Behringer X32 RACK User Manual

User Manual

X32 RACK DIGITAL MIXER

40-Input, 25-Bus Digital Rack Mixer with 16 Programmable MIDAS Preamps, USB Audio Interface and iPad/iPhone Remote Control

2 X32 RACK DIGITAL MIXER User Manual

Table of Contents

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

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

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

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

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

2. Callouts ....................................................................... 9

3. Hookup ..................................................................... 11

4. FX Descriptions ........................................................ 13

5. Topic Guide .............................................................. 19

5.1 Starting up, shutting down,

and rmware updates ............................................................. 19

5.2 Default setup for connecting to

monitoring and P.A. systems ................................................ 19

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

out to the P.A. system? ............................................................ 19

5.4 How do I add one of the 8 internal

eects to the sound? ............................................................... 20

5.5 How do I use an outboard eectsprocessor? ........ 20

7. Main Display ............................................................. 31

7.1 O ve rv ie w .............................................................................. 31

7.2 Home Screen ...................................................................... 34

7.3 Meters Screen .....................................................................38

7.4 Routing Screen................................................................... 39

7.5 Libraries Screen ................................................................. 44

7.6 Eects Screen ..................................................................... 45

7.7 Setup Screen ....................................................................... 46

7.8 Monitor/Talkback Screens: ........................................... 51

7.9 Scenes Screen .....................................................................53

7.10 Mute Group Screen ........................................................55

7.11 Utility Screen ..................................................................... 55

7.12 USB Screen .........................................................................56

8. Specications ........................................................... 58

Block Diagram ..............................................................60

X32 MIDI Implementation ........................................... 61

Dimensions ................................................................... 63

5.6 How do I set up live stage monitoring? ....................20

5.7 Everything you ought to know

about Solo and monitor sources......................................... 21

5.8 How do I share signals over AES50

Supermac network? ............................................................... 22

5.9 AES50 cabling requirements ........................................ 22

5.10 What kinds of Utilities are available? .......................22

5.11 Using the X32 RACK in recording and

production studioenvironments .......................................23

5.12 Remote control ................................................................ 24

5.13 Recording a 2-track directly

with theconsole .......................................................................24

5.14 Saving and recalling scenes ........................................ 24

6. USB Interface Operation Guide .............................. 25

6.1 Conguring the X-USB card

for use in theconsole .............................................................. 25

6.2 Conguring the PC to Interface

withtheX-USB Card ................................................................28

6.3 X-USB Specications........................................................ 30

3 X32 RACK DIGITAL 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 ser vice 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 RACK DIGITAL MIXER User Manual

Introduction

Welcome to the X32 RACK 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 RACK is a robust-yet-streamlined mixer that features all of the core functionality and processing of BEHRINGER's agship X32 console in a smaller form factor. Extensive on-board I/O includes Cirrus Logic converters, 96bidirectional channels over SuperMAC AES50, 16 channels of BEHRINGER’s Ultranet personal monitoring and 32 x 32 channels for recording over USB.

Abundantanalogconnectivity is provided via 16 MIDAS-designed digitally-controllable microphone preamps, 6 line-level auxiliary in- and outputs, 8 XLR outputs, stereo TRS monitoring outputs and headphones output. Each of the 16 microphone inputs can accept balanced or unbalanced mic or line-level level signals and include switchable phantom power, 72 dB gain range and max +23 dBu level before clip. A separate external talkback mic input allows communication to various destinations.

Dual AES50 Ethernet jacks that employ KLARK TEKNIK SuperMAC technology contribute 96 x 96 signals to the total count of 168 x 168 accessible sources and destinations. Recallable mic preamps, programmable routing and the abilit y to save and recall entire scenes make 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 ex ternal ash or harddrives.

A main 5"-wide, high-contrast color display provides information forediting pertinent parameters of the active function or eect.

