Behringer X32 COMPACT 16 x 8 Digital Mixing Console User Manual

User Manual

X32 DIGITAL MIXER

40-Input, 25-Bus Digital Mixing Console with 32 Programmable

MIDAS Preamps, 25 Motorized Faders, Channel LCD’s,

32-Channel Audio Interface and iPad/iPhone Remote Control

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2 X32 DIGITAL MIXER Preliminary User Manual

Table of Contents

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

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

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

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

2. Callouts .....................................................................13

2.1 Channel Strip ......................................................................13

2.2 Input Channel Banks .......................................................14

2.3 Display and Monitoring..................................................15

2.4 Group/Bus Banks ..............................................................16

2.5 Scenes, Assign, Mute Groups .......................................17

2.6 Rear Panel Connections .................................................17

3. Hook-Up Diagrams ..................................................19

4. FX Descriptions ........................................................21

5. Topic Guide ..............................................................28

5.1 Starting up, shutting down,

and rmware updates .............................................................28

5.2 Default setup for connecting

to monitoring and P.A. systems ...........................................29

5.3 How do I connect a microphone,

process its signal and send it out

to the P.A. system? ....................................................................29

5.4 How do I add one of the 8 internal

eects to the sound? ...............................................................30

5.5 How do I use an outboard eectsprocessor? ........30

5.6 How do I set up live stage monitoring? ....................30

5.7 Everything you ought to know

about Solo and monitor sources.........................................31

5.8 Using Mute Groups ..........................................................32

5.9 Mix Buses, Sub Groups and DCA Groups .................32

5.10 User Assignable control section ................................ 32

5.11 How do I share signals over

AES50Supermac network? .................................................33

5.12 AES50 cabling requirements ......................................33

5.13 What kinds of Utilities are available? .......................33

5.14 How do I set up a Matrix for a delay

column/toweror a remote zone mix? ...............................34

5.15 Using the X32 in recording and production

studioenvironments ...............................................................35

5.16 Remote control ................................................................36

5.17 Recording a 2-track directly with theconsole ......36

5.18 Saving and recalling scenes ........................................36

5.19 Using the Real Time Analyzer (RTA) .........................36

6. USB Interface Operation Guide ..............................37

6.1 Conguring the X-USB card

for use in theconsole ..............................................................37

6.2 Conguring the PC to Interface

withtheX-USB Card ............................................................... 40

6.3 X-USB Specications........................................................42

7. X32 Main Display .....................................................43

7.1 Ove r vie w ..............................................................................43

7.2 Home Screen ..................................................................... 46

7.3 Meters Screen .....................................................................50

7.4 Routing Screen...................................................................51

7.5 Setup Screen ....................................................................... 55

7.6 Libraries Screen .................................................................58

7.7 Eects Screen .....................................................................59

7.8 Mute Group Screen ..........................................................59

7.9 Utility Screen .......................................................................60

7.10 Monitor/Talkback Screens: ..........................................60

7.11 USB Screen .........................................................................62

7.12 Assign Screen ..................................................................63

7.13 Scenes Screen ...................................................................65

8. Specications ...........................................................68

Block Diagram ..............................................................70

X32 MIDI Implementation ...........................................71

Dimensions ...................................................................73

3 X32 DIGITAL MIXER Preliminary User Manual

Important Safety

Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

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.

9. Do not defeat the safety purpose of the polarized

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 (2012/19/EU) 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.

18. Do not install in a con ned space, such as a book

case or similar unit.

19. Do not place naked  ame sources, such as lighted

candles, on the apparatus.

20. Please keep the environmental aspects of battery

disposal in mind. Batteries must be disposed-of at a

battery collection point.

21. Use this apparatus in tropical and/or

moderate climates.

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, or statement contained herein.

Technical speci cations, appearances and other

information are subject to change without notice.

All trademarks are the property of their respective

owners. MIDAS, KLARK TEKNIK, LAB GRUPPEN, LAKE,

TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON,

BEHRINGER, BUGERA and DDA are trademarks

or registered trademarks of MUSIC Group IP Ltd.

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 DIGITAL MIXER Preliminary User Manual

Introduction

Welcome to the X32 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 is the fully-integrated centerpiece of BEHRINGER’s digital mixing,

audio networking and processing ecosystem. It combines a control surface

with streamlined workow, extensive I/O and signal processing into a compact

desktop form factor. Employing motorized faders and rotary encoders along

with a daylight-viewable TFT screen, the control surface is designed to allow

immediate access to critical functions with total and automatic recall of settings.

Extensive on-board I/O includes 40 A/D and 24 D/A Cirrus Logic converters,

96bidirectional channels over SuperMAC AES50, stereo AES/EBU out, 16 channels

of BEHRINGER’s Ultranet personal monitoring and 32 x 32 channels for recording

over USB.

Abundantanalogconnectivity is provided via 32 MIDAS-designed digitally-

controllable microphone preamps, 6 line-level auxiliary in- and outputs, 16 XLR

outputs, stereo monitoring outs on XLR/TRS and dual phones outputs. Each of

the 32 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 mic input and the internal talkback

mic allow 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. Motorized faders, recallable mic preamps, programmable routing and

the ability to save and recall entire scenes make set or program changes quick and

simple. A top panel USB connector enables system data to be stored or a board mix

to be recorded directly to external ash or harddrives.

The Input section is home for 16 high-resolution 100 mm motorized faders,

providing control over channels 1-16, 17-32, Aux inputs / USB playback /

FXreturns. A separate section of 8 motorized faders controls DCA groups 1-8,

busmasters 1-8 and 9-16 as well as matrices 1-6.The master “X-channel”

sectionallows instant editing of the currently selected channel’s gain,

dynamics,EQ and other functions. A customassignablesection allows certain

control functions to be mapped directly toa set ofdedicated knobs and buttons.

A main 7"-wide, high-contrast color display provides information forediting

pertinent parameters of the active function or eect. Relevant parameters are

quickly recalled to the display for editing via “view” buttonsin each sub-section.

Each channel also features a small, customizable LCD screen for track name,

number,colorand source graphic.

A virtual FX rack oers 8 true-stereo (16 mono) multi-eects processors,

withover 60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 X-USB interface card enables streaming of up to 32 tracks to and from

a computer for recording, mixingandmastering purposes.

The X32 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’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.

5 X32 DIGITAL MIXER Preliminary User Manual

1. Operational Overview

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VIEWVIEWVIEWVIEWVIEWVIEW

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(1) (3)

(4) (5)

(2 )

View buttons rule

Throughout the top panel of the console, youwillnd small buttons labeled

View. Press these buttons to immediately switch the console’s large color display

(known as the Main Display) to show information related to the section whose

View button you have just pressed.

For example, if you are editing the equalizer and feel like seeing a large display

of the EQ frequency response curve or corresponding EQ parametervalue,

simplypress the adjacent View button in the EQ section. If you need to check

where the talkback signal is being routed, simply press the View button next to

the Talk button and the main display will show the details.

With the View button approach of the X32 console, there is almost never a need

to drill down through multiple menu pages, since the View buttons will always

take you directly to the relevant screen.

Tip: The Setup/Global tab on the main display allows preferences for the behavior

of View and Select buttons to be adjusted.

Customizing the X32 through the Utilities page

Press the Utility button, located to the right of the main display, to bring up

useful functions 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

• Pressing the Utility button while editing a channel’s Preamp/Conguration

screen will present a naming screen where you can customize the channel’s

appearance on both the main display as well as the small channel display

• 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 button oers copying, loading,

saving or naming consolescenes

Sometimes there is more to say

Some of the individual pages on the main display contain

more adjustable parameters than can be controlled by

the 6 rotary push encoders located beneath it. In these

cases there is a small page number indication, e.g. “1/2”.

Simplypress the Layer Up/Down buttons to switch

betweenlayers.

Dir 05

Dir 06

Key In

Source

Select

1 2

Mixer Operational Overview

This chapter will give you an overview of the basic operations of the mixer,

allowing you to get up and running quickly. While reading through the

information, we encourage you to experiment with the console’s dierent

screens and controls. The console’s user interface was designed to be extremely

to navigate through and learn. Morespecic details about various functions can

be referenced later in the manual.

General user interface operation

The X32 user interface is divided into ve majorsections:

(1) Channel Strip

(2) Input Channels

(3) Display and Monitoring

(4) Group/Bus/Main Channels

(5) Scenes/Assign/Mute Groups

6 X32 DIGITAL MIXER Preliminary User Manual

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Input Channel Banks

You will nd a select button on top of every channel that is used to direct the

control focus of the user interface, including all channel related parameters

(channel strip and main display), tothat channel. Please note that at any time,

there is exactly onechannel selected (either Input Ch 1-32, Aux1-8, FXReturns

1L-4R, Mix Bus 1-16, Main LR/C, orMatrix 1-6). DCA Groups (digitally controlled

amplier) cannot be selected because they control a number of assigned

channels rather than one specic channel.

The Input Channels section of the console is locatedon the left hand side, and

oers 16 separate input channel strips. These 16 channel strips represent three

separate layers of inputs for the console, including:

• Input Channels 1-16

• Input Channels 17-32

• Auxiliary Inputs 1-6/USB playback/FX Returns 1L-4R

Press any of the correspondingly labeled layer buttons on the left side of the

console to switch the input channel bank to any of the three layers listed above.

The button will illuminate, reminding you which layer is active.

A fourth layer (Bus Masters) is also oered, allowingyou to adjust the levels of

the 16 Mix Bus Masters, which is useful when you wish to include Bus Masters

into DCA Group assignments.

VIEWVIEWVIEWVIEW

VIEW

Channel Strip

The X32’s channel strip oers dedicated controls for the most important processing

parameters of the currently selected channel. To adjust controls for a given channel

strip, simply press the Select button on the desired input or outputchannel.

Certain sections of the channel strip (such as the low cut lter, noise gate, EQ and

compressor) contain a respectively labeled button that can be pressed to switch

the specic eect on and o. Thebutton illuminates to show the eect is active,

and goes dark when bypassed.

Within the channel strip, the rotary control knobs are surrounded by an amber

LED collar that indicates the parameter’s value. Whenever this backlit knob is

turned o, it indicates that this specic control/parameter is not available for

the selected channel type. For example, if an output bus is currently selected,

theLED collar and the gainknob are turned o, because there is no input gain to

be controlled on an output bus.

The channel strip consists of the following sub-sections:

• Cong/Preamp

• Gate, Dynamics

• Equalizer

• Bus Sends, Main Bus

Each of these subsections correspond to the processing steps of the currently

selected channel, and they each have their own View button that, when pressed,

switches the Main Display to a page displaying all related parameters for

thatsubsection.

7 X32 DIGITAL MIXER Preliminary User Manual

Ch01

FatSnare

OpeningScene

02: next 0:00 - 0:00

A: S16 A: 48K

B: - C: X-USB

: 15

01 15:33

home

cong

gate dyn eq sends main

Main Display Area

The main color display presents information about various sections of the

console. It can be switched to dierent screens using the console’s View buttons,

as well as any of the 8 buttons on the right side of the display.

The top section of the main display permanently covers useful status information.

The top left 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

ports 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

Monitoring and Talkback

There are two separate Level controls in this section, one for the headphone

outputs located on either side of the console, and a second one for the monitor

outputs located on the rear panel.

