Behringer X32 CORE User Manual

User Manual

X32 CORE DIGITAL RACK MIXER

40-Input, 25-Bus Digital Rack Mixer with AES50 Networked Audio,
USB Audio Interface and iPad/iPhone Remote Control

2 X32 CORE DIGITAL RACK MIXER User Manual

Table of Contents

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

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

Limited warranty ............................................................ 3

Introduction.................................................................... 4

1. Callouts ....................................................................... 5

2. Hookup ....................................................................... 6

3. Select Knob Functions .............................................. 8

4. FX Descriptions ........................................................ 10

5. Topic Guide .............................................................. 16

5.1 Firmware updates ............................................................. 16

5.2 Remote control .................................................................. 16

5.3 Recording a 2-track

directly with theconsole ....................................................... 16

5.4 Saving and recalling scenes ..........................................16

5.5 How do I add one of the

8 internal eects to the sound? ........................................... 17

6. USB Interface Operation Guide .............................. 18

6.1 Conguring the X-USB card

for use in theconsole .............................................................. 18

6.2 Conguring the PC to

Interface withtheX-USB Card .............................................. 21

6.3 X-USB Specications........................................................ 23

7. Specications ...........................................................24

Block Diagram ..............................................................25

X32 MIDI Implementation ........................................... 26

3 X32 CORE DIGITAL RACK MIXER User Manual

9. Do not defeat the safety purpose of the polarized

or statement contained herein. Technical speci cations,

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.

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.

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.

17. Correct disposal of this
product: This symbol indicates
that this product must not be
disposed of with household
waste, according to the WEEE
Directive (2002/96/EC) and

your national law. This product
should be taken to a collection center licensed for the
recycling of waste electrical and electronic equipment
(EEE). The mishandling of this type of waste could have
a possible negative impact on the environment and
human health due to potentially hazardous substances
that are generally associated with EEE. At the same time,
your cooperation in the correct disposal of this product
will contribute to the e cient use of natural resources.
For more information about where you can take your
waste equipment for recycling, please contact your local
city o ce, or your household waste collection service.

LEGAL DISCLAIMER

MUSIC Group accepts no liability for any loss which
may be su ered by any person who relies either
wholly or in part upon any description, photograph,

appearances and other information are subject to
change without notice. All trademarks are the property
of their respective owners. MIDAS, KLARK TEKNIK,
TURBOSOUND, BEHRINGER, BUGERA and DDA are
trademarks or registered trademarks of MUSIC Group IP
Ltd. © MUSIC Group IP Ltd. 2014 All rights reserved.

LIMITED WARRANTY

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

4 X32 CORE DIGITAL RACK MIXER User Manual

Introduction

Welcome to the X32 CORE 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 CORE is a robust-yet-streamlined mixer that features all of the basic
functionality and processing of BEHRINGER's agship X32 console in a smaller
form factor. When paired with our S16 digital stagebox and either the X32-Mix
iPad app or X32-Edit PC/Mac editor, the CORE becomes the centerpiece of a
highly-exible mixing system for both portable and xed-install applications.

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. The ability to save and recall entire scenes makes set or program
changes quick and simple. A front panel USB connector enables system data to be
stored or a board mix to be recorded directly 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 USB interface card enables streaming of up to 32 tracks to and from a
computer for recording, mixing and mastering purposes.

Continue through this user manual to learn all about the func tionality 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.

5 X32 CORE DIGITAL RACK MIXER User Manual

1. Callouts

(1) (3) (4) (5) (6) (7) (8) (9) (10) (11)

(2)

(12) (13) (15) (16) (17)(14) (18)

(1) SCENE/SETUP button toggles between Scenes Recall (green LED) and

Channel Selector mode (LED o) with a short press. Hold the button to
enter Setup Mode (green LED) and press the button again to exit Setup
Mode. The LED turns red to indicate access on attached DATA/AUDIO
USB media.

(2) DATA/AUDIO input allows connection of USB ashdrives for rmware

updates, loading/saving scenes and show les, and playing back or
recording WAV les.

(3) METER displays the input level of the selected channel.