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

The X32 RACK integrates seamlessly withother X32 consoles, the S16 digital stage box and the P-16 personal monitoring system for complete live, studio and installed sound solutions. Control the mixer from a distance with the free iPad app or with editingand remote controlsoftware connected via Ethernet. The X32 RACK’seaseof use, intuitiveworkow, diverse feature set and integration with other equipment make it an ideal centerpiece for installedand productionsound in any setting.

Continue through this User Manual to learn all about the functionality that this powerful mixer has to oer! We also recommend that you check behringer.com tomake sure you have the latest rmware installed as we release frequentupdates.

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.

5 X32 RACK DIGITAL MIXER User Manual

1. Operational Overview

Ch01

01:

home

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

Local In 1-8 Local In 9-16 [Local In 17-24] [Local In 25-32] AES50 A1-8 AES50 A9-16 AES50 A17-24 AES50 A25-32 AES50 A33-40 AES50 A41-48 AES50 B1-8 AES50 B9-16 AES50 B17-24 AES50 A25-32

0:00 - 0:00

analog out

Channel Processing Block Patch

aux out

Local In 1-8 Local In 9-16 [Local In 17-24] [Local In 25-32] AES50 A1-8 AES50 A9-16 AES50 A17-24 AES50 A25-32 AES50 A33-40 AES50 A41-48 AES50 B1-8 AES50 B9-16 AES50 B17-24 AES50 A25-32

p16 out

Inputs 25-32 Aux In 1-4

Local In 1-8 Local In 9-16 [Local In 17-24] [Local In 25-32] AES50 A1-8 AES50 A9-16 AES50 A17-24 AES50 A25-32 AES50 A33-40 AES50 A41-48 AES50 B1-8 AES50 B9-16 AES50 B17-24 AES50 A25-32

A: S16 A: 48K B: - C: X-USB

card out aes50-a aes50-b

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

Routing I/O

The X32 RACK console features 16 analog rear-panel XLR inputs with microphone preamps, as well as 8rear-panel XLR Outputs and 6 TRS Aux Sends and Returns. In addition, there are two AES50ports, eachfeaturing 48 input and output channels, andacard slot for 32channels of input and outputtoand from a connected computer via USB2.0.

Input Signals can be attached to the console’s internal audio processing engine in blocks of 8signals from any one of the aforementioned inputsources.

13:45

Connected Devices

AES50 A

AES50 B

: 19

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

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

Cabling for AES50 connections between X32 and S16 stageboxes:

• Shielded Cat-5e cables only

• Ethercon terminated cable ends

Ch01

Analog Output

Output 01 Output 02 Output 03 Output 04 Output 05 Output 06 Output 07 Output 08 *Output 09 *Output 10 *Output 11 *Output 12 *Output 13 *Output 14

01:

analog out

home aux out

Edit Output Assignment

MixBus

Select Select Select Select

0:00 - 0:00

CategoryCurrent Setting

OFF Main (LRC) Mix Bus Matrix Direct Out Monitor

p16 out

Processed Output Signal Tap

OFF Main L Main R Main C/M Main Bus 01 Main Bus 02 Main Bus 03 Main Bus 04 Main Bus 05 Main Bus 06 Main Bus 07 Main Bus 08 Main Bus 09

A: S16 A: 48K B: - C: X-USB

card out aes50-a aes50-b

Pre EQ Post EQ Pre Fader Post Fader

Set DelayAssign

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

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

of speakers)

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

• 6 auxiliary sends on ¼" TRS outputs

• Maximum cable length 100 meters (300 feet)