Press the section’s View button to edit various monitoring preferences, such as

the input source forthe phones bus and the monitor outputs.

This section also contains independent Talkback buttons (A and B). Press the View

button to edit the Talkback preferences for the Talkback A path and Talkback B

path separately. This screen also contains settings for the optional goose-neck

lamp and the console’s internal test-tone generator.

Group/Bus Channel Banks

This section of the console oers eight channel strips, divided into the

followinglayers:

• Eight DCA (digitally controlled amplier) groups

• Mix Bus masters 1-8

• Mix Bus masters 9-16

• Matrix Outputs 1-6, and the main center bus

This section also contains a main LR output fader, which is independent and

always available no matter which channel bank or layer is active.

When using the DCA Groups layer, the DCA Groups can be soloed and muted,

butthey cannot be selected. To edit the DCA group names, icons and colors,

navigate to the Setup/DCA Groups page on the main display.

When using any of the output bus layers, notethat the bottom LEDs on the

meters in this section illuminate when the respective bus is fed from pre-fader

sources of the selected channel.

VIEW

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On each fader strip you will nd a motorized 100mm level fader, Mute and Solo

buttons, aGate indicator, an input level meter, Compressorindicator, and the

channel selectbutton.

Each of the 16 input channels has an individual (andcustomizable) color LCD

screen that can display a channel number, nickname, and even a graphical

channel icon. In the event that a channel’s input source has been changed to an

input signal that diers from the default setup, the LCD displaywill also indicate

the name of the actual input source.

Ch01

Aux5

Soundcard

Example: Channel 01 has the nickname Soundcard and is fed from Aux input 5.

8 X32 DIGITAL MIXER Preliminary User Manual

Various Assignments (DCA groups, mute groups,

custom assignable controls)

• Assigning DCA Groups

Thanks to the two distinct fader groups (inputs on the left, outputs on the right),

the task of assigning channels or buses to a virtual DCA Group is a breeze on the X32.

Simply hold the respective DCA Group Select button on the right-hand side of the

console, whilepressing the select buttons for all the input channels that you wish to

assign to said DCA Group. You can also press the DCA Group Select button in order

to check which channels are already assigned to it. Theassigned channel Select

buttons will light up.

• Assigning Mute Groups

The mute group assignment process is similar to the above, but is designed

with an additional precaution in order to prevent accidental muting of channels

during a show. To assign input/output channels to one of the six mute groups

(controlledby the buttons located to the right of the Main LR fader) you need

to rst switch on the Mute Grp button next to the main display. While holding

the desired Mute Group button, select the desired input and output channels,

whichwill now be assigned to the Mute Group. When you are done with

assignment, switcho Mute Grp at the display, andthe 6 Mute Group buttons

will work asintended.

• Custom Assignable Controls:

The Assign section of the console oers three banks: A, B, and C. Each set of

controls oers 4rotary controls and 8 switches/buttons, allowingfor freely

customizable access to 36random functions on the X32.

To make a custom assignment:

• Press the View button in the Assign section to edit the assignments

• Select the set of controls you wish to edit (A, B or C)

• Select the control 1-12 you wish to assign

• Select the parameter you wish to control and assign the function

Usually this is used to control a specic channel’s parameter, like the lead

vocalist’s reverb send level.

The Jump-to-Page control is a special target type that does not alter any

audio parameter, but rather brings you directly to any specied display page.

Buttonsthat had been used for Jump-to-Page previously can easily be reassigned

to the current display view by holding the respective set button (A, B or C)

depressed while pushing the desired assignable button. This method is more

convenient than reassigning the jump function through the Assign menu.

The “Sends on Faders” Function

The X32 console features a very useful function thatcan be accessed by pressing

the dedicated Sends on Faders button, located between the twofader sections.

The Sends on Faders function aids with level setting of channels sent to any of

the 16 Mix Buses. Itis only for channels assigned to Mix Buses 1-16, anddoes

NOT work for DCA groups, main or matrix buses. The Sends on Faders function

works in two convenient ways to cover the most obvious situations in a live

soundenvironment :

When preparing a monitor mix for a specicmusician

• Select the monitor bus (1-8, 9-16) that feeds the talent’s stage monitor

• Press the Sends on Faders button; itwillilluminate

• Select one of the three input channel layers (CH1-16, CH 17-32,

Line-Aux/FX Ret)

• As long as the Sends on Faders is active, allfaders in the input channels

section (locatedon the left side of the console) correspond to the send levels

to the selected (monitor) mix bus

When checking/editing where a selected input signal is

(to be) sent to

• Select the input channel in the left section

• Press the Sends on Faders button; itwillilluminate

• Select either bus channel layer 1-8 or 9-16

• The bus faders (located on right side of the console) now represent the

send levels from the selected input channel (located on the left side of

theconsole)

The option to use Sends on Faders in both ways, selecting an input or an output

channel, is a special feature of the X32.

Note - holding the Sends on Faders button for more than 1 second will engage

the function and cause the button to remain constantly lit rather than blinking.

VIEW

9 X32 DIGITAL MIXER Preliminary User Manual

Ch01

01:

0:00 - 0:00

A: S16 A: 48K

B: - C: X-USB

: 19

home

aux out

analog out

p16 out

card out aes50-a aes50-b

13:45

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

Channel Processing Block Patch

Inputs 25-32 Aux In 1-4

Connected Devices

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

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

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

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

Aux 1-4

Local 1-4

AES50 A1-4

AES50 B1-4

Card 1-4

AES50 A

AES50 B

Routing I/O

The X32 console features 32 analog rear-panel XLR inputs with microphone-

preamps, as well as 16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

Note: All signal blocks patched to the audio processing will be connected to the

corresponding input channels automatically.

Cabling for all AES50 connections between X32 and S16 stageboxes:

• Shielded Cat-5e cables only

• Ethercon terminated cable ends

• Maximum cable length 100 meters (330 feet)

10 X32 DIGITAL MIXER Preliminary User Manual

Link Lo Cut

Ch01

01:

0:00 - 0:00

A: S16 A: 48K

B: - C: X-USB

: 37

14:11

-6

-12

-18

-24

-30

-36

-42

-48

-54

clip

home gate dyn eq sends main

cong

Gain

48V

Pre PostIns

Delay

+0.00

Link

Lo Cut

Input

Select

Source

PRE

Insert

Ins Pos

InsF

Connect

Insert

0.3

Delay

+0.0

2.0

Reverse

0.3

0.10

0.03

Source

OFF

Input 01

Input 02

Input 03

Input 04

Input 05

Input 06

Insert

OFF

InsFX 1L

InsFX 1R

InsFX 2L

InsFX 2R

InsFX 3L

Insert Position

Input Channels 1-32 are pre-congured to use the rst 32 input signals,

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.

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.

Delay

0.3

Set DelayAssign

0.3

0.10

Delay

Select Select Select Select

Ch01

01:

home aux out

analog out

p16 out

card out aes50-a aes50-b

Analog Output

CategoryCurrent Setting

Edit Output Assignment

Processed Output Signal Tap

0:00 - 0:00

A: S16 A: 48K

B: - C: X-USB

: 37

14:09

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

MixBus

OFF

Main (LRC)

Mix Bus

Matrix

Direct Out

Monitor

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

Pre EQ

Post EQ

Pre Fader

Post Fader

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

following outputs:

• 16x analog local XLR outputs (with adjustable digital delay for

time-alignment of speakers)

• 6x auxiliary sends on ¼" TRS outputs + 2x AES/EBU outputs

• 16x personal monitoring using the console’s P-16 Bus output connector

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 X-USB interface card

11 X32 DIGITAL MIXER Preliminary User Manual

Inputs

-6

-12

-18

-24

-30

-36

-42

-48

-54

clip

Link

Gain

00.00

Send Pos. Insert Pos. Insert

Link Bus Sends

Insert

Connect

Pre

LeOnde.mp3

29 November 2010 Scene01

13:44:43 MyProj.prj

00.05.00 00.00.00

home gate dyn eq sends main

cong

Bus Conguration Bus Insert Position

Insert

Ins 02

FX 01

FX 02

Ins 01

...

Ins 03

Ins 04

All Channel Sends

Pre Conguration

Inputs

Sub Grou

...

Post Fader

Pre EQ

Pre Fader

Insert PostPre

∑

Channel Sends

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

• Mono/Center level

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):

• 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)

Eects Processing 1-8

The X32 console 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 returns of side chain FX 1-4 can always be controlled using the 3rd bank

(layer) of the input channels - Aux/USB/FX Returns. Note that the return

signals of FX 1-4 have separate faders for left and right

• 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ects processor

12 X32 DIGITAL MIXER Preliminary User Manual

X32 iPad App

Many functions of the X32 console can be remotely controlled by a dedicated

iPad app. Details about the app’s download, setup and operation are available on

the X32 product page.

The app’s User Interface is optimized for the touchscreen nature of the iPad and

concentrates on the most important remote features of the console. 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.

X32 Windows/OS X/Linux Application

Also oered is a separate remote editor running on host computers that will

allow for complete editing control of the X32 via Ethernet. Check out behringer.

com for more information.

Tip: The X32 remote communication is OSC-based (open sound control) and we

will share the protocol on our website, allowing developers to design their own

control software. 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.

Note - the rst X32 production units shipped with the X-UF FireWire/USB card.

See the “USB Interface Operation Guide” for details.

Startup and Shutdown, and Update:

We recommend switching the X32 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 the main LRC levels

when booting the console. It also prevents any scene loading from aecting

(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 (see section 3).

If the console has been used by someone else, and you feel unsure about its specic

routing status, you can reset the X32 to default settings in two convenient ways:

• While the console is booting and the “X32” logo appears on the screen,

press and hold the Scenes/Undo button until the console is fully operational

and the Home screen is displayed. The console will now be in the same state

as it was when shipped from the factory. However, you can immediately

revert to the status the console was in when being switched o the last time

by pressing the Scenes/Undo button

• You can also reset the console any time after booting by pressing

Setup/Cong, then Initialize

NOTE: Initializing the console does not automatically erase the current show data

or any stored scenes. If you wish to clear all scenes, please use the ’Initialize All

Show Data’ option on Setup/Cong page.

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 can be locked against unintended use by activating ’Lock Console’

from the Setup/Global page. 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 product page onto the

root level of a USB thumb drive

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

console is turned o

• Hold the USB View button 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 from booting regularly.

Switch the console o and back on without holding the USB View button to boot

the console with the existing rmware.

CAUTION: Please do not block the fan opening on the bottom of the X32

cabinet! The large slow-turning fan is barely audible, but it is still working.

Specically when mounting the X32 in a road case, please ensure there is

sucient space underneath to allow for some airow.

13 X32 DIGITAL MIXER Preliminary User Manual

2. Callouts

2.1 Channel Strip

VIEWVIEWVIEWVIEW

VIEW

(3)

(6)

(4)

(2)

(5)

(1)

(1) Preamp – Adjust the preamp gain for the selected channel with the

Gainknob. Press the 48 V button to apply phantom power for use with

condenser microphones and press the button to reverse the channel’s

phase. The meter displays the selected channel’s level. Press the Low Cut

button and select the desired high-pass frequency to remove unwanted

lows. Press the View button to access more detailed parameters on the

MainDisplay. Note - It is best practice to mute the respective channels prior

to switching their phantom power supply on or o. Otherwise, the change

of charge may cause an audible popping noise. Gain adjustments might

also produce audible click noise when adjust shortly after having switched

phantom power on or o.