(4) DISPLAY shows the channel name and icon, scene name, or setup

pageinformation.

(5) CHANNEL TYPE LEDs indicate which type of channel is currently selected.

(6) SELECT knob navigates the display menus and edits setup parameters.

Seethe SELECT Knob Functions section for details.

(7) TALKBACK button engages the external Talkback mic input on the

rear panel. Details of the routing and operation can be dened on the
monitoring preferences page of the control software.

(8) USER ASSIGNABLE ENCODERS adjusts a predened variable parameter in

the software. Function to be dened in the control sof tware.

(9) USER ASSIGNABLE BUTTONS toggles a predened on/o parameter in

the software. Function to be dened in the control sof tware.

(10) PHONES output and level allow audio to be monitored directly from

the unit. Details of the audio content can be adjusted in the monitoring
preferences page of the control software. While in Channel Select Mode,
push the Select encoder to toggle Solo on and o.

(13) ETHERNET connec tor allows full OSC-based remote control of the X32 CORE.

(14) MIDI IN/OUT allows the unit to send and receive MIDI commands via

standard 5-pin DIN cables.

(15) ULTRANET connector sends 16 channels of audio to a P16

monitoringsystem.

(16) AES50 A and B connectors allow 96 channels of bidirectional audio for

connection to S16 digital snakes or other X32 family products. The front
panel LEDs will light green to indicate proper sync, light red to indicate
a sync error, and remain unlit when no connection is present. Shielded
CAT-5e cable should always be used for AES50 connections between X32
and S16 units.

(17) MONITORING OUTPUT jacks allow connection of monitor speakers via

balanced or unbalanced ¼" cables.

(18) TALKBACK input accepts a dynamic microphone via ¼" TRS jack. Adjust the

gain with the adjacent TRIM knob.

(11) POWER button turns the unit on and o.

(12) X-USB interface card allows up to 32 channels of bidirectional audio to be

transmitted to and from a computer.

6 X32 CORE DIGITAL RACK MIXER User Manual

TRS

TRS

TRS

TRS

2. Hookup

Basic Connections

USB drive for rmware updates, loading
Scenes and playing/recording WAV les

HPX6000

S16 Digital Snake

Cabling for all AES50 connections between X32 and S16 stageboxes:

• Shielded CAT-5e cable

• Ethercon terminated cable ends

P16D

B3031A Studio monitors

P16M

• Maximum cable length 100 meters (330 feet)

7 X32 CORE DIGITAL RACK MIXER User Manual

Multiple Stage Setup with X32 CORE, S16 Snake and P16 Personal Monitor System

P16
Ultranet

AES50
Supermac

IEM

Bass Player

IEM

Guitarist

Phones

Drummer

POWERPLAY P16-M Digital Personal Mixers

F1320D Active oor monitors

Vocal 1

Keyboardist

Voc 1 Floor wedges

Vocal 1

P16-D Distributor

P16-D Distributor

IEM

P16

IEM IEM

2nd Guitarist

IEM IEM

Background Vocal 1

Percussionist

Keyboards Percussion

Background Vocal 2

Background Vocal 3

Spare

IEM

Ultranet

AES50
Supermac

Control room with PC application to run both stage setups from one
location through the X32 CORE

K8 Active Studio Monitors

Analog balanced TRS

8 X32 CORE DIGITAL RACK MIXER User Manual

3. Select Knob Functions

The SELECT knob serves several functions on the X32 CORE. The following table describes the SELECT knob behavior in each of the available scenarios.

Action

Channel Select Mode (SCENE/SETUP button LED is o )

Display >Selected channel number

Short press Toggles the selected channel to SOLO on/o

Rotate Immediately selects the desired channel

Long press Clears all active channel solos
Scene Select Mode (accessed by pressing the SCENE/SETUP button so that the LED is green)
Display >“Scene” in bold

Short press Recalls the selected Scene from X32 internal memory “GO”

Rotate Preselects the next Scene
Setup Mode (accessed by pressing and holding the SCENE/SETUP button so that the LED is green)
Rotate and press Select and enter the Setup pages:

1. Load Show Load show from root directory of attached USB drive

2. Contrast LCD contrast

Functional Description

>Input source
>Channel icon and color
>Nickname

> Channel signal will be sent to Monitoring L/R outputs on rear panel and
Phones output on front panel
> Exact behavior depends on settings in Monitoring page
(remotecontrolled via editing software)

(input, aux in, FX return, bus, matrix, main or DCA)
>The Channel Type LEDs [5] will follow the selection.
> Note that the X32 CORE Channel Selector will skip all channels, setting
the display color to ’black’ or ’o’.