14:09

0.3

0.10

0.3

Delay

: 37

ft m ms

0.3

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

• 48x channels on AES50 port A

• 48x channels on AES50 port B

• 32x channels on USB interface card

• 16 channel personal monitoring using the console’s P-16 Bus output connector

6 X32 RACK DIGITAL MIXER User Manual

Ch01

01:

home gate dyn eq sends main

clip

-6

48V

-12

Reverse

-18

-24

-30

Link Lo Cut

-36

-42

+0.0

-48

-54

Gain

Gain +0.00

Link

cong

2.0

Lo Cut

0:00 - 0:00

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

Source

Input

Select

Delay

0.3

0.10

0.03

Delay

0.3

ft m ms

A: S16 A: 48K B: - C: X-USB

Insert Position

Pre PostIns

Ins Pos

PRE

Insert

Input Channels 1-16 are pre-congured to use the local input signals 1-16, but can be patched to use any other available signal on the audio engine as well, including mix bus/sub group outputs. Changesof the Channel Source can be made on the Preamp Congpage.

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

14:11

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

Insert

Connect

Insert

InsF

: 37

Aux Return Channels 1-8 are pre-congured to use the 6 aux input signals, and the two USB playback outputs, but can be patched to use any other available signal of the console as well.

FX Return Channels 1L-4R control the 4 stereo output signals of side-chain FX1-4.

LeOnde.mp3

00.05.00 00.00.00

home gate dyn eq sends main

clip

-6

-12

-18

Link

-24

-30

-36

-42

-48

-54

Gain

00.00

cong

Bus Conguration Bus Insert Position

Link Bus Sends

13:44:43 MyProj.prj

29 November 2010 Scene01

Channel Sends

∑

Insert PostPre

All Channel Sends

Pre Conguration

... Inputs

Pre EQ Pre Fader

Post Fader Sub Grou

Send Pos. Insert Pos. Insert

Inputs

Pre

Insert

The conguration of Mix Bus Channels 1-16 can be pre-set (in the Setup/Global page) or can also be congured on an individual, per-channel basis. Thebus processing includes (in this order):

• Insert point (swappable between post-EQ and pre-EQ operation)

• 6-band fully parametric EQ

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

• Bus sends to 6 matrices

• Main LR panning

Insert

Ins 01 Ins 02 Ins 03

Ins 04 ...

FX 01 FX 02

Connect

Main Bus Channels LR/C are always available and independent from Mix Buses. The processing steps for this signal path include (in this order):

• Insert point (swappable between post-EQ and pre-EQ operation)

• 6-band fully parametric EQ

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

• Bus sends to 6 matrices

Matrix Channels 1-6 are fed exclusively by MAINLRC and Mix Bus 1-16 signals. The processing steps include (in this order):

• Mono/Center level

• Insert point (swappable between post-EQ and pre-EQ operation)

• 6-band fully parametric EQ

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

7 X32 RACK DIGITAL MIXER User Manual

Eects Processing 1-8

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

• FX 1-4 can be congured as side chain or insert eects, while FX 5-8 can only

be used in insert points of channels or buses

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

the eects type/algorithm for each of the 8 FX slots of the virtual rack

• The subsequent tabs FX 1-FX 8 of the FX screen allow editing all parameters of

the chosen eec ts processor

iPad App for X32 RACK

Many functions of the X32 RACK console can be remotely controlled by a dedicated iPad app.

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

Ch01

FatSnare

OpeningScene

01 15:33

02: next 0:00 - 0:00

home

cong

gate dyn eq sends main

A: S16 A: 48K B: - C: X-USB

Linux/OS X applications and Windows-based applications for X32 RACK

Also oered is a separate remote editor running onhost computers that will allow for complete editing control of the X32 RACK via Ethernet.

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

X-USB expansion card

The X-USB card allows transmission of up to 32 channels to and from a connected computer. Please download the X-USB drivers and Quick Start Guide from behringer.com before connecting the mixer to your computer. The card is CoreAudio compatible, allowing it to work with computers with the OS X operating system software of Apple, Inc. without a driver.

: 15

Main Display Area

The top section of the main display permanently covers useful status information. The top lef t corner shows the selected channel number, its nickname and the selected icon. The next block shows the current scene number and name in amber, as well as the next upcoming scene. The center section displays the playback le name along with elapsed and remaining time and a recorder status icon. Thenext block to the right has 4 segments to show the status of AES50 por ts A and B, the Card slot and the audio clock synchronization source and sample rate (topright). Small green square indicators show proper connectivity. The right most block shows the console time that can be set under Setup/Cong.

