects unit.
PAN control sets
position of the
channel signal in
the stereo mix.
MUTE switch (with
bright LED) also
mutes aux buses
set to post-fader.
Channel CLIP LED.
SOLO routes the
subgroup signal to
the solo bus (Solo
In Place) or PFL bus
(Pre Fader Listen).
Routing switches
for assigning
channel to MAIN or
Subgroups.
EIGHT LINE IN-ONLY CHANNELS. Left and
right balanced/unbalanced line level ¼"
The Stereo FX
RETURN inputs
return eff ect signals
from external eff ects
processors.
TRS inputs (stereo
channels 25-26,
27-28, 29-30 and
31-32.
25 27 29 31
FX SEND 1 and 2 can be routed to an
external eff ects device.
Master AUX SENDs
1 & 2 to external
eff ects devices or
monitor speakers.
Gold-plated CD/
TAPE OUTPUT
RCA connectors
for output to USB
interface/hard disk
recorder or DAT.
32302826
Gold-plated CD/
TAPE INPUT RCA
connectors for
connecting MP3 or
CD players or other
line-level sources.
MAIN INSERTs can be used to connect a
dynamics processor or equalizer for further
processing of the mix signal.
Balanced/unbalanced ¼" TRS MAIN
outputs.
Balanced XLR MAIN outputs.
FOOTSW(ITCH) jack for enabling/ disabling
FX 1 or FX 2 eff ects processors.
The MONO Out. Perfect for a subwoofer
output.
¼" TRS PHONES/CTRL ROOM OUT
connector.
SUBGROUP outputs.
9-band stereo equalizer. Use to adapt the
sound to room acoustics or with the FBQ
system.
FBQ Feedback Detection System.
Frequencies causing feedback are indicated
by the brightly-lit fader LEDs.
MAIN/AUX 1 switch selects source of the
signal to be processed by the FX section.
Graphic EQ IN / out.
99 24-bit studio-quality digital eff ects
including reverbs, delays, gates, phasers etc.
FX LED level meters for optimizing input
signal level to digital eff ects.
11-LED master level meter.
Switches assign internal eff ects to MAIN
bus or subgroups 1-2 or 3-4.
Master FX 1 & 2 SEND controls.
FX 1 & 2 eff ects level and selection controls.
The SOLO/PFL switch determines whether
the monitored signal is pre- or post-fader.
CD/TAPE level control. Between sets press
STANDBY to mute all active channels except
the music you’re playing through the CD/
TAPE input — so you don’t have to change
the levels of any channel faders!
TALKBACK level control (can also be
assigned to AUX 1/2).
MONO output frequency control and
separate LOW PASS fi lter.
PHONES/CONTROL ROOM level control and
assignment switches.
60mm mono out and main stereo out faders
60mm SUBmix bus faders 1, 2, 3 & 4. Each
as a solo switch and switch to assign them
to master Left or Right stereo channels.
Silky-smooth 60mm faders on all channels and buses.
Page 6
SX3242FX
32x4x2 Live/
Studio Mixer
Finally, “And now for something
completely similar.”
If you’ve read this product sheet
and loved everything about the
SX3242FX except it seemed like a bit
too much mixer for your current needs,
we have good news for you. It has
Page 6 of 6
a little brother, the SX2442! Sixteen
mono channels each with superb
XENYX mic preamps. And of course
every other feature you’ve just read
about. But in a smaller form factor and
lower price. See both models at your
BEHRINGER Dealer today.
Mono inputs
Microphone inputs (XENYX Mic preamp)
Type XLR connector, electronically balanced,
discrete input circuit
Mic E.I.N. 1(20 Hz – 20 kHz)
@ 0 Ω source resistance -134 dB/135.7 dB A-weighted
@ 50 Ω source resistance -131 dB/133.3 dB A-weighted
@ 150 Ω source resistance -129 dB/130.5 dB A-weighted
Frequency response
<10 Hz-160 kHz -1 dB
<10 Hz-200 kHz -3 dB
Gain range +10 dB to +60 dB
Max. input level +12 dBu @ +10 dB GAIN
Impedance approx. 2.6kΩ balanced
Signal-to-noise ratio 110 dB/112 dB A-weighted
(0 dBu In @ +22 dB GAIN)
Distortion (THD+N) 0.005%/0.004% A-weighted
Line input
Type ¼" TRS jack, electronically balanced
Impedance approx. 20 kΩ balanced, approx.