>Current scene number
>Next scene number and name (small) to be loaded on GO

> behavior depends on Scene settings/preferences (remote controlled via
editing software)
> Scene safes can only be set/reset remotely
> Scenes/Shows from USB drives can only be accessed remotely
>A complete show can be loaded from an attached USB drive into the
internal memory using Setup Mode

1. Load Show

2. Contrast

3. LEDs

4. Clock Rate

5. Sync

6. IP Address

7. IP (Subnet) Mask

8. IP Gateway

9. Lock

>display 3 rows:

-Load Show

-Exit

-Show Files
>Exit leads back to Setup Mode root level
>Turn clockwise to scroll through a list of show les found in USB root
directory, push to load selected show and return to Setup Mode root level

> Rotate to adjust 0-100
> Press to conrm and exit

9 X32 CORE DIGITAL RACK MIXER User Manual

Action

Functional Description

3. LEDs LED brightness
> Rotate to adjust 0-100
> Press to conrm and exit

4. Clock Rate Select the internal Sample Clock Rate
> Rotate to adjust 44.1 or 48 kHz (change requires to reboot the X32 CORE)
> Press to conrm and exit

5. Sync Choose Clock Synchronization source
> Rotate to select INT (internal), AES50 (Port) A, or AES50 (Port) B
> Press to conrm and exit

6. IP Address Select the IP Address for X32 CORE
> Rotate to adjust the rst triplet (0-255)
> Press to conrm
> Rotate to adjust the second triplet (0-255)
> Press to conrm
> Rotate to adjust the third triplet (0-255)
> Press to conrm
> Rotate to adjust the fourth triplet (0-255)
> Press to conrm and exit

7. IP Mask Select the IP Subnet Mask for X32 CORE
> Rotate to adjust the rst triplet (0-255)
> Press to conrm
> Rotate to adjust the second triplet (0-255)
> Press to conrm
> Rotate to adjust the third triplet (0-255)
> Press to conrm
> Rotate to adjust the fourth triplet (0-255)
> Press to conrm and exit

8. IP Gateway Select the IP Gateway for X32 CORE
> Rotate to adjust the rst triplet (0-255)
> Press to conrm
> Rotate to adjust the second triplet (0-255)
> Press to conrm
> Rotate to adjust the third triplet (0-255)
> Press to conrm
> Rotate to adjust the fourth triplet (0-255)
> Press to conrm and exit

9. Lock Locks the X32 CORE
>Display “Lock Cancel”
>Press to cancel locking
> Rotating clockwise turns the display from Green to Red backlight and
shows “LOCKED”
> Press and hold the SCENE/SETUP button for 5 seconds in order to
exit Locked mode and get back to the standard Channel Select mode
(showingthe last selected channel)

10 X32 CORE DIGITAL RACK MIXER User Manual

4. FX Descriptions

FX Descriptions

Here is a list and brief description of the eects available on the X32 CORE.
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. Assignment and editing of eects parameters is done via the
X32-Edit or X32-Mix applications.

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. DEC AY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ect builds
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.

11 X32 CORE DIGITAL RACK MIXER User Manual

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ection is distributed through the envelope
of the reverb. The LO CUT knob sets the frequenc y 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 performance 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

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.

Vintage Room simulates the reverberation that occurs when sound is recorded in
a small room. When you want to add a bit of warmth and just a touch of reverb,
X32’s Vintage Room breathes life into close-miced guitar and drum tracks.
(Inspired by the Quantec QRS)

The VU meter displays the input and output levels. Set the early 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 lef t 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.