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

Editing parameters or settings on each of the screens is done using the 6 associated push-encoders along the bottom edge of the display.

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

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

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

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

Customizing the X32 RACK through the Utilities page

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

• When you are adjusting the equalizer of a console channel, pressing the Utility

button will oer copying, pasting, loading or saving of equalizer settings

• On the Routing pages, pressing the Utility button will oer loading or saving

dierent presets of routing scenarios

• In the Scenes menu, pressing the Utility but ton oers copying, loading, saving or

naming console scenes

NOTE: The X32 RACK DCA groups can be selected using the Channel Select control in order to adjust their fader level, mute or solo status. Note, however, that the main display will remain focused on the last real channel (bus or input) that was selected before DCA, since DCAs do not feature any processing.

8 X32 RACK DIGITAL MIXER User Manual

Startup and Shutdown, and Update:

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

The Setup screen’s general preference page contains a Safe Main Levels function. When activated, the console automatically mutes t he main LRC levels when booting the console. It also prevents any scene loading from aec ting (i.e. turning up) the mains levels.

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

A 48K C X-USB

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

NOTE: The X32 RACK can be locked agains t unintended use by activating ‘Lock Console’ from the Setup/Global p age. In this state the UI will not allow any changes to be made and the display shows “X”. Keep HOME depressed for about 5 seconds to unlock the X32 again.

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

• Download the new console rmware from the X32 RACK 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 USB button depressed while switching the console on. While booting,

the X32 RACK 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 USB button to boot the console with the existing rmware.

CAUTION: Please do not block the vent openings on the sides of the X32 RACK cabinet! Specically when mounting the X32 RACK in a road case, please ensure there is sucient space to allow for some airow.

9 X32 RACK DIGITAL MIXER User Manual

2. Callouts

(1) (3) (4) (5) (11) (13) (17)(6) (10) (16) (21)

(7) (8) (19) (20)(9) (12) (14) (15) (18)

(2)

(1) USB button opens the Recorder View on the MAIN DISPLAY, causing the LED

to glow green. The LED will glow red to indicate access on the DATA/AUDIO input. An unlit LED indicates no data access and inactive Recorder View.

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

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

(3) CHANNEL SELECT control cycles through all channels by turning the knob.

By pressing this knob, you can jump to the next type of channels.

(10)

(16) TALK button engages the Talkback microphone. Routing is dened in the

Monitoring Preferences page.

(17) TALK LEVEL knob sets the Talkback mic gain.

(18) CLEAR SOLO button lights to indicate that one of the channels has been

Soloed. Press to deactivate all active solo functions.

(19) MAIN LR LEVEL knob adjusts the main stereo output bus.

(20) ON/OFF button turns the power on and o.

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

(5) CHANNEL NUMBER display shows the currently selected channel.

(6) INPUT METER displays the pre-fader input level of the selected channel.

(7) SOLO button routes the currently selected channel to the monitoring

paths. The LED lights when ac tive.

(8) CHANNEL LEVEL control adjusts the currently selected channel’s output.

(9) MUTE button mutes the currently selected channel. The LED lights

when active.

(10) MAIN MENU buttons open specic menus on the MAIN DISPLAY.

(11) MAIN DISPLAY shows permanent information about the mixer’s

conguration as well as information about the currently selected menu.

(12) DISPLAY ENCODER knobs allow adjustment and on/o selection of the

menu items indicated at the bottom of the MAIN DISPLAY.

(13) MAIN METER indicates the Main Mono or SOLO level in the left meter and

the Main Stereo level on the right.

(14) PAGE SELECT buttons curse horizontally in the MAIN DISPLAY and make

Yes / No conrmations.