10 kΩ unbalanced
Gain range -10 dB to +40 dB
Max. input level +22 dBu @ 0 dB GAIN
Fade-out attenuation2(Crosstalk attenuation)
Main fader closed 90 dB
Channel muted 84 dB
Channel fader muted 85 dB
Frequency response (Mic In Main Out)
<10 Hz – 90 kHz +0 dB/-1 dB
<10 Hz – 160 kHz +0 dB/-3 dB
Stereo Inputs
Type 2 x ¼" TRS jack, balanced
Impedance approx. 20 kΩ balanced,
10 kΩ Unbalanced
Gain range -20 dB to +20 dB
Max. input level +22 dBu @ 0 dB GAIN
CD/Tape in
Type RCA Connector
Impedance approx. 10 kΩ
Max. input level +22 dBu
Equalizer
EQ mono channels
LOW 80 Hz/±15 dB
MID 100 Hz to 8 kHz/±15 dB
HIGH 12 kHz/15± dB
LOW CUT 80Hz, 18 dB/oct.
EQ stereo channels
LOW 80 Hz/±15 dB
LOW MID 500 Hz/±15 dB
HIGH MID 3 kHz/±15 dB
HIGH 12kHZ/±15 dB
Channel inserts
Type ¼" TRS jack, unbalanced
Max. input level +22 dBu
AUX/FX Send
Type ¼" mono jack, unbalanced
Impedance approx. 120Ω
Max. output level +22 dBu
FX Returns
Type ¼" mono jack, unbalanced
Impedance approx. 10 kΩ
Max. input level +22 dBu
Subgroup outputs
Type ¼" mono jack, unbalanced
Impedance approx. 120Ω
Max. output level +22 dBu
Main outputs (XLR)
Type XLR connector, elec tronically balanced
Impedance approx. 240Ω balanced,
120Ω unbalanced
Max. output level +28 dBu
Main outputs (¼")
Type ¼" TRS jack, electronically balanced
Impedance approx. 240Ω balanced,
120 Ω unbalanced
Max. output level +28 dBu
Main Inserts
Type ¼" TRS jack, unbalanced
Max. input level +22 dBu
Mono output
Type ¼" mono jack, unbalanced
Impedance approx. 120Ω
Max. output level +22 dBu
Low pass variable, 30 Hz to 200 Hz, 18 dB/oct.
Phones/CTRL room output
Type ¼" TRS jack, unbalanced
Max. output level +19 dBu/150Ω (+25 dBM)
CD/Tape Out
Type RCA connector
Impedance approx. 1 kΩ
Max. output level +22 dBu
DSP
Type Texas Instruments
Converter 24-bit delta-sigma, 64/128-times
Sampling rate 46 kHz
Main mix system data3(Noise)
Main mix @ -∞, channel fader @-∞
-100 dB/-102.5 dB A-weighted
Main mix @ 0 dB, channel fader @-∞
-82 dB/-85 dB A-weighted
Main mix @ 0 dB, channel fader @ 0 dB
-72 dB/-75 dB A-weighted
Power supply
Power consumption 50W
Fuse (100 – 240 V~, 50/60 Hz)
Mains connector Standard IEC receptacle
Physical/weight
Dimensions (H x W x D) 3.9" x 35.3" x 16.1"
Weight (net) 24.3 lbs (11.0 kg)
1
Equivalent Input Noise
2
Measuring conditions: 1 kHz rel. to 0 dBu; 20 Hz – 20 kHz; line
input; main ouput; unity gain
3
20 Hz – 20 kHz; measured at main output. Channels 1 – 4 unity
gain; EQ fl at; all channels on main mix; channels 1/3 as far left as
possible; channels 2/4 as far right as possible; reference = +6 dBu.
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these eff orts, modifi cations may be
made from time to time to existing products without prior notice.
Specifi cations and appearance may diff er from those listed or
illustrated.
oversampling
T 2,0 A H 250 V
(100 m x 896 mm x 410 mm)
For service, support or more information contact the BEHRINGER location nearest you:
BEHRINGER Australia tel.: +61 3 9877 7170, fax: +61 3 9877 7870 BEHRINGER Germany tel.: +49
2154 9206 4149, fax: +49 2154 9206 4199 BEHRINGER Japan tel.: +81 3 5281 1180, fax: +81 3 5281
1181 BEHRINGER Singapore tel: +65 5845 1800, fax: +65 6214 0275 BEHRINGER USA / CANADA
tel: +1 425 672 0816, fax: +1 425 673 7647
©2009 BEHRINGER International GmbH. Technical specifi cations and appearance subject to change without notice. The information contained herein is correct at the time of printing. BEHRINGER
accepts no liability for any loss which may be suff ered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. 985-10000-00283
behringer.com
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