(2) Gate/Dynamics – Press the Gate/Ducker button to engage the noise gate

and adjust the threshold accordingly. Press the Comp/Exp button to engage

the compressor and adjust the threshold accordingly. When the signal level

in the meter drops below the selected Gate threshold, the noise gate will

silence the channel. When the signal level reaches the selected Dynamics

threshold, the peaks will be compressed. Press the View buttons to access

more parameters on the Main Display.

(3) Equalizer – Press the Equalizer button to engage this section. Selectone

of the 4 frequency bands with the High, High Mid, Low Mid, and Low knobs.

Press the Mode button to cycle through the types of EQ available. Selectthe

specic frequency to be adjusted with the Freq knob, andadjust the bandwidth

of the EQ with the Q knob. Finally, boost or cut the selected frequency with the

Gain knob. Press the View button for more editingoptions.

(4) Bus Sends – Quickly adjust the bus sends by selecting one of the 4 banks,

followed by one of the 4 knobs. Press the View button for more detailed

editing and routing.

(5) USB Recorder – Connect a thumb drive to install rmware updates and to

record performances. See the Topic Guide section for details.

(6) Main Bus – Press the Mono Bus or Stereo Bus to assign the channel to the

main mono or stereo bus. When Stereo Bus is selected, the Pan/Bal adjusts

the left-to-right positioning. Adjust the overall send level to the Mono Bus

with the Level knob. Press the View button for more editing options.

14 X32 DIGITAL MIXER Preliminary User Manual

2.2 Input Channel Banks (7) Layer Select – Select either the channels 1-16, channels 17-32,

Aux In/USB/FX Returns, or Bus Masters layer with these 4 buttons.

Thecurrently active layer will light.

(8) DAW Remote – Press this to enable DAW remote control.

(9) Select – Press this button to select an input or bus (depending which layer

is active) and allow it to be edited by the Channel Strip and Main Display.

(10) Channel Meter – This displays the signal level of the input or bus

(depending which layer is active). The Gate and Comp LEDs light to indicate

that noise gate and/or compression are active.

(11) Solo – Press this button to send the channel to the Solo Bus.

(12) Mini Display – Information such as channel number,

nickname,inputsource and graphical icon are displayed on this

colorLCDscreen.

(13) Mute – Press this button to mute the channel.

(14) Fader – Use this to adjust the channel volume or bus send in ’Sends on

Faders’ mode. The faders will automatically display the current status as

layers and functions are changed.

(9)

(8)

(10)

(11)

(12)

(13)

(14)

(7)

15 X32 DIGITAL MIXER Preliminary User Manual

2.3 Display and Monitoring

VIEWVIEW

(16) (23)

(20)

(26)

(25)

(17) (22)

(27)

(21)(19)(18)

(15)

(24)

(15) Push Encoders – These 6 controls adjust the parameters presented at the

bottom of the Main Display. The editable function will show a circular icon

in the display when continuous control is available. The function will show a

broad rectangular icon to indicate that a switch or toggle can be accessed by

pushing the encoder.

(16) Layer Buttons – Some screens in the Main Display have more than

6editable parameters which can be accessed by pressing the Layer Up or

Down buttons.

(17) Page Select Buttons – Use these to scroll through the available screens or

to conrm/decline certain actions.

(18) Main/Solo Meters – The main stereo output level is displayed here along

with the solo level of all channels whose Solo button is active.

(19) Category Select Buttons – Press one of these buttons to jump directly to

the subject you wish to edit or congure.

(20) Monitor Level – Adjust the level of the Monitor outputs with this knob.

(21) Phones Level – Adjust the volume of the headphone outputs,

locatedinside the left and right side caps.

(22) Monitor Mono – Press this button to monitor the audio in mono.

(23) Dim – Press this button to reduce the monitor volume. Press the

View button to adjust the amount of attenuation along with all other

monitoring-related functions.

(24) Lamp Input – Connect a standard 12 V, 5 Watt gooseneck lamp here.

(25) Talkback Input – Connect a talkback mic via standard XLR cable to

thisinput.

(26) Talk Level – Adjust the level of the talkback mic with this knob.

(27) Talk A/B – Select the destination for the talkback mic signal with these

buttons. Press the View button to edit the talkback routing for A and B.

16 X32 DIGITAL MIXER Preliminary User Manual

2.4 Group/Bus Banks (28) Group/Bus Layers – Select between DCA groups 1-8, Buses 1-8 or 9-16,

or Matrices 1-6 and the main center bus with these buttons. The currently

active layer will light.

(29) Sends on Faders – Press this button to activate the Sends on Faders

function. See the Topic Guide for more details.

(30) Select – Press this button to select a DCA or bus (depending which layer

isactive) and allow it to be edited by the Channel Strip and Main Display.

(31) Group/Bus Meter – This displays the signal level of the DCA or bus

(depending which layer is active). The Pre LED indicates that the bus is

sourced pre-fader, while the Comp LED indicates that compression is active.

(32) Solo – Press this button to solo the DCA or bus.

(33) Mini Display – Information such as matrix/bus number,

nickname, input source and graphical icon are displayed on this color

LCDscribble strip screen.

(34) Mute – Press this button to mute the DCA or bus.

(35) Fader – Use this to adjust the bus level. The faders will automatically display

the current status as layers and functions are changed.

(36) Main Select – Press this button to select the main bus for editing.

(37) Clear Solo – Press this button to release all sources assigned to the solobus.

(38) Main Solo – Press this button to solo the main bus.

(39) Main Mute – Press this button to mute the main bus.

(40) Main Fader – This fader adjusts the output of the main bus.

(30)

(29)

(31)

(36)

(37)

(38)

(39)

(40)

(32)

(33)

(34)

(35)

(28)

17 X32 DIGITAL MIXER Preliminary User Manual

2.5 Scenes, Assign, Mute Groups (41) Mute Groups – Press one of these buttons to activate one of the mute

groups. See the Topic Guide for details.

(42) Set Select Buttons – Press one of these buttons to activate one of the

3layers of custom assignable controls.

(43) Custom Assign Buttons – Assign these 8 buttons to various parameters

for instant access to commonly used functions. See the TopicGuide

fordetails.

(44) Assign Displays – These displays provide quick reference to the

assignments of the active layer of custom controls.

(45) Custom Assign Knobs – Assign these 4 knobs to various parameters for

instant access to commonly used functions. See the Topic Guide for details.

(46) Scenes Buttons – Use these buttons select and activate saved scenes.

Seethe Topic Guide for details.

VIEW

(45)

(44)

(43)

(42)

(41)

(46)

2.6 Rear Panel Connections

(50) (51)

(49)

(56)

(52) (53) (54) (55)

(47) (48)

(57)

(47) Monitor / Control Room Outputs – Connect a pair of studio monitors

using XLR or ¼" cables.

(48) Outputs 1-16 – Send audio to external equipment using XLR cables.

Outputs 15 and 16, by default, carry the main stereo bus signals.

(49) Power Switch – Turn the power on and o with this switch.

(50) X-USB card – Transmit up to 32 channels of audio to and from a

computer via USB 2.0.

(51) Remote Control – Connect to a PC for remote control via USB or

Ethernetcable.

18 X32 DIGITAL MIXER Preliminary User Manual

(50) (51)

(49)

(56)

(52) (53) (54) (55)

(47) (48)

(57)

(52) MIDI In/Out – Send and receive MIDI commands via 5-pin DIN cables.

(53) AES/EBU Out – Send digital audio via 3-pin AES/EBU XLR cable.

(54) Ultranet – Connect to a BEHRINGER P-16 personal monitoring system via

Ethernet cable.

(55) AES50 A/B – Transmit up to 96 channels in and out via shielded

CAT-5e cables.

(56) Inputs 1-32 – Connect audio sources via XLR cables.

(57) AUX IN/OUT – Connect to and from external equipment via

¼"orRCAcables.

(50) (51)

(49)

(56)

(52) (53) (54) (55)

(47) (48)

(57)

19 X32 DIGITAL MIXER Preliminary User Manual

3. Hook-Up Diagrams

B1800D-PRO

B215D

F1320D

B3031A

Laptop

DI Box

GTX30

Keyboard

XM8500

2-TRACK HARD DISK RECORDER

FCB1010 MIDI Pedal

P-16 D

P-16 M

S16 Digital Snake

Shielded CAT-5e

iPod

FX2000

HPX6000

(Sidecap output)

20 X32 DIGITAL MIXER Preliminary User Manual

B1800D-PRO

B215D

F1320D

B3031A

Laptop

DI Box

GTX30

Keyboard

XM8500

2-TRACK HARD DISK RECORDER

FCB1010 MIDI Pedal

P-16 D

P-16 M

S16 Digital Snake

Shielded CAT-5e

iPod

FX2000

HPX6000

(Sidecap output)

Cabling for all AES50 connections between X32 and S16 stageboxes:

- Shielded CAT-5e, Ethercon terminated ends

- Maximum cable length 100 meters (330 feet)

21 X32 DIGITAL MIXER Preliminary User Manual

4. FX Descriptions

FX Descriptions

Here is a list and brief description of the eects available on the X32.

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 soft limiting threshold point from hard

limiting (0 dB) to maximum soft limiting (10 dB).

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 fractions of the master delay time. OFFSET LR adds a delay dierence

between the left 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. 

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.

Hall, Ambience, Rich Plate, Room, Chamber Reverb

These 5 reverb emulations are inspired by the Lexicon 480L. Hall simulates the

reverberation that occurs when sound is recorded in medium to large-sized

concert halls. Ambience creates a customizable virtual acoustic space to add

warmth and depth without coloring the direct sound.

The PRE DELAY slider controls the amount of time before the reverb 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. The DAMP slider adjusts the decay of the high frequencies within the

reverb tail. DIFF(usion) controls the initial reection density, and LEVEL controls

the eect output.

LO and HI CUT allow the frequencies aected by the reverb to be narrowed.

BASSMULT(iplier) controls the low frequency build-up. SPREAD emphasizes

the stereo eect of the reverb. SHAPE adjusts the contour of the reverberation

envelope. MOD SPEED controls the reverb tail modulation rate and TAIL GAIN

adjusts the volume of the reverb tail. The Rich Plate and Room reverbs allow the

stereo ECHO DELAY and the delay FEEDBACK to be adjusted independently for

each side. The Chamber reverb allows the stereo REFL(ection) DELAY and GAIN to

be adjusted independently.

22 X32 DIGITAL MIXER Preliminary User Manual

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.

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 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. DIFF(USION) controls the initial reection density.

Plate Reverb

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.

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

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 legendary 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 left 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.

23 X32 DIGITAL MIXER Preliminary 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

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.

DISTANCE adjusts the distance between the Rotary speakers and the

virtualmicrophone.

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 left 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

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 left 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.

24 X32 DIGITAL MIXER Preliminary 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 fully-

clockwise 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.

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 distortion pedal. The Dual Guitar Amp allows the left and right channels

to be adjusted independently.