(15) LAYER SELECT buttons access dierent parameter layers that can be edited

by the DISPLAY ENCODERS.

(21) MONITOR LEVEL knob adjusts the headphone and monitor output volume.

Connect headphones to the ¼" front panel input.

10 X32 RACK DIGITAL MIXER User Manual

(1) (3) (4) (5) (11) (13) (17)(6) (10) (16) (21)

(7) (8) (19) (20)(9) (12) (14) (15) (18)

(2)

(10)

(22)

(23) (24) (31)

(25)

(26)

(22) TALKBACK input connects a talkback microphone via XLR cable.

(23) MONITOR outputs send audio to monitor speakers via ¼" balanced cables.

(24) AUX IN and OUT jacks send and receive signals via ¼" and RCA connectors.

(25) XLR OUT jacks send audio via XLR cable. Output signals are congured on

the Routing/Aux Out page of the MAIN DISPLAY.

(26) X-USB card provides 32 channels of input and output via USB cable to and

from any connected personal computer DAWapplication.

(27) (29)(28) (30)

(29) ULTRANET connector sends 16 channels of audio to a P16 monitoring system.

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

connection to S16 digital snakes or other X32 family products. Shielded CAT-5e cable should always be used for AES50 connections between X32 and S16 units.

(31) XLR IN jacks receive inputs via XLR cable. These inputs feature 16 MIDAS-

designed mic/line preamps with 72 dB of gain range. Each input has an adjacent red LED to indicate when 48 V phantom power supply is engaged.

(27) ETHERNET connector allows full OSC-based remote control of the X32 RACK.

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

standard 5-pin DIN cables.

11 X32 RACK DIGITAL MIXER User Manual

3. Hookup

X32 RACK Live Performance Setup with S16, X32, and P16 Monitor System

VIEW

X32 RACK Out 1-8 for FOH amps/loudspeakers, front and side lls, or stage monitoring on the left

P16-D Distributor

IEM

CH 1-16 In

Bass Player

VIEW

AES50 Out 1-16 P16 Bus signals

Vocal 1

AES50 CH 1-32 In

IEM

AES50

VIEWVIEWVIEWVIEWVIEWVIEW

–

VIEW

Digital cable (CAT5) Analog Cable

Phones

S16 Out 1-8 for FOH amps/loudspeakers, front and side lls or stage monitoring on the right

CH 17-32 In

P16-D Distributor

IEM

2nd Guitarist

Background Vocal 2

IEM

Guitarist

Phones

Drummer

POWERPLAY P16-M Digital Personal Mixers

F1320D Active oor monitors

Keyboardist

Voc 1 Floor wedges

Vocal 1

IEM

Background Vocal 1

Percussionist

Keyboards Percussion

Background Vocal 3

IEM

Spare

12 X32 RACK DIGITAL MIXER User Manual

X32 RACK Recording Studio Setup

Monitor/Control Room Out

Rack

Expander

Keys 2

Keys 1 Sampler

LRR L R L R L R L R

1 2 3 4

Outboard

6 7 8 9 10

Computer tower with DAW software

USB cable from X-USB

interface card

AES50 cable

Recording RoomControl Room

B3031A Studio MonitorsB3031A Studio Monitors

DIGITAL SNAKE S16

S16 Input List

1. Lead Vocal

2. Vocal 2

3. Vocal 3

4. Vocal 4

5. Vocal 5

6. Acoustic Guitar

7. Rhythm E. Guitar

8. Lead E. Guitar

9. E. Bass (via DI)

10. Kick

11. Snare

12. Tom 1

13. Tom 2

14. Floor Tom

15. Overhead 1

16. Overhead 2

P16-D Distributor

Phones

POWERPLAY P16-M Personal Monitor Mixers

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4. FX Descriptions

FX Descriptions

Here is a list and brief description of the eects available on the X32 RACK. WhenStereoand Dual versions of an eect are oered, use the Stereo version when the left and right signal are to be altered together (e.g. on linked stereo channels or buses), or Dual when you want to dial dierent settings for the left and right signal. See the Topic Guide for instructions on how to add eects to a channel orbus.