12 X32 CORE DIGITAL RACK 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 shifted 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 button.
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.

13 X32 CORE DIGITAL RACK 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 further 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ect 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ec t so you can hear exactly what
you’re adding to the mix.

14 X32 CORE DIGITAL RACK 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 electronic
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 left
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.

15 X32 CORE DIGITAL RACK 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ec t 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.

Dual / Stereo DeEsser

Rotate the 1st and 2nd encoder to adjust the low and high-band reduction
respectively. Press the 1st encoder to select male or female to optimize the
frequency for the vocalists range. Repeat the steps for the B channel using the
3rd and 4th encoders. If using the Stereo DeEsser, press the 5th encoder to select
between Stereo or Mono/Stereo, which allows the left and right channels to be
adjusted independently.

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.

16 X32 CORE DIGITAL RACK MIXER User Manual

5. Topic Guide

5.1 Firmware updates

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

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

the root level of a USB thumb drive

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

console is turned o

• Hold the SCENE/SETUP button depressed while switching the console on.

While booting, the X32 CORE 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 from booting regularly.
Switch the console o and back on without holding the SCENE/SETUP button to
boot the console with the existing rmware.

5.2 Remote control

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

• Enter Setup Mode by pressing and holding the SCENE/SETUP button

until the LED turns green.

5.3 Recording a 2-track directly with
theconsole

The X32 CORE oers the possibility to record a 2-track of your mix (or any other
selection of signals) directly onto a USB-stick/external USB hard disk:

• Plug a FAT-formatted (FAT12, FAT16, FAT32) USB stick into the USB port

on the front panel.

• In your X32-Mix or X32-Edit software, navigate to the Recorder screen.

• On the cong tab you can select the source for the recording, default is

main L and R.

• Press RECORD (encoder #5) to record your mix.

• To adjust the volume during playback, use the virtual faders for Aux 7

and 8, which are assigned to USB playback by default.

Remarks:

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

Please also note that it is possible that the specications of USB storage devices
may be changed by the manufacturer without any change in physical appearance
or notication.

• Rotate the Select knob to selec t “6. IP Address.” Press the Select knob

toconrm.

• Set an IP address which ts your network, normally 192.168.0.X.

Rotatethe Select knob to adjust the 1st triplet (0-255), then press to
conrm. Repeat this to enter the 2nd, 3rd and 4th triplet in the address.
The nal press will exit.

• Set your subnet mask according to your network, normally

255.255.255.0. Select setup page “7. IP Mask” and follow the same
procedure as the IP address.

• Set your gateway, if required, by selecting Setup page “8. IP Gateway”

and following the same procedure described above.

Now get your iPad or remote PC into the same network and open the X32-Edit.

PC:

• On the X32-Edit, choose setup on the right side and the network tab.

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

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

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

X32-Mix

• For the X32-Mix remote, open the program on your iPad (make sure the

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

5.4 Saving and recalling scenes

Follow the steps below to save and recall scenes in the console, allowing dierent
congurations to be recalled at a later time.

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

asdesired.

• Select the Scenes menu in your remote software. The display will show

various controls for saving and recalling console scenes.

• Press the rotary control labeled “Save Settings” to save the console’s

current conguration to the next available empty scene and label it with a
customname.

• Adjust the console to the next desired conguration, and repeat the process

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

• To recall a scene, scroll through the list of saved scenes. A gray box will

indicate which item is currently selected. When the desired scene is selected,
press the "GO" button and the console will switch to that scene. All console
parameters will switch to the state they were in when saved to the scene
that was just recalled.

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

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

17 X32 CORE DIGITAL RACK MIXER User Manual

5.5 How do I add one of the 8 internal eects
to the sound?

There are two types of eects that are commonly used:

• “Eects Loop” (side chain) style eects, where multiple channels all send

varying amounts of their signal to a common eect, such as a reverb,
delay,or chorus.

• “Insert” style eects that are inserted in to the signal path of a single

channel of audio. Examples would be a graphic EQ, lter, exciter,
ortubeemulator.

To apply an “Eects Loop” style eect:

• Select the “Eects” menu in either the X32-Mix or X-32 Edit software.