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

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ect so you can hear exactly what

you’re adding to the mix.

25 X32 DIGITAL MIXER Preliminary 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.

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.

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

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.

26 X32 DIGITAL MIXER Preliminary User Manual

Delay + Chorus

This combination eect merges a user-denable Delay (echo) with a studio-

quality 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

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ect 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

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.

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 correction.

This compensated EQ will produce an adjustment that is identical to the actual

positioning of the sliders.

Graphic equalizer with frequency response correction.

Rhythm Delay

The Rhythm Delay provides 4 stages of delay with independently adjustable gain

and rate, allowing unique syncopation to be created in the layered repeats.

TIME BASE sets the master delay time, which is also the delay time for the rst

stage. GAIN BASE sets the gain for the rst stage. SPREAD positions the rst delay

stage in the stereo eld. A global FEEDBACK, LO and HI CUT adjustment are also

available. FACTOR A, B and C adjust the delay rate relative to the global TIME BASE

setting for the 2nd, 3rd and 4th stages respectively. Each stage also has its own

GAIN adjustment. MONO activates a mono mix of both channels for the delay

input. X-FEED indicates that stereo cross-feedback of the delays is active.

27 X32 DIGITAL MIXER Preliminary User Manual

Modulation Delay

Modulation Delay combines three of the most used time modulation eects

into one easy-to-operate unit, featuring true-stereo delay with a lush chorus,

topped o with three reverb models to choose from.

The BALANCE knob adjusts ratio of delay to reverb. The processor chain can

operate as serial where one eect ows into the next, or parallel where

each eect is applied to the source signal independently. TIME, FEED (back),

LOW and HI CUT all aect the delay. Modulation DEPTH and RATE are adjustable.

Three types of reverb are available – ambience, club and hall – with adjustable

DECAY and HI DAMP.

Dimensional Chorus

The Dimensional Chorus oers the most user-friendly and classic sounds,

best described as “space” and “dimensional”. The 4 MODE buttons can

be engaged individually or simultaneously for light chorus or very thick,

exaggerated modulation. Adjust the 1st encoder to select mono or stereo

operation, and press the encoder to engage or bypass the eect.

Leisure Compressor

This model of a popular tube-based optical compressor provides natural and

eortlessly musical compression, inspired by the Teletronix LA-2A. Simply adjust

the input GAIN and PEAK REDUCTION knob to dial in the amount of desired

compression, then adjust the OUTPUT GAIN knob for the desired output level.

The COMP setting will give a gentle compression ratio, whereas the LIMIT setting

results in a higher ratio.

Ultimo Compressor

The Ultimo Compressor is based on the Urei 1176LN Limiting Amplier and

authentically captures the smooth character of the original class-A output stage

in its FET's legendary fast attack.

Start with the INPUT and OUTPUT knobs at the -24 position for unity gain and set

the ATTACK and RELEASE knobs fully counterclockwise. Select the compression

ratio, then raise the ATTACK knob to lightly compress the signal. Increase the ratio

for heavier compression and experiment with ATTACK, RELEASE and INPUT levels

to achieve your desired result. Compensate for overall level reduction with the

OUTPUT knob.

Fair Compressor

This model of a Fairchild 670 delivers some of the nest colorations in compressor

history. Two small trim VRs, BIAS and BALANCE, preset the control side chain

action, a 6-step knob determines the timing, and the 2 large INPUT GAIN

and THRESHOLD knobs adjust the levels. There are models available for dual,

stereo-linked, or mid/side operation.

Combinator

The Combinator emulates famous broadcasting and mastering compressors,

utilizing automatic parameter control that produces very eective yet

“inaudible” results.

The MIX knob allows some of the source signal to pass through unaected.

ATTACK and RELEASE have dedicated controls, and an Auto Release function can

be engaged. Global X-OVER, RATIO, THRESH(old) and GAIN controls are available.

Engage the Spectral Balance Control (SBC) to allow automatic gain balancing

between the audio bands and its SPEED control to determine how aggressively

the eect works. The meters can also display band reduction or the SBC gain

balance, and can display peak outputs. The THRESH(old) and GAIN can be

adjusted for each band independently.

XTEC EQ1

Inspired by the Pultec EQP-1a, this passive equalizer is a very powerful tool for

sound enhancement.

GAIN allows compensation for level changes resulting from frequency

adjustments. Press the 1st encoder to engage or disengage the eect. Select the

low frequency with the LO FREQ knob, adjust the amount of enhancement with

the LO BOOST, then adjust the attack with the LO ATT. The same adjustments are

available for the high frequencies.

XTEC EQ5

This Pultec emulation is a classic analog passive equalizer that offers very warm and musical

frequency sculpting. Simply select the center frequency for the 3 bands, then adjust how much low

and high you want to boost and how much midrange you want to cut.

28 X32 DIGITAL MIXER Preliminary User Manual

Sub Octaver

The Sub Octaver provides two channels of sub harmonics generation, one or even two octaves below

the input signal.

Adjust the DIRECT knob to blend the “dry” signal with the lower octaves. Use the RANGE switch

to optimize the tracking by selecting the frequency range of the input signal. The OCT1 and OCT2

knobs adjust how much 1 octave down and 2 octaves down content is included.

Edison EX1

The EDISON EX1+ is a remarkably effective tool that allows manipulation of the stereo

field. The effect offers stereo and mid/side input and output and a phase correlation meter.

Exaggerate the stereo field with the ST SPREAD knob and adjust the ratio of mono to stereo

content with the BALANCE knob. The CENTER DIST knob allows the mono content to be panned.

Compensate for level changes with the OUTPUT GAIN knob.

Sound Maximizer

Inspired by the Sonic Maximizer 482i, this effect restores natural brilliance and clarity to any audio

signal by adjusting the phase and amplitude integrity to reveal more of the natural texture of the

sound. LO CONTOUR adjusts the level of phase-corrected low frequencies and PROCESS adjusts the

level of phase-corrected high frequencies. GAIN compensates for level changes caused by the effect.

5. Topic Guide

5.1 Starting up, shutting down,

and rmware updates

We recommend switching the X32 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 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 connected.

Note that if the X32 console 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 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.

Console Lock

To lock the console and prevent tampering with the panel controls, simply hold

the HOME button depressed for 3 seconds. To unlock, hold the HOME button

again for 3 seconds. This can also be used as a safe shutdown by locking the

console before switching the power o.

29 X32 DIGITAL MIXER Preliminary User Manual

Updates:

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

• Download the new console rmware from the X32 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 View button 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 from booting regularly.

Switch the console o and back on without holding the USB View button to boot

the console with the existing rmware.

The USB socket is not suitable for other non-memory USB devices like keyboards,

mice, lamps, etc.

5.2 Default setup for connecting to monitoring

and P.A. systems

The X32 comes pre-congured with the local XLR inputs connected to input

channels 1-32, and XLR outputs 1-14 connected to the mix bus masters 1-14.

Busmasters 13-16 are connected to the eects inputs FX1-4. The Main LR (stereo)

signal is normally put out on XLR outputs 15/16.

The Monitoring outputs on ¼" and XLR connectors, and the two Phones outputs

(in the side-cap handles) always carry 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 console rst, before any connected power amps or

speakers are switched on.

2. Connect cables to XLR outputs 15 and 16 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 Stereo 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" outputs in the sidecaps to connect your head phones.

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. Press the Select button of a desired input channel (for example, channel 1 on

the “Channels 1-16” input layer) and make sure the channel fader is down.

2. In the channel processing section in the upper left hand corner, make sure

the phantom power is switched o.

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

4. Press the 48V button to switch phantom power on for channel 1

(if the microphone requires it, such as a condenser microphone).

Note - It is best practice to mute the respective channels prior to switching

their phantom power supply on or o. Otherwise, the change of charge

may cause an audible popping noise. Gain adjustments might also produce

audible click noise when adjust shortly after having switched phantom

power on or o.

5. Use the Gain control to adjust the gain level as necessary, using the input

meter as a guide.

6. Switch on and adjust the Low Cut lter as needed to remove rumble or

windnoise.

7. Adjust the channel equalizer controls to sculpt the sound quality of the

microphone signal.

8. Adjust the channel Gate and Compressor controls as desired. Note that by

pressing the “view” button in the compressor or gate section, the main

screen will switch to the compressor or gate display for the selected channel,

oering additional compressor or gate controls beyond the dedicated

top-panel controls.

9. Turn on the “Stereo Bus” switch in order to route the selected signal to

the main LR, then adjust the Pan control to place the signal within the

stereoeld.

10. Adjust the Channel 1 fader to the 0 dB region, then slowly turn up the main

LR fader until you hear the mic signal amplied through your P.A. system.w

30 X32 DIGITAL MIXER Preliminary 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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:

• Press the “FX” 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.

Bydefault, FX 1 is sourced from Bus 13.

• Adjust rotary encoder #5 to select a specic eect processor,

suchas “Ambience”.

• Select the fader bank button labeled “RTN” on the left side of the console.

Bring the faders labeled FX1L and FX1R up to 0 dB in case they are not set to

this value by default. In the initial setup, these returns are stereo linked and

automatically send to the main LR bus, but it is also possible to send them to

the other buses as well. For this, press the HOME button next to the screen

while the return is selected, then go to the SENDS tab with the PAGE SELECT

right button and adjust the send levels for the return to the other buses,

oruse the dedicated BUS SENDS controls.

• Back on the EFFECTS 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.

• To apply the eect to assorted input channels, select an input channel,

thenadjust its “Bus Send 13” knob to taste. As the bus send level is

increased, more of the channel signal will be sent to the Ambience

eect. Repeat this process with other channels you wish to send to the

Ambienceprocessor.

To apply an “insert” style eect:

• Press the “EFFECTS” 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 left 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.

• Press the HOME button, then the PAGE SELECT right button to navigate to the

selected channel’s “Cong” screen.

• 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 insert 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.

• Select the “Aux In/FX/USB” layer, select the “Aux 1” channel, and make sure the

stereo button is lit so that the Aux 1 return signal is assigned to the main LR bus.

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

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

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 fourth 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-of-

house 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. On the bank of output faders on the right hand side of the console, selectthe

monitor bus (1-8, 9-16) (in this case Bus 1) and adjust the fader to 0 dB initially.

You can change the overall output level on this bus anytime later, ofcourse.

6. To adjust the mix sent to the monitor, select an input channel, then adjust

its “Bus Send 1” knob. Repeat for the other input channels to complete the

monitor mix.

The monitor mix can also be adjusted using the X32’s “Sends on Faders” function:

1. On the bank of output faders on the right hand side of the console,

selectthemonitor bus (1-8, 9-16) that feeds the talent’s stage monitor

(inthis case Bus 1).

2. Press the “Sends on Faders” button. You will see the button illuminate.

Note - If you do not want to have a ashing button (i.e. for use with side-

stage monitor mixing), press and hold the Sends on Faders button for more

than 1 second when engaging the feature. In this case, the button will

light continuously.

31 X32 DIGITAL MIXER Preliminary User Manual

3. Select one of the three input channel layers (CH1-16, CH17-32,

Line-Aux/FXRet)

4. Adjust the 32 channels of input faders on the left side of the console.

Theynow act as “virtual aux send knobs” for the Mix Bus 1 feeding the

stagemonitor, allowing you to quickly adjust the overall monitor mix using

the faders.