Stereo Precision Limiter

Stereo Precision Limiter allows you to set a precise volume limit, ensuringdistortion-free, optimal signal integrity. Use X32’s Stereo Precision Limiter to boost quiet signals or preventing clipping while preserving the level of “hot”signals.

AUTOGAIN activates an additional long-term gain correction, allowing automatic gain scaling of varying input level ranges. STEREO LINK applies limiting to both channels equally when activated. INPUT GAIN provides up to 18 dB of gain to the input signal prior to limiting. OUTPUT GAIN sets the nal gain level of the processed signal. SQUEEZE adds compression to the signal to add punch and a slight distortion depending on the amount you dial in. ATTACK sets the attack time, ranging from 0.05 mS to 1 mS. RELEASE adjusts the release time from

0.05mS to 1.04 seconds. KNEE adjusts the sof t limiting threshold point from hard limiting (0 dB) to maximum soft limiting (10 dB).

Triple Delay

Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with independent frequency, gain, and pan controls. Create time-based echo eects with the Triple Delay to increase the sense of stereo separation.

TIME BASE sets the master delay time, which is also the delay time for the rst stage. GAIN BASE sets the gain level of the rst stage of the delay. PAN BASE sets the position of the rst delay stage in the stereo eld. LO CUT sets the frequency at which the source signal can begin passing through the delay. HI CUT sets the frequency at which the source signal no longer passes through the delay. X-FEED indicates that stereo cross-feedback of the delays is active. MONO activates a mono mix of both channels for the delay input. FEED adjusts the amount of feedback. FACTOR A controls the amount of delay time in the second stage of the delay. GAIN A controls the gain level of the second delay stage. PAN A sets the position of the second delay stage in the stereo eld. FACTOR B controls the amount of delay time in the third stage of the delay. GAIN B controls the gain level of the third delay stage. PAN B sets the position of the third gain stage in the stereo eld.

Ambience

Stereo Delay

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

The MIX control lets you blend the source signal and the delayed signal. TIMEadjusts the master delay time up to three seconds. LO CUT adjusts the low frequency cut, allowing lower frequencies to remain unaected by the delay. HI CUT adjusts the high frequency cut, allowing higher frequencies to remain unaected by the delay. FACTOR L sets the delay on the left channel to rhythmic fractions of the master delay time. FACTOR R sets the delay on the right channel to rhythmic frac tions of the master delay time. OFFSET LR adds a delay dierence between the lef t and right delayed signals. The FEED LO CUT/HI CUT adjusts lters in the feedback paths. FEED L and FEED R control the amount of feedback for the left and right channels. MODE sets the feedback mode: Mode ST sets normal feedback for both channels, X crosses feedbacks between left and right channels. M creates a mono mix within the feedback chain. 

Ambience creates a customizable virtual acoustic space in which to place the elements of a mix. Use Ambience to add warmth and depth without coloring the direct sound. (Inspired by the Lexicon Ambience Algorithm)

PRE DELAY sets the time before the reverb follows the source signal. 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.

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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.

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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.

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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.

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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.

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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.

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5. Topic Guide

5.1 Starting up, shutting down, and rmware updates

We recommend switching the X32 RACK on before any active sound reinforcement system is connected. The function called “Safe Main Levels”, located in the Setup/General Preferences screen, automatically turns down the main LRC bus levels when booting the console, and also prevents any scene loading actions from aecting (specically turning up) the main levels.

Synchronization and Sample Rate settings can also be adjusted on the Setup/Cong page, but please note that changing the sample rate will require a console reboot.