Themain screen will show the FX home screen where dierent eects
processors are assigned to the 8 processing slots.

• Adjust rotary encoder #6 to highlight the rst eects processor; it will be

surrounded by an orange outline. You may also click or tap directly on the
desired processor to select.

• Select your desired bus as the source for both the lef t and right inputs of the

rst eect processor.

• Select a specic eect processor, suchas “Ambience”.

• Adjust FX1L and FX1R up to 0 dB.

• With the desired eect highlighted, select the 'Edit' button beneath the 6th

encoder to adjust the eect parameters.

To apply an “insert” style eec t:

• Select the “Eects” menu in either the X32-Mix or X-32 Edit software.

• As the eects on the left side are also able to handle complex send eects

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

• Select one of the eects processors on the right side; it will be surrounded by

an orange outline.

• Select a channel or bus to assign to the processor, then select “Ins” to assign

as an insert eect.

• Select a specic eect processor, such as “precision limiter”.

• Navigate to the Home -> Cong screen.

• Select the specic processor you have applied the eect to, in this case

“InsFX 5L”. Press the encoder to connect the selected insert eect.

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

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

• Press the Home button again and tab over to the ‘sends’ page. Raisethe

virtual faders for the channels to which you want to add the eect.
The higher you raise the fader, the more of that channel's signal will be sent
to the processor.

18 X32 CORE DIGITAL RACK MIXER User Manual

6. USB Interface Operation Guide

Host system requirements for X-USB interface
expansion card

Check the BEHRINGER website at behringer.com for updates of X-USB rmware
or system requirements. Please nd the recommended hardware/software
minimum congurations in the specications section.

The BEHRINGER X-USB High-Performance 32-Channel
24-Bit USB Audio Interface

The X-USB card provides 32 channel, bi-directional audio I/O via USB 2.0 to
Mac or Windows PC. The simultaneous 32-in, 32-out audio channels enable
extremely powerful studio and live applications. You can run virtual live sound
checks or 32-track high-quality studio recordings, whileat the same time
remote operating your DAW via HUI/MackieControl emulation. Thehigh speed
24-bit signal transmission and ultra-low latency ASIO drivers and CoreAudio
compatibility even allow inserting audio plugins on your PC to perform advanced
outboard processing.

Conguration

After the console has fully booted up, you can access the Setup/Card screen in
your remote software to view the current channel count conguration.
Depending on your application, you may want to select an option other than the
maximum 32 x 32 channel count to preserve system resources.

6.1 Conguring the X-USB card for use in
theconsole

The console will automatically detect the X-USB card during the regular boot
cycle, and it will display the card’s presence in several instances.

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

19 X32 CORE DIGITAL RACK MIXER User Manual

32 in / 32 out

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

It is also possible to run a vir tual 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.

Generally, the Card outputs may use any of the available signal sources in the
console (local or AES50) for recording independently. When the X32 CORE is used
in a quasi in-line mode, the card with connected computer represents a classic
tape machine. In this case, the connected S16 mic inputs would be selected
to feed the card outputs (see graphic), and all signals are run from the S16’s
preamps directly to the multi-track recording machine (PC) and from there 1:1
back into the console’s input channels.

When the console channel inputs are set to Card, the channel Gain control will be a
+/- 12 dB digital trim for the inter face card signal, without direct access to any head
amp - which is great for mixdown but would be an issue for recording. So, mixing and
monitoring can be done using the X32 CORE input channel controls, but the actual

mic preamps must now be controlled from the Setup/preamps page, which gives
remote control to every one of the available preamps in the system. Use the Setup/
preamps page to make sure that phantom power is set as needed, and that there is a
reasonable amount of headroom for recording the preamp signals.

TIP: Sometimes it is more convenient to run the sound check while the preamps
are still connected to the X32 CORE input channels. Once you are condent 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.

If you wish to switch back and forth between the two modes more frequently,
you could consider storing 2 routing scenes, ’DAW’ and ’preamps’. Make sure
Scene Safes are set in a way that all other parameters remain unchanged.