Setting up a live stage monitor mix using the S16 Digital Stage Box:

1. Connect the S16 stage box to AES50 port A on the rear panel of the console

using a standard Cat 5 Ethernet cable.

2. On the stage, connect a cable from Output 1 of the S16 stagebox to the input

of the stage monitor.

3. Press the ROUTE button and page right to the AES50 A page.

4. Adjust the rst encoder to select “Out 1-8” for the rst 8 outputs of the

AES50 A bus, then press the encoder to make the connection.

5. Analog Outputs 1-8 on the X32 are now routed to the rst 8 outputs of the

AES50 A connector, which in turn feeds the 8 analog outputs of the S16 stage

box connected to the AES50 A connector.

6. Adjust the monitor mix that feeds Mix Bus 1, as described above.

Setting up a live stage monitor mix using the P16 Ultranet Bus:

1. Connect an Ultranet personal monitor mixer (or P16 distribution amplier)

to either the P16 connector on the rear panel of the X32, or to the P16

connector on an S16 stage box that is connected to the X32 console.

2. Press the ROUTE button and page right to the P16 page.

3. Adjust the rst and fourth encoders to pair specic audio slots on the P16 bus

with direct outs of various console channels, pressing the fourth encoder to

complete each connection.

4. Any personal mixer connected to the P16 bus will now receive up to 16

individual audio channels, allowing its user to craft their own unique

monitor mix.

5. When using the P16 connector on an S16 connected to AES50 port A,

pressthe ROUTE button and page right to the AES50 A page, then adjust

the fth encoder to select ‘P16 1-8’, then press the encoder. Adjust the sixth

encoder to select ‘P16 9-16’, then press the encoder. Note: The P16 signals on

the S16 are sourced from AES50 channels 33-48.

Communicating with talent on stage:

1. Press the “view” button in the Talkback section.

2. Adjust the fourth encoder to set the destination of the talkback microphone,

pressing the encoder to set the connections. The talkback mic can be routed

to any of the individual mix buses that are feeding a monitor system.

3. Adjust the third encoder to set the volume of the talkback mic.

4. Press the second encoder to choose between the onboard talkback mic and

an external one connected to the top panel.

5. Press the talkback A button to activate the talkback microphone to

communicate with the stage talent. The talkback button can be set to

latching or non-latching using the push action of the 5th encoder.

5.7 Everything you ought to know about Solo

and monitor sources

The X32 console allows you to monitor audio sources on a set of headphones or

monitor speakers when operating the console from a front-of-house position.

1. Connect a set of headphones to the ¼" phones jacks located in either of the

console’s side panels.

2. Alternatively, connect a set of monitors to the XLR or ¼" monitor outs on the

rear panel.

3. Press the “view” button in the monitor section.

4. Adjust the 6th encoder to select the audio source for the monitor bus,

forexample LR PFL (LR Pre-Fader Listen). This will output the main LR

pre-fader signal to the monitors when no Solo button is selected on any of

the channels or buses.

5. Adjust the rst encoder to set the level of the monitor signal.

Then, adjust the level of the connected headphones and/or monitor

usingtheir respective level controls on the X32 top panel.

6. Press the Solo button on any input or output channel to send that channel’s

audio to the solo bus. This operation will not aect the mix that the audience

is hearing, nor the monitor mix heard by the talent. Input channels take

priority over DCAs, DCAs take priority over buses, and buses take priority

over main LRC/mono.

7. Press the “Clear Solo” button above the master faders to quickly clear the

solo status of any and all channels. This is particularly useful when solo is

active on a channel that is not present on the current input layer and you

wish to quickly clear its solo status.

8. When monitoring a stereo signal, press the top panel “Mono” button to

listen to the monitor bus in mono. Press the “Dim” button to listen to the

monitor signal at a lower level.

The solo bus also has various preferences that can be set using the second

encoder, allowing you tailor its operation to your specic working style.

Examplesinclude:

1. Use “Exclusive” if you want the act of pressing another solo button to

automatically disengage the previous solo. This is useful if you know you

will never want to solo more than one channel of material at the same time.

Inthis mode you can press several Solo buttons at the same time to solo the

corresponding channels together.

2. Use “Solo Follows Select” if you want the solo selection to automatically

follow any channel that you have selected. This allows you to quickly hear

the audio of that channel in your headphones when you select it to adjust

EQ, compression, etc. Remember that you need to solo a channel rst before

this function is active.

3. Use “Select Follows Solo” when you want the reverse to occur: Any channel

that is soloed will automatically become the currently selected channel,

allowing you quickly make adjustments for any channel you have soloed.

4. Use the “Channel Solo AFL” to listen to the channel signal after the fader and

stereo PAN.

5. Use “Mix Bus Solo AFL” to listen to the mix bus signal after the fader and

stereo PAN.

6. Use “DCA Group AFL” if you want to put the contents of a soloed DCA group into

after-fader listen mode when the solo button is pressed on a DCA channel.

7. “Use Master Fader” option lets you adjust the solo signal on the monitor/

headphones with the Master fader on the console. Note: The master output

level cannot be changed in this mode. This mode has primarily been

designed for using the X32 as a pure monitor console where the main bus is

not used for your PA system.

32 X32 DIGITAL MIXER Preliminary User Manual

5.8 Using Mute Groups

The X32 has 6 separate “mute groups”. Individual channels can be assigned

to these mute groups, allowing you to mute multiple channels with a single

buttonpush.

This is particularly useful in theater contexts, where groups of microphones

(suchas the ones belonging to a group of background performers) may need

to be muted and unmuted often. By assigning them to a mute group, you can

quickly mute/unmute a large group of channels, which is much faster than

muting/unmuting each channel one by one.

1. Press the MUTE GRP button.

2. While holding the desired Group button (located on top panel’s lower

right-hand corner), press the SELECT keys for any channels you wish to

assignto that mute group.

3. When you are done assigning channels to the mute group, press the MUTE

GRP button next to the display again. The channel SELECT buttons will now

work normally again.

4. Press the corresponding mute group button, on the console top panel to

mute that specic mute group and all channels belonging to it.

5.9 Mix Buses, Sub Groups and DCA Groups

On a live sound console such as the X32, channels can be combined into a single

output channel in two ways.

A “Bus” is a combined collection of channel signals where each channel feeding

the bus can be done so with a variable level. One typical use of a bus would be

an eects loop (where for example, dierent channels feeding the bus and the

reverb eect associated with it, do so at dierent levels, so that a snare drum

has a small amount of reverb applied while a lead vocal has a large amount of

reverb). Another use of a bus would be to feed a stage monitor. By feeding the

monitor mix with a bus, dierent channels can feed the monitor bus at diering

levels, allowing creation of a custom monitor mix that is “just right” for the talent

on stage.

A “Group” is similar to a Bus, except that all channels feeding the group do so at

a ”unity gain” level, with their respective levels the same as their levels feeding

the main mix bus. Thus, a group is best used to control the levels of a group of

signals using a single fader, such as controlling the level of an entire group of

drum microphones.

To quickly divide up which of the 16 mix buses are congured as regular buses,

and which are congured as groups, press the SETUP button and page right to the

CONFIG page. Adjust the fth encoder to select between dierent combinations

of buses and groups for the 16 mix outputs of the console. This setting can later

be changed individually for each of the 16 mix buses either on the SETUP page

of the corresponding mix bus or individually per channel on the SEND page of

the selected channel. You can feed the signal of any mix bus either directly to

the main bus or back to any input channel if you want to apply loop type eects

or send to a monitor mix. All mix buses are available as SOURCE on a channel’s

CONFIG page.

Lastly, the X32 oers a “DCA Group”. This is similar to a normal group, except

that the signals of the underlying channels are not actually combined into a

single audio path. Instead, channels are assigned to a DCA group (short for

“DigitallyControlled Amplier” ) and when a single fader representing the

DCAgroup is moved, it has the eect of adjusting the level of all the underlying

channels assigned to that DCA group.

DCA groups are useful in situations where you have a collection of similar

signals, and you want to be able to quickly adjust their overall level, but also

easily adjust the individual levels of the individual channels assigned to the DCA

group. Forexample, say you have a concert that employs 4 separate background

vocalists. By assigning them all to DCA group 1, you can adjust their overall level

as desired in the FOH mix by adjusting DCA fader 1. However, if you then notice

that background vocalist #3 is a little too soft in the “blend” of background

vocals, you can adjust the level fader on their specic channel.

To create a DCA group on the X32 console:

1. Press the GROUP DCA 1-8 button on the output fader layer.

2. Hold the respective DCA Group Select button on the right-hand side of

theconsole.

3. While still holding down the DCA Group Select button, press the SELECT

buttons for all the input channels, aux channels, fx return channels, and bus

masters that you wish to assign to said DCA Group. Those channels are now

assigned to the DCA group.

4. You can also press the DCA Group Select button in order to check which

channels are already assigned to it; the assigned channel SELECT buttons will

light up.

5. To adjust the level of a DCA group, simply adjust its respective fader.

DCA groups can also have custom names, colors, and icons assigned to them

tohelp you remember what groups of signals are assigned to each of the

8DCAgroups.

1. Press the SETUP button, then page right to the DCA GROUPS page.

2. Adjust the rst encoder to select the DCA group you wish to customize,

thenpress the encoder to edit.

3. On the editing pop-up window that appears, use the various encoders to

select a color, icon, and preset or custom name for the selected DCA.

4. Press the sixth encoder to exit the editing screen.

By contrast, conventional “groups” are useful when you have a group of signals

that you wish to combine into a single signal, perhaps to send that combined

signal to a single eect processor. For example, a common method for making

drums sound punchy and aggressive in a rock and roll mix would be to combine

all of the drum channels to a single stereo group, then process that group signal

through a compressor, and then nally bring the mono or stereo compressed

drum group back into the mix. This approach would not be possible with a DCA

group, because the DCA is not actually combining the audio signals, it is merely

linking the levels of all of the underlying channels digitally.

5.10 User Assignable control section

The X32’s assignable controls section lets you take the adjustments you make

most often, and assign them to a group of dedicated controls that are assignedto

just those functions, and nothing else. The assignable controls oer 8 buttons

and 4 knobs, with dedicated LCD screens to remind you of the currently

assignedfunction.

For example, you could program one of the knobs to control the aux send on the

vocal channel feeding an internal reverb eect. Then, if you ever want to make

the vocalist sound more “wet” or “dry” during dierent songs in a set, you can

simply reach for that knob and it will always provide a quick and convenient place

to make that adjustment.

Additionally, the assignable controls are divided into “A”, “B”, and “C” groups,

so you can actually program in 3 dierent sets of controls, oering a total of

36dierent functions.

Setting up the assignable controls is easy:

1. Press the “view” button in the assignable controls section. The main screen

will switch to a view that lets you make assignments for the custom controls.

2. The main screen will show assignments for all 3 sets of custom controls

(A, B, and C) on one page. Rotate any of the rst ve encoders to move the

orange “focus” box to the specic set of custom controls you wish to assign.

33 X32 DIGITAL MIXER Preliminary User Manual

3. Press any of encoders 1-5 to switch to the edit screen for the specic custom

control that you have highlighted. The main screen will switch to an editing

screen where you can assign a console parameter to the custom control.