◊ Please Note: Settings under ‘Link Preferences’, ‘Panning Mode’,

and ‘DCA groups’ are stored with the Scene data while all other settings made on the Setup/Config page are not stored in any preset and will not be initialized either. Please verify before using the X32 RACK that the sample rate is set correctly and if the synchronization source is selected appropriately. If set to external synchronization via one of the two AES50 ports, while no clock source is actually connected or switched on, then the corresponding small square icon in the main display’s top row would be red rather than green. In normal state you should only see 1-4 green squares in the top section depending on the units connec ted.

Note that if the X32 RACK has previously been in use by somebody else, and you feel unsure about its actual status, you can reset it to default settings in either of two convenient ways:

1. While the console is booting up and the “X32” logo appears on the screen, press and hold the “Scenes / UNDO” button, keeping it depressed until the console is fully operational and the Home screen is displayed. The console will now be in the exact same state as it was when rst shipped from the factory. However, you can immediately revert back to the status the console was in before being switched o by pressing the Scenes/UNDO button.

2. You can also reset the console any time after booting by pressing “Setup/Cong” -> “Initialize”.

The X32 RACK regularly stores the console’s status to its onboard ash memory, sothere is usually nothing wrong with switching it o, and you do not have to explicitly save the current status. However, when a large number of parameters have been recently changed, storing all of them to ash can take up to 1 minute, in a “worst-case” scenario. In order to prevent any errors by losing power during this type of storage operation, we recommend using the “Safe Shutdown” function from the Setup/Global page, an operation similar to un-mounting a USBthumb-drive from your PC.

Updates:

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

• Download the new console rmware from the X32 RACK 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 USB but ton depressed while switching the console on. While booting, the X32 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 RACK from booting regularly. Switch the console o and back on without holding the USB button to boot the console with the existing rmware.

5.2 Default setup for connecting to monitoring and P.A. systems

The X32 RACK comes pre-congured with the local XLR inputs connec ted to input channels 1-16, and XLR outputs 1-6 connected to the mix bus masters 1-6. The Main LR (stereo) signal is normally put out on XLR outputs 7 and 8.

The Monitoring outputs on ¼" connectors, and the Phones output always carries either the Monitor Source signal or any solo signal, whenever a solo button is active. Press the View button in the Monitor section to check or change the solo and monitoring preferences.

1. Power up the X32 RACK console rst, before any connected power amps or speakers are switched on.

2. Connect cables to XLR outputs 7 and 8 on the rear panel, connecting the other ends of the cables to the inputs of your P.A. system. These normally carry the main stereo bus left and right.

3. All buses or input channels that are to be put out on the main PA system must have their Main LR Bus switches on. Use the selected channel’s pan control to place the signal within the main stereo eld, and the channel’s fader to set the volume.

4. Use the rear panel Monitoring outputs to connect monitor speakers or, ifyou prefer, use the ¼" output in the front panel to connect your headphones. Youwill either hear the monitor source signal, which is Main Stereo by default, or any channel with its solo button being active.

5.3 How do I connect a microphone, process its

signal and send it out to the P.A. system?

1. Turn the Channel Select knob to select the desired channel and press the knob to conrm. Make sure the Channel Level knob is turned down.

2. On the Home screen, “home” tab, press the Layer down button and ensure that the phantom power is disengaged.

3. Connect a microphone to XLR input 1 on the X32 RACK’s rear panel.

4. Engage the phantom power for channel 1 if the microphone requires it (such as a condenser mic).

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

5. On the “home” tab’s rst layer, adjust the Gain knob (1st encoder) to set the gain as necessary, using the input meter on the left side of the screen as a guide.

6. Also on the “home” tab, adjust the channel's Gate and Compressor as desired.

7. Press the Page Selec t right button to access the EQ tab and adjust the channel's equalization if necessary.

8. Press the 6th encoder to assign the channel to the main bus, then adjust the encoder to place the signal within the stereo eld.

9. Adjust the Channel Level knob for channel 1 to the 0 dB region, then slowly turn up the Main LR Level knob until you hear the mic signal amplied through your P.A. system.