20 X32 CORE DIGITAL RACK MIXER User Manual

16 in / 16 out

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

zero-latency overdub setup, which would be impossible if signals were run
through the computer. In this case, the 16 input signals are put on channels
1-16, whilethe tape (card) returns are put on channels 17-32. The monitoring is
directly fed from Ch1-16 as usual, including all processing and eects. It remains
independent from any computer audio latency, even though you can hear back all
the recorded tracks without any repatching.

32 in / 8 out

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

8 in / 8 out and 2 in / 2 out

For very small recording sessions or overdubs with single sources like vocals,
reducing the channel I/O frees up more processing power and ensures stable
operation with small latency settings.

8 in / 32 out

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

21 X32 CORE DIGITAL RACK MIXER User Manual

6.2 Conguring the PC to Interface
withtheX-USB Card

Please watch behringer.com for further advice on the software conguration of
X-USB interface card.

Windows: There is an ASIO high-performance driver available for

download, which is essential for low-latency audio on
Windows computers.

MacOS: The X-USB is CoreAudio compatible and thus works with

low-latency on Mac computers without any additional
driverinstallation.

The ’Devices’ screen displays the card name and serial number. You can rename
the card if necessary.

Windows ASIO Driver

Download the X32 ASIO driver installer les from behringer.com. Double-click on
Setup.exe in the corresponding unpacked folder and follow the instructions on
the screen.

Driver Control Panels

Once the driver is installed, you can open the control panel by double-clicking
on the small tray icon. These screens will allow conguring the X-USB expansion
card in the X32 CORE as an audio interface for your computer.

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

22 X32 CORE DIGITAL RACK MIXER User Manual

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

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

23 X32 CORE DIGITAL RACK MIXER User Manual

The ’Settings’ screen allows the stream, ASIO, and WDM sound buers to be set.
Any detected drop outs will be documented as well, in which case a larger buer
should be selected.

6.3 X-USB Specications

Expansion Card Features:

Interface MIDI

HighSpee d USB 2.0 1 in x 1 out 32, 16, 8 or 2 32, 16, 8 or 2

DAW remote contr ol Generic, HUI and Mackie Control emulation

Expansion Card Performance:

Interface Typical round-trip latency

HighSpee d USB 2.0 ~14 ms

* depends on system performance and application

Recommended Minimum Hardware:

Windows PC - Core 2 Duo CPU, 2 GHz

- USB 2.0 port

- 1 GB RAM

Mac - 1.5 GHz CPU

- USB 2.0 port

- 512 MB RAM

Recommended Operating Systems:

Audio input channels
24-Bit, 4 4.1/48 kHz

Audio output channels
24-Bit, 4 4.1/48 kHz

Windows: XP 32-Bit SP2 or higher, Win7 32-bit, Win7 64-bit, Win8 64-bit

(X-USBASIO drivers supplied)

MacOSX: 10.5 Leopard, 10.6 Snow Leopard, 10.7 Lion, 10.8 Mountain Lion
(CoreAudio compatible)

24 X32 CORE DIGITAL RACK MIXER User Manual

7. Specications

Processing

Number of processing channels

Internal eects engines, true stereo / mono 8 / 16
Internal total recall scenes (incl. preamp and

fader)
Signal processing 40-bit oating point
Network I/O latency (stagebox in > console

processing* > stagebox out)

Connectors

Talkback mic input, TRS 1 external (no phantom power)
Monitoring outputs ¼" TRS balanced 2
Phones outputs, ¼" TRS 1 stereo (front)
AES50 ports, SuperMAC 2
Expansion card slot 32 channel audio input/output, various standards
P-16 connector, Ultranet (no power supplied) 1
MIDI inputs / outputs 1/1
Ethernet, RJ45, rear panel, for remote control 1
USB Type A, front panel, for audio and data

export/import

Indicators

LCD screen 128 x 64, LCD with RGB color backlight

Main meter

Power

Switch-mode power supply Autorange 100-240 V (50/60 Hz)
Power consumption 40 W

Physical

Standard operating temperature range 5°C – 40°C (41°F – 104°F)
Dimensions 483 x 307 x 43.8 mm (19 x 12 x 1.7")
Weight 3.6 kg (7.9 lbs)