4. Adjust and press the encoders 3-6 on the editing screen from left to right to

make a custom control assignment.

5. When you are nished, you will see that the LCD screen located in the

custom controls section reects the assignment you have made in both

screen color and text.

6. You are now free to use and enjoy the custom assignments you have made.

5.11 How do I share signals over

AES50Supermac network?

In many live sound situations, a single mixing console is used to cover both the

front of house (FOH) mix that the audience hears, as well as all the individual

“monitor mixes” that are sent to stage wedges or transmitters for in-ear

monitorsystems.

However, in larger live sound situations, it is common to operate two separate

consoles, one that covers the FOH mix, and a second, completely independent

console that covers just the monitor mixes that are sent to the talent. This makes

a lot of sense, because the FOH engineer can concentrate 100% on the audience

mix, while a completely dierent monitor engineer can dedicate himself to the

thankless task of crafting great monitor mixes for the dierent musicians.

With an analog console, operating separate FOH and monitor consoles can be

quite expensive, because the original stage microphone signals have to all be

“split” into two copies, using an expensive multi-channel microphone splitter.

The splitters ends one set of mic signals to the FOH console and the other set to

the monitor console. Microphone splitters are a specialized piece of equipment

and ones that work reliably and sound good are very expensive.

The X32 family of products, however, makes using separate FOH and monitor

consoles easy and aordable. This is due to the fact that the microphone signals,

once digitized, can be easily duplicated and sent to multiple locations, using a

single o-the-shelf shielded shielded CAT-5e Ethernet cable. Now, an expensive

and bulky microphone splitter can be replaced by a couple of low-cost S16 digital

stage boxes, and running separate FOH and monitor consoles is within reach of

even the most modest production.

This is an example for using 2 consoles and 2 stage boxes (possible are up

to 3 per AES50 port) in a monitor/FOH setup:

1. Connect the AES50 A port on the rst S16 to the AES50 A port on the X32

on-stage console via shielded CAT-5e.

2. Connect the AES50 B port on the rst S16 unit to the AES50 A port on the

second S16 via shielded CAT-5e.

3. Connect the AES50 A port of the FOH X32 unit to the AES50 B port of the

on-stage X32 via shielded CAT-5e.

4. Now the conguration of the monitor console has to be set. Keep in mind

that in this conguration, the on-stage console will be the one controlling

the input gains of the mic preamps, so a good and intensive soundcheck

should be done.

5. Press the ROUTING switch next to the display on the on-stage console.

On the HOME tab select “AES50 A 1-8” as source for “Inputs 1-8”,

“AES50A9-16” for “Input 9-16”, and accordingly for channels 17-32.

6. To route the channels through the on-stage console to the FOH console,

switch to the AES50 B page and set “Output 1-8” to “AES50 A 1-8”,

“Output9-16” to “AES50 A 9-16”, etc.

7. On the FOH X32 console, press the ROUTING switch next to the display.

OntheHOME tab select “AES50 A 1-8” as source for “Inputs 1-8”,

“AES50 A 9-16” for“Input 9-16”, and accordingly for channels 17-32.

8. To get the main out from the FOH back to one of the stage boxes to feed

the PA, the main outs of the console which are routed per default to OUT 15

and OUT 16 have to be routed through the on-stage X32 console. To achieve

this, select the AES50 A tab and set Out 1-8 to “OUT 9-16”. On the on-stage

console, choose the AES50 A tab and set Output 1-8 to ”AES50 B 1-8”.

TheMain Outputs of the FOH console are now available on the rst S16 on

OUT 7 and OUT 8 to connect your main PA system.

9. Ready to rock!

5.12 AES50 cabling requirements

In order to ensure trouble-free operation when connecting X32 consoles to other

X32 mixers or to S16 stage boxes, the following specications should be met

when choosing your cables:

• Shielded Cat-5e cables only

• Ethercon terminated cable ends

• Maximum cable length 100 meters (300 feet)

5.13 What kinds of Utilities are available?

The X32 console provides various utilities that make the console much easier

and more fun to use, while providing a great deal of exibility and power.

ExamplesInclude:

Channel Customization: Various input and output channels can have custom

colors, names, and icons assigned to them, which are then shown in the color

LCD screens located on each channel strip. Using these functions, you will always

know exactly what source and destination is tied to the channel, with no need

for board tape and sharpie pens. For example, an input channel could be labeled

“kick drum” while the channel for a mix output could be labeled “Joey’s monitor”.

• Press the SELECT button for a channel you wish to assign a custom label,

icon, and color for.

• Press the home key, then page right to the CONFIG page. You can also press

the VIEW button next to the LOW CUT pot to go to the CONFIG page.

• Press the UTILITIES button.

• Adjust the various encoders to select a color, icon, and type in a name for the

selected channel. The X32 also provides a long list of preset names for typical

input sources and output destinations, saving time and eort.

Copy/Paste: The X32 also provides a “copy and paste” function that allows you

to take settings you have congured for one channel, and copy those settings to

another channel.

• Press the SELECT button for a channel whose settings you wish to copy.

• Press the HOME button, then the UTILITY button.

• Press the 5th encoder to copy all settings of the selected channel into the

copy buer.

• Press the SELECT button for a channel who you wish to paste the settings into.

• Adjust the rst encoder to select which aspects of the channel you wish to

copy from the source channel (i.e. the one in the paste buer).

• Press the 6th encoder to “paste” the copied settings into the currently

selected channel.

34 X32 DIGITAL MIXER Preliminary User Manual

Store / Load Presets: The X32 allows you to save and load presets of channel

settings, as well as settings made in the internal eects processor. These stored

settings can later be recalled as needed. Since the stored les can also be stored

and recalled to an attached USB drive, this means that you can save your favorite

channel settings and eects on one console, and then quickly and easily recall

and use them on a completely dierent X32 console.

• Press the SELECT button for a channel whose settings you wish to store.

• Press the HOME button, then the UTILITY button.

• Press the 3rd encoder to store all settings of the selected channel. A new

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

• To load a preset from the UTILITIES screen, adjust the rst encoder to select

which aspects of the selected channel you wish to recall, then press the 2nd

encoder. A conrmation screen will pop-up, asking you to conrm you wish

to load a preset to the currently selected channel. Use the page left/right

buttons to conrm or cancel.

• Press the LIBRARY button to go straight to the “libraries” screen, where you

can scroll through a list of stored preset libraries.

• Use the 5th and 6th encoders to import/export presets to/from an attached

USB drive.

5.14 How do I set up a Matrix for a delay

column/toweror a remote zone mix?

The X32 console oers 6 separate “Matrix” outputs that allow an extra level

of functionality when routing any of the 16 mix buses out of the console.

TheseMatrix outputs are particularly useful when working with separate “zones”

of speakers, such as a delayed group of speakers in an alternate location.

1. Press the SELECT button for a mix bus you wish to assign to a matrix output.

2. Page right to the SENDS page, where you can adjust the 6 encoders to

send the selected mix bus to the 6 matrix outputs, at the desired levels.

Alternatively use the controls in the BUS SENDS section.

3. When sending a group of mix outputs into a matrix send, you may wish

to adjust where in the signal path the insert point for a mix output occurs,

andalso re-congure the order that the mix output’s EQ and compressor

occurs. To adjust these setting, press the SELECT button for the desired mix

output, and on the HOME screen that appears, use the 3rd and 4th encoder

to adjust these settings.

4. Press the MATRIX button on the console, then press the SELECT button on

the rst output fader. The main screen will display settings for the matrix

1output allowing you to do all your EQ and dynamics settings for this bus.

In general, time alignment is very important in larger venues, because when

groups of speakers are placed at varying distances to the audience, the sound

from them arrives at the listener’s ears at dierent times. By applying a

digital delay to the speakers that are CLOSER to the listeners, it has the

result of delaying the sound to align it, in time, with the sound from further

speakers whose signal take longer to reach the listener. By performing

this “time-alignment”, thelive sound mix from the dierent speakers are

presented as a more clear and cohesive audio signal, without the comb-

ltering or anging sound you might otherwiseexperience. You can enable

and adjust any physical output’s delay on the ’Routing/analog out’ page.

Select the output that is fed from the matrix you wish to delay by turning

the 1st encoder. Use the 6th encoder to set the delay, which is displayed in

milliseconds, meters and feet (based on speed of sound in air at 20° C).

5. To attach an output to the matrix you have set up, press the ROUTING

button, then page right to the ANALOG OUT page, then use the 1st and 4th

encoders to assign the matrix output to your rear-panel analog output of

choice. Adjust the amount of delay if necessary with the 6th encoder for each

outputindividually.

6. In some situations, you may wish to create a matrix mix that is actually a

mix of some output buses and the main LR output. To do so, simply press

the SELECT button above the master fader, then press the HOME button,

thenpage right to the SENDS page. On the SENDS page you can tap the signal

from the main LR bus and send it to the 6 matrix outputs, the same way you

have with any of the 16 mix outputs.

7. Like all other mix buses and main LRC, the matrices feature six-band

parametric EQ, which is often useful in live venues where room resonances

need to be tamed.

8. The matrix EQ can also be used for setting up a frequency crossover,

for sending distinct frequency bands to separate loudspeaker systems which

may even get individual dynamic processing.

Lets assume Matrix 1 is supposed to drive a woofer system, while Matrix 2

is driving the tops. Select Matrix 1 and press the EQ View button, then press

the LAYER down button until ’Mode’ is displayed above the controls. Turn the

6th encoder clockwise until the Mode display shows either BU (Butterworth),

BS (Bessel) or LR (Linkwitz-Riley) with 6, 12, 18 or 24 dB slopes, and choose

the desired lter characteristic. Note that the adjacent 5th band has

disappeared to allow for the crossover function. In the equalizer section,

switch the EQ on, select the HIGH band and use the FREQ control to move the

low-pass lter where you need it, e.g. 200 Hz.

Now select the Matrix 2 and adjust the mode of the rst encoder in the same

way until the desired characteristic is displayed. Then press the equalizer

LOW button and use the FREQ control to adjust the rst band to the same

frequency you had chosen for band 6 in Matrix 1, i.e. 200 Hz.

As a result, the frequencies above 200 Hz will be cut o from Matrix 1 and the

frequencies below 200 Hz will be cut o from Matrix 2. By sending the same

signals to both matrices, you have eectively split up the signal in two paths that

may be put out on separate XLR outputs feeding separate speaker systems.

9. When using the matrices in a crossover mode feeding separate outputs,

it may sometimes be necessary to invert the woofer signal for correct phase

alignment. This can be done by selecting the matrix and using the phase

button in the CONFIG/PREAMP section.

TIP* As of rmware 1.10, the matrices can also be fed from pre-fader sources,

which may be useful when using a matrix as a recording feed. When you

select a bus 1-16 or Main LRC that is to be sent to the Matrix, open the bus

sends view and check if the signal tap is set correctly for your application.

35 X32 DIGITAL MIXER Preliminary User Manual

5.15 Using the X32 in recording and

production studioenvironments

While the X32 is primarily targeted at a live sound environment, it also can work

as an extremely full-featured and powerful studio console as well.

• The console contains extremely clean and detailed microphone preamps,

allowing you to capture up to 32 separate microphones for recording even a

very large ensemble.