The USB socket is not suitable for other non-memory USB devices like keyboards, mice, lamps, etc.

20 X32 RACK DIGITAL MIXER User Manual

5.4 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ec ts 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.

• “Inser t” 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:

• Press the “Eects” menu button. 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.

• Adjust rotary encoder #1 and rotary encoder #2, selecting your desired bus as the source for both the left and right inputs of the rst eect processor.

• Adjust rotary encoder #5 to select a specic eect processor, suchas “Ambience”.

• Rotate the Channel Select knob until 1 L appears in the channel number display and press the knob. Use the Channel Level knob to bring the return up to 0 dB. Turn the Channel Select knob to the right one click so that 1r appears in the display, the press the knob. Bring the return level up to 0 dB.

• Adjust rotary control #6 to 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.

5.5 How do I use an outboard

eectsprocessor?

In some situations, you may wish to use a loop-style eect provided by an external eect processor, as opposed to using one of the eight built-in processors. To do so:

• Press the ROUTE button, page right to the “Aux Out” screen, and adjust the rst and fourth encoders to tie a rear panel ¼" aux out, such as Aux Out 1, toan available mix bus, such as Mix Bus 2.

• Patch rear panel Aux Output 1 to the input of your external eects processor.

• Patch the output of the external eects processor to rear panel Aux Input 1.

• Rotate the Channel Select knob until A1 appears in the display, the press the

knob. On the Home screen, ‘home’ tab, verify that the Main LR is highlighted.

• Move the Aux 1 channel level to 0 dB.

• Adjust the settings on the external eects processor to taste.

• Back on the Eects page, press the PAGE SELECT right button to switch the

screen to the editor for the Ambience processor. The screen will switch to an editor page for the rst processor. Adjust the rotary encoders to tailor the eect to your liking.

• 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ec t. The higher you raise the fader, the more of that channel's signal will be sent to the processor.

To apply an “insert” style eec t:

• Press the “Eects” menu button.

• 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.

• Adjust rotary encoder #6 to highlight one of the eects processors on the right side; it will be surrounded by an orange outline.

• Adjust rotary encoder #1 and rotary encoder #2, selecting “Insert” as the source for both the lef t and right inputs of the eect processor.

• Adjust rotary encoder #5 to select a specic eect processor, such as “precision limiter”.

• Select the specic input or output channel you wish to use the inserted eect on.

5.6 How do I set up live stage monitoring?

Setting up a live stage monitor mix using conventional monitors:

1. Press the ROUTE button and page right to the Analog Out page.

2. Adjust the rst encoder to select a rear panel analog output (e.g. Output 1), then adjust the four th encoder to select a mix bus (e.g. Mix Bus 1). Whenthe source and destination have been selected, press the 4th encoder to complete the assignment.

3. Adjust the 5th encoder to set up the monitor send as pre-fader, or pre/post EQ. This will prevent the monitor mix from changing when the front-ofhouse mix is adjusted.

4. Connect a cable from rear panel analog Out 1 to the input of:

a) A powered stage monitor

b) An external amplier feeding a passive stage monitor

c) A transmitter for a set of wireless in-ear monitors

5. Rotate the Channel Select knob to select Bus 1, then press the knob. Adjust the Channel Level knob to 0 dB. You can change the output on this bus later.

6. To adjust the mix sent to the monitor, select an input channel with the Channel Select knob, nagivate to the Home screen’s ‘sends’ tab, then raise the faders for each bus that the channel should be sent to.

• Press the HOME button, then the PAGE SELECT right button to navigate to the selected channel’s “Cong” screen.

+ 44 hidden pages

Behringer X32 RACK User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Important Safety Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

Introduction

1. Operational Overview

2. Callouts

3. Hookup

4. FX Descriptions

5. Topic Guide

5.2 Default setup for connecting to monitoring and P.A. systems

5.6 How do I set up live stage monitoring?