32 input channels, 8 aux channels, 8 FX return channels,
16 aux buses, 6 matrices, main LRC

100

1.1 ms

1

AES50 Port A/B status, Signal, 7-segment level
(-30 dB to clip)

*including all c hannel and bus proces sing, excluding inser t effec ts and line delays

iPhone, iPad, a nd OS X are trademark s of Apple Inc., reg istered in the US and ot her countries. Wi ndows is a register ed trademark of Mi crosoft Cor poration in the Uni ted States and other co untries.
Linux is a re gistered trade mark of Linus Torvald s.

25 X32 CORE DIGITAL RACK MIXER User Manual

Block Diagram

26 X32 CORE DIGITAL RACK MIXER User Manual

X32 MIDI Implementation

MIDI RX > SCENES

Whenever program change messages in the range 1-100 are received on MIDI
CH01, the corresponding scene of the X32 internal show memory will be loaded.

This requires the following preconditions:

• Setup / remote

> MIDI In/Out check marks must be set according to the connection on
which MIDI input will be accepted (via physical MIDI connectors on X32 or
S16, or via XUF Card)
> MIDI In/Out check mark must be set for “Enable MIDI Scene Recall”

• Setup / global

> when tick mark “Conrm Pop-Ups” / “Scene Load” is active, also MIDI
scene recalls will only become active after manual conrmation
> if you prefer activating scenes via MIDI program changes immediately,
un-check the “Conrm Pop-Ups” / “Scene Load” tick mark

• Scenes View / home

> valid scenes must be stored in the internal X32 show le. It is not possible
to recall empty scenes.
> the scope of changes applied by a MIDI scene recall depends on the Scene
Safes, Parameter Safes and Channel Safes settings, same as with recalling
the scene locally.

MIDI TX > SCENES

Every scene can be assigned one specic MIDI command/event. Each time the
scene is loaded the MIDI command will be sent out once. Possible choices for MIDI
commands/events to be found on Scenes View/MIDI page:

MIDI TX > ASSIGN

We restricted the user assignable MIDI commands to some generic elements,
in order to keep things simple enough:

• Encoders 1-4 > can be assigned to sending control changes, program

changes or notes

> parameters are currently ‘Channel’ and ‘Value’
> for CC and Note commands ‘Value’ = controller number/note number,
and the encoder rotation determines the controller value/note-on velocity
> for Program Changes only the channel is specied, and the encoder
rotation determines the program number

• Buttons 5-12 > can be operated in two modes, ‘MIDI Push’ (non-latching)

for momentary commands, or ‘MIDI Toggle’ (latching) for static commands

MIDI Push:

> can be assigned to sending control changes, program changes or notes
> parameters are currently ‘Channel’ and ‘Value’
> for CC and Note commands ‘Value’ 0…127 = controller number/note
number, and the button momentarily toggles the controller value/note-on
velocity to 127 (depressed)à0 (released]
> for Program Changes ‘Value’ 0…127 = program/preset number, that will
be sent upon pressing the button

MIDI Toggle:

> can be assigned to sending control changes or notes
> parameters are currently ‘Channel’ and ‘Value’
> for CC and Note commands ‘Value’ 0…127 = controller number/note
number, and the button toggles the controller value/note-on velocity
between value/velocity 127 and 0 with every operation

• O > no message will be sent upon scene load

• Program Change > select the MIDI Channel and the Program Number

(using knobs 4/5 at the main display)

• Control Change > select the MIDI Channel, Controller number and value

(using knobs 4-6 at the main display)

• Note > select the MIDI Channel, Note number and velocity (using knobs 4-6

at the main display) > will send out a Note On command directly followed by
the same Note O command

MIDI RX > ASSIGN

Whenever assignable controls are set up for transmitting MIDI commands,
reception of that same command (status or continuous) will be reected on the
respective assignable control element (button light, encoder LED collar).