• High-end analog to digital converters for each channel preserve the audio

quality as it is recorded to assorted DAW software.

• With the X32’s built-in X-USB card, individual channels of audio can be sent,

inthe digital domain, to a studio DAW computer via USB 2.0. With this card,

the X32 becomes the “world’s biggest computer audio interface” allowing

up to 32 channels of microphones to be sent into the DAW software, while at

the same time allowing up to 32 individual channels of DAW tracks to return

back to the console for mixing “out of thebox”.

• With the X32’s full recall of all preamp and monitor settings, the

console makes a great solution for the modern home and project studio,

where multiple projects are worked on in “stages” and previous settings

need to be quickly and easily recalled. For example, if a band returns

the following week to pick up where they left o, a single “load project”

command can return the console to exactly where it left o, in terms of

mic gain settings for the dierent instruments, as well as various dierent

monitor mixes for the dierent performers.

• With its onboard MIDI ports, the X32 console can work as a large-format

control surface for many popular DAW platforms. The X32’s motorized faders

can control the onscreen DAW faders, while each channel’s mute and solo

buttons can control their onscreen counterparts. This makes it possible

to quickly work with the ner nuances of a DAW mix, much better than

adjusting channel levels one at a time with the mouse.

• Since the X32 console works with the aordable S16 digital stagebox,

thecombined system makes a great solution for routing audio signals

between a separate studio and control room. The S16 and various Ultranet

personal monitor mixers can be set up in the studio, while the console

itself is set up in the control room. A single shielded Cat5-e Ethernet cable

is all that is needed to connect the 16-32 channels of audio from 1-2 S16

boxes and all of the Ultranet mixers, a much better alternative than a thick,

noisy, andexpensive analog snake. In more modern homes and apartments

that have Cat-5 cabling running through the walls as part of a pre-built

“structured wiring” package, the S16/Ultranet mixers and X32 console can

even be set up in dierent rooms, with no need to run a long cable or leave

any doors partiallyopen!

• The various X-USB card modes to be selected on the Setup/card page can be

used to reduce the trac over USB, just in case your computer has diculty

handling the full 32x32 channel capacity. See Chapter 6 for details.

• When running a 32 track live recording from your FOH desk, you can simply

assign the card outputs to the mic inputs (local or stage box), using the

’Routing/card out’ page. Note however, that the mic preamp gain (also for

recording) will be controlled from the FOH console, and Gain changes during

the show can be heard in the recording.

• When recording track by track into a DAW, you will need to pass all audio

from the mic preamp of the console directly into the PC, and then back into

the console for monitoring. In this case, the DAW track’s record-ready status

will determine which direct and which previously recorded signal will be

audible on the console.

• This conguration can also be used in a live setup where additional FX

processing using native plug-ins is required. Your PC (provided it has

the capacity to do so) could perform as a 32 channel outboard eects

processor, allowing you to apply your favorite production processing in a live

environment to every single channel. You should however, consider that

plug-in eects have inherent latencies that add up with the PC I/O latency.

So, make sure that there are no adverse eects when applying outboard

processing. The internal latencies of the console are typically 10-15 times less

than the the latency introduced by external processing.

Please also note that in both cases, you need to adjust the physical preamp

parameters, Gain and Phantom power, from the ’Setup/preamps’ page on

the console. See details in Chapter 6.

36 X32 DIGITAL MIXER Preliminary User Manual

5.16 Remote control

The X32 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 has to be set up properly.

• Press the SETUP button next to the screen.

• Go to the Network tab.

• Use encoder 1 to choose between IP address, Subnet mask and Gateway.

Adjust the address elds with the encoders 2-5 and assign the selected

numbers with encoder #6.

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

The IP address should be free within the network.

• Set your subnet mask according to your network,

normally255.255.255.0

• Set your gateway, if required.

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).

• 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 with your iPad.

5.17 Recording a 2-track directly with

theconsole

The X32 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

next to the main display.

• Press the VIEW button next to the USB port and the home screen of the

recorder will show up with a nice emulation of an old tape deck.

• 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, press the AUX IN / USB FX RETURN

button next to the fader section and adjust the volume with the AUX

7/8faders.

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.

5.18 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.

• Press the “view” button located in the top panel’s “Scenes” section. The Main

Display will show various controls for saving and recalling console scenes.

• Press the rotary control labeled “save” 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, use the “prev” and “next” buttons, located in the top

panel’s Scenes section, to navigate the scene list to the desired scene on the

Main Display.

• When the desired scene is highlighted in the scenes list on the Main Display,

press the red “GO” button and the console will switch to the highlighted

scene. All console parameters will switch to the state they were in when

saved to the scene that was just recalled.

• The console also allows smaller “snippets” to be saved and recalled for times

when you don't want to completely change the current setup. With this

tool, specic parameter or channel lters can be saved, allowing them to

be recalled without aecting the rest of the console status. Snippets can

be recalled separately from scene changes, or can be recalled along with a

stored scene. On the dedicated '‘nippets’ tab, select the parameter, FX slot or

channel you would like to store for later recall, then press the 2nd encoder to

name the snippet and save. The snippet can now be loaded directly from this

tab, or from the ‘Home’ tab cue list. See chapter 7.13 for more details.

5.19 Using the Real Time Analyzer (RTA)

Firmware 2.0 has introduced a Real Time Analyzer (RTA) function for quickly

monitoring frequency band activity. This feature can be adjusted in many ways

to provide the desired visibility, behavior and response. 100 bands of frequency

resolution are displayed on the main display with a 10 second window in

spectrograph view, allowing problematic or feedback frequencies to be quickly

identied. The data can be viewed as a bargraph or spectrograph, and can be viewed

from the dedicated RTA tab as well as blended above each of the channel EQ curves

or 31-band EQs, allowing the frequency modications to be monitored directly. In the

case of channel and 31-band EQ views, the RTA will always display the respective

channel or bus frequency distribution independent from the RTA source denition.

This allows the eects of the channel or graphic EQ adjusts to be easily monitored.

On the Monitor/RTA page, the 6th encoder allows the RTA input to be taken from

either a pre-dened channel/bus, currently selected channel or from the monitor

source (main/solo). For example, when EQing the mains, a graphic equalizer

may be inserted in the Main LR bus, while the analyzer signal may come from

a dedicated measuring mic connected to an input channel. See chapter 7.3 for

more details.

37 X32 DIGITAL MIXER Preliminary 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.

Note - the X32 initially shipped with the X-UF FireWire/USB card installed.

As FireWire has become an increasingly obsolete technology, we have begun

optimizing the X32's interface card to provide the most stable and reliable

performance via USB 2.0 on any system, including new computers that do not have

FireWire ports. Since there is no distinct advantage to using FireWire over USB,

we are condent that this update will not pose a major inconvenience to our users.

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.

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.

Conguration

After the console has fully booted up, you can access the Setup/Card screen 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.

38 X32 DIGITAL MIXER Preliminary User Manual

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 virtual sound check of all 32 input channels by recording

them directly to a computer during a brief line check. The performers can leave

the stage while you play back the recorded instruments from the hard drive and

tweak the sound accordingly.

32 in / 32 out

Generally, the Card outputs may use any of the available signal sources in the

console (local or AES50) for recording independently. When the X32 console is

used in a quasi in-line mode, the card with connected computer represents a

classic tape machine. In this case, the X32 console mic inputs would be selected

to feed the card outputs (see graphic), and all signals are run from the mixer’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 interface 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 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 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.

39 X32 DIGITAL MIXER Preliminary User Manual

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.

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.

40 X32 DIGITAL MIXER Preliminary 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.

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 as an audio interface for your computer.

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

the card if necessary.

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

organized mixing.

41 X32 DIGITAL MIXER Preliminary 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.

42 X32 DIGITAL MIXER Preliminary 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

* depends on system performance and application

Expansion Card Features:

Interface MIDI

Audio input channels

24-Bit, 44.1/48 kHz

Audio output channels

24-Bit, 44.1/48 kHz

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

DAW remote control Generic, HUI and Mackie Control emulation

Expansion Card Performance:

Interface Typical round-trip latency

HighSpeed USB 2.0 ~14 ms

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:

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)

43 X32 DIGITAL MIXER Preliminary User Manual

7. X32 Main Display

7.1 Overview

7.1.1 Display and Navigation Controls

The controls in this section are used in conjunction with the color screen, in order

to navigate and control the graphical elements it contains.

By including dedicated rotary controllers that correspond to adjacent controls on

the screen, as well as including cursor buttons, the user can quickly navigate and

control all of the color screen’s elements.

Color Screen: This color screen contains various displays that give visual

feedback for the operation of the console, and also allow the user to make various

adjustments not provided for by the dedicated hardware controls.

Rotary Encoders: These six rotary encoders are used to adjust various color

screen elements located directly above them. Each of the six rotary encoders

can be pushed inward to activate a button press function. This function is useful

when controlling color screen elements that have a dual “on/o” type state that

is best controlled by a button, as opposed to a variable state that is best adjusted

by a rotary control.

Screen selection buttons: These 8 illuminated buttons allow the user to

immediately navigate to any of 8 master screens that address dierent sections

of the console. The 8 sections that can be navigated to with these buttons are:

1. Home

2. Meters

3. Routing

4. Setup

5. Library

6. Eects

7. Mute Group

8. Utility

Page Select Buttons: These two buttons allow for left-right navigation among

the dierent “pages” contained within a screen set. A graphical tab display shows

which page you are currently on.

Layer Up/Down Buttons: On some screens, there are more parameters present

than can be adjusted by the 6 encoders underneath. In these cases, use the layer

up/down buttons to navigate through any additional layers contained on the

screen page.

L/R Meter: This dual 24-segment meter displays the audio signal level output

from the main bus of the console.

M/C SOLO Meter: This dual 24-segment meter displays the audio signal level

output from the mono bus of the console. When one or more channels are

currently soloed, the meter switches to displaying the level of the currently

soloed signal(s).

7.1. 2 Console Screens

The color screen of the X32 oers a wealth of visual feedback and hands

on control for the console. Whereas the dedicated top panel controls oer

immediate hands-on adjustments for the most important operations of a

channel, the color screens oer similarly immediate visual feedback for a selected

channel, as well as more global areas of the console.

The screens are divided into three main areas:

1. Global Screen Elements

2. Main Display

3. Rotary Encoder Elements

44 X32 DIGITAL MIXER Preliminary User Manual

Main Content

Link Lo Cut

01:

0:00 - 0:00

B: - C: XUF

: 37

14:11

-6

-12

-18

-24

-30

-36

-42

-48

-54

clip

home gate dyn eq sends main

cong

Gain

48V

Pre PostIns

Delay

Lo Cut

Source Ins Pos InsertDelay

Delay

+0.0

2.0

Reverse

0.3

0.10

0.03

Source

OFF

Input 01

Input 02

Input 03

Input 04

Input 05

Input 06

Insert

OFF

InsFX 1L

InsFX 1R

InsFX 2L

InsFX 2R

InsFX 3L

Insert Position

The main content of the screen is displayed in the middle of the screen and is

divided up into dierent sections of information, depending on the specic

screen being shown at any given time.

Information shown in the main content portion of the screen consists of

twotypes:

1. Display-only content: This type of content is a visual indication only and

cannot be adjusted by the user. An example would be the graphical response

curve of an equalizer or the response graph of a compressor.