• n.b.1) The ASSIGN section also reects/displays reception of the same MIDI

commands that are selected for transmission

• n.b.2) The MIDI commands assigned to the ASSIGN controls can be

transferred to and from stage via AES50 using the S16 stage box MIDI I/O

27 X32 CORE DIGITAL RACK MIXER User Manual

MIDI RX/TX > REMOTE

Enables a specic form of bi-directional MIDI communication for remote
controlling a computer DAW application using control elements of the X32
console. REMOTE can be used in 3 modes, Mackie Control, HUI and raw MIDI CC
(raw) controllers (see Setup/remote)

• MIDI CC (raw) selected and Remote is enabled+active, the group

section buttons

> will emit the following messages on Channel 01:
Group 1-8 SELECT = Note 64-71, on(127)/o(0), push non-latching
Group 1-8 SOLO = CC 32-39, on(127)/o(0), toggle latching
Group 1-8 MUTE = CC 40-47, on(127)/o(0), toggle latching
Sends On Fader = CC 48, on(127)/o(0), toggle latching
Group DCA 1-8 = Note 72, on(127)/o(0), push non-latching
BUS 1-8 = Note 73, on(127)/o(0), push non-latching
BUS 9-16 = Note 74, on(127)/o(0), push non-latching
MTX 1-6 = Note 75, on(127)/o(0), push non-latching
MIDI CC (raw) selected and Remote is enabled+active, then group section
faders 1-8
> will emit CC #0-7, value 0…127 messages on Channel 01

• HUI selected and Remote is enabled+active, then the group fader section

and buttons will emulate the HUI control surface protocol, i.e. for ProTools.

> SELECT/SOLO 1-8 buttons will select or solo the corresponding track in the
DAW, in banks of 8 tracks
> Sends On Fader = enables touch-writing a fader automation on selected
track, track automation mode in DAW must be ‘touch’, (latching)
> use the layer buttons to determine the function assigned to the MUTE 1-8
buttons, the LED displays indicate that function

- Group DCA 1-8 = allows to move the bank selection of tracks in a DAW,

(push non-latching)

- BUS 1-8 = allows to set DAW tracks to ‘Record Ready’, (push non-latching)

- BUS 9-16 = enables using the MUTE buttons for track mute in the DAW,

(latching)

- MTX 1-6 = enables using the MUTE but tons for transport controls in the

DAW, (latching)

• MACKIE CTRL selected and Remote is enabled+active, then the group fader

section and buttons will emulate the Mackie Control Universal protocol

> SELECT/SOLO 1-8 buttons will select or solo the corresponding track in the
DAW, in banks of 8 tracks
> Sends On Fader = enables touch-writing a fader automation on selected
track, track automation mode in DAW must be ‘touch’ or ‘latch’, (latching)
> use the layer buttons to determine the function assigned to the MUTE 1-8
buttons, the LED displays indicate that function

- Group DCA 1-8 = allows to move the bank selection of tracks in a DAW,

(push non-latching)

- BUS 1-8 = allows to set DAW tracks to ‘Record Ready’, (push non-latching)

- BUS 9-16 = enables using the MUTE buttons for track mute in the

DAW, (latching)

- MTX 1-6 = enables using the MUTE but tons for transport controls in the

DAW, (latching)

28 X32 CORE DIGITAL RACK MIXER User Manual

FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION

X32 CORE DIGITAL RACK MIXER

Responsible Party Name: MUSIC Group Services NV Inc.

Address: 5270 Procyon Street

Las Vegas, NV 89118
USA

Phone Number: [phone]

X32 CORE DIGITAL RACK MIXER

complies with the FCC rules as mentioned in the followingparagraph:

This equipment has been tested and found to comply with the limits for a ClassB
digital device, pur suant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment o and on, the user is encouraged to try to correct the
interference by one or more of the followingmeasures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit dierent from that to which the

receiver is connected.

• Consult the dealer or an experienced radio/TV technician forhelp.

This device complies with Part 15 of the FCC rules. Operation is subject to the
following two conditions:

(1) this device may not cause harmful interference, and
(2) this device must accept any inter ference received, including inter ference that may
cause undesired operation.

Important information:

Changes or modications to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.

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