2. Adjustable content: Content that displays an adjustable parameter,

controlled by a dedicated top-panel control. For example, the “home” tab of

the “home” screen displays a knob graphic for input gain (trim). This control

is adjustable by turning the dedicated “gain” control on the top panel of the

console, in the Channel Strip section of the top panel.

The most important information for any screen category will be located on it’s

“home” page. However, most screens contain alternate pages of information that

are also useful. They are represented by dierent “tabs” that can be seen towards

the top of the screen. Each tab is named to describe the functions it represents.

Navigate to these alternate tabs by pressing the Page Select left and right keys.

Global Screen Elements

Ch01

FatSnare

OpeningScene

02: next 0:00 - 0:00

A: S16 A: 48K

B: - C: X-USB

: 15

01 15:33

home

cong

gate dyn eq sends main

The “global” screen elements are located at the top of the screen, laid out in a

horizontal row. They always remain visible no matter what specic screen the

user has currently navigated to, because they displays console parameters that

are always important to keep in view at all times.

These screen elements include, from left to right:

Channel Indicator: Displays various elements of the currently

selected,including:

1. The number of the specic input or output channel that is currently selected

2. The custom channel name (if one has been assigned)

3. Channel color (if one has been assigned)

4. Channel icon (if one has been assigned)

Show Indicator: This number, presented in a large orange colored font,

displaysthe currently loaded show.

Scene Name/Number: Thus number, displayed in a smaller black colored font,

indicates the number of the currently loaded scene.

USB Recorder File: Displays the name of the active le that is currently being

recorded or played back.

AES50-A: Displays, by name, what AES50 based equipment is connected to the

console’s AES50-A port. The green LED lights solid when a valid AES50 connection

is present.

AES50-B: Displays, by name, what AES50 based equipment is connected to the

console’s AES50-B port. The green LED lights solid when a valid AES50 connection

is present.

Word Clock/Sample Rate Indicator:

1. Displays the current sample rate of the console.

2. The green LED illuminates when a valid internal or external clock is present.

3. Displays the current source of the clock:

• L: Internal Clock

• A: AES50 port A

• B: AES50 port B

• C: X-USB

Clock: Displays the current time of day in hours:minutes:seconds.

45 X32 DIGITAL MIXER Preliminary User Manual

7.1. 3 Navigation Methods

Following is an overview of how to navigate to the dierent console screens,

screen tabs, and sets of encoder parameters.

1. Press any of the assorted “View” buttons on any section of the console

top panel to switch the screen to the content that is tied to those

hardwarecontrols.

2. Alternatively, press any of the eight hardware buttons located to the right-

hand side of the screen to switch the screen to eight other areas that are not

covered by the assorted “View” buttons.

3. On any given screen, press the Page Select left/right keys to navigate among

the various screen “tabs” within a screen category.

4. On any given screen, press the Layer up/down keys to navigate among the

various sets of encoder parameters located at the bottom of each screen.

Dedicated Screens

The eight screens described in the following section are all “dedicated” screens.

They are accessed by pressing one of the eight dedicated buttons located to the

right of the screen itself. This is in contrast to the “View” based screens, whichare

navigated to by pressing the “View” button in various sections of the console

toppanel.

Rotary Encoder Elements:

Gain

+0.00

Link

Lo Cut

Input

Select

Source

PRE

Insert

Ins Pos

InsF

Connect

Insert

0.3

Delay

The bottom of most screens contain 6 slots of information that are always paired

with the 6 hardware rotary encoders located directly underneath each slot.

Thehardware encoders are used to adjust parameters displayed in these slots,

and operate in the following manner:

1. Parameters displayed in the top half of each slot are most often “continuous”

type parameters, and are adjusted by rotating the corresponding encoder

located directly below the bottom of the screen.

• For example, in the “home” tab of the Home screen, the “gain”

parameter of the selected input (located in slot 1) is adjusted with the

rst encoder.

2. Parameters displayed in the bottom half of each slot (outlined in dark grey)

are most often “on/o” style parameters, and are adjusted by pushing the

encoder inward, using it as a button.

• For example, in the “home” tab of the Home screen, the “link”

parameter of the selected input (located in slot 1) is adjusted with the

rst encoder’s push action.

3. If a given screen contains more parameters than ts into the 6 slots, thena

2nd set of slots is made available. Navigate to the next set of slots by

pressing the Layer down key, and the bottom-of-screen content will change

to display the next set of 12 parameters to be adjusted. Press the Layer up

key to return to the original set of 12 parameters.

46 X32 DIGITAL MIXER Preliminary User Manual

7. 2 Home Screen

The home screen contains a high-level overview of the selected input or output

channel, and oers various adjustments not available through the dedicated

top-panel controls:

The home screen contains the following separate tabs:

1. Home: General signal path for the selected input or output channel

2. Cong: Allows selection of signal source/destination for the channel,

conguration of insert point, and other settings

3. Gate: Controls and displays the channel gate eect beyond those oered by

the dedicated top panel controls

4. Dynamics: Controls and displays the channel dynamics eect (compressor)

beyond those oered by the dedicated top panel controls

5. EQ: Controls and displays the channel equalizer eect beyond those oered

by the dedicated top panel controls

6. Sends: Controls and displays for channel sends, such as sends metering and

send muting

7. Main: Controls and displays for the selected channel’s output

7.2 .1 Home Screen: Home Tab

The home tab of the home screen displays a general signal path for the currently

selected input or output channel. It visually displays various parameters of the

input, gate, insert point, equalizer, dynamics, output path, and buses.

The home tab contains the following parameters (divided into two pages)

thatcan be adjusted using the six rotary-push encoders.

Page 1

1. Adjust the 1st encoder to control the input gain (trim) of the channel.

2. Tap the 1st encoder to link the channel with its adjacent channel.

3. Adjust the 2nd encoder to set the threshold of the channel noise gate.

4. Tap the 2nd encoder to toggle the channel noise gate in/out of the

signalpath.

5. Adjust the 3rd encoder to toggle the channel’s insert point between

pre-fader and post-fader status.

6. Tap the 3rd encoder to toggle the channel insert in/out of the signal path.

7. Adjust the 4th encoder to toggle the channel dynamics between pre-EQ and

post-EQ status.

8. Tap the 4th encoder to toggle the channel EQ in/out of the signal path.

9. Adjust the 5th encoder to set the threshold of the channel compressor.

10. Tap the 5th encoder to toggle the channel compressor in/out of the

signalpath.

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

stereooutput.

12. Tap the 6th encoder to assign the selected channel to the main

stereooutput.

Page 2

1. Adjust the 1st encoder to select the console channel currently controlled by

the home screen.

2. Tap the 1st encoder to toggle +48V phantom power on/o for the currently

selected input.

3. Tap the 2nd encoder to toggle phase ip on/o for the currently

selectedchannel.

4. Adjust the 3rd encoder to select which of the 8 DCA groups the currently

selected channel will be assigned to.

5. Tap the 3rd encoder to assign the currently selected channel to the selected

DCA group.

6. Adjust the 4th encoder to select which of the 6 mute groups to assign the

currently selected channel to.

7. Tap the 4th encoder to assign the currently selected channel to the selected

mute group.

8. Tap the 5th encoder to toggles solo on/o for the currently selected channel.

9. Adjust the 6th encoder to adjust the fader level for the currently

selectedchannel.

10. Tap the 6th encoder to toggle mute on/o for the currently selected channel.

47 X32 DIGITAL MIXER Preliminary User Manual

7.2.2 Home Screen: Cong Tab

The conguration tab allows selection of signal source/destination for the

channel, conguration of insert point, and other settings, as well as conguration

of the channel delay.

The cong tab contains the following parameters that can be adjusted using the

six rotary-push encoders:

1. Adjust the 1st encoder to control the input gain (trim) of the channel.

2. Tap the 1st encoder to allow linking of the channel with adjacent channel.

3. Adjust the 2nd encoder to set the low-cut frequency of the channel.

4. Tap the 2nd encoder to toggle the low-cut lter in/out of the signal path.

5. Adjust the 3rd encoder to scroll among all of the possible sources for

thechannel.

6. Tap the 3rd encoder to select the currently highlighted source and assign it

to the channel.

7. Adjust the 4th encoder to set the amount of digital line delay applied to

thechannel.

*Note – this is not an echo eect

8. Tap the 4th encoder to toggle the delay in/out of the signal path.

9. Adjust the 5th encoder to toggle the channel insert between pre and post

EQ/compressor.

10. Tap the 5th encoder to toggle the channel insert in/out of the signal path.

11. Adjust the 6th encoder to scroll among the signal path choices for the

insertpoint.

12. Tap the 6th encoder to assign the selected signal path to the insert point.

7.2 . 3 Home Screen: Gate Tab

The gate tab displays all aspects of the channel noise gate and allows for very

deep control of the gate eect. Whereas the top panel’s dedicated gate section

allows control of the gate’s threshold and in/out status, the gate tab oers many

more controls. This tab can also be accessed directly by pressing the “View”

button in the top panel Gate section.

The gate tab contains the following parameters, divided among two pages,

thatcan be adjusted using the six rotary-push encoders:

Page 1

1. Adjust the 1st encoder to set the input threshold of the gate.

2. Tap the 1st encoder to toggle the noise gate in/out of the signal path.

3. Adjust the 2nd encoder to select between a gate, ducker, or 3 types

of expander.

4. Adjust the 3rd encoder to set the attack time of the onset of the noise

gateeect.

5. Adjust the 4th encoder to set the hold time of the noise gate eect.

6. Adjust the 5th encoder to set the release time of the noise gate,

controllinghow quickly the gate opens up and lets the signal through.

7. Adjust the 6th encoder to determine the range of signal reduction.

Page 2

1. Encoders 1 and 2 function the same on pages 1 and 2.

2. Adjust the 4th encoder to set the frequency of the key lter that can be used

to trigger the noise gate.

3. Tap the 4th encoder to toggle the key lter on/o, allowing a specic

frequency to control the gate.

4. Adjust the 5th encoder to set the steepness of the EQ slope used in the

keylter.

5. Tap the 5th encoder to send the key source to the solo bus, allowing the key

source to be monitored and evaluated.

6. Adjust the 6th encoder to select the specic key source to be used.

Choicesinclude “self” (the channel’s own signal) as well as any other

input/output of the console.

7. Tap the 6th encoder to assign the selected key source to the gate.

48 X32 DIGITAL MIXER Preliminary User Manual

7.2 . 4 Home Screen: Dynamics Tab

The dynamics tab displays all aspects of the channel compressor and allows for

very deep control of the eect. Whereas the top panel’s dedicated compressor

section allows control of the threshold and in/out status, the compressor tab

oers many more controls. This tab can also be accessed directly by pressing the

“View” button in the top panel Dynamics section.

The dynamics tab contains the following parameters that can be adjusted using

the six rotary-push encoders:

Page 1

1. Adjust the 1st encoder to set the input threshold of the compressor.

2. Tap the 1st encoder to toggle the compressor in/out of the signal path.

3. Adjust the 2nd encoder to set the ratio of the compressor.

4. Tap the 2nd encoder to switch the channel dynamics eect between

compression and expansion.

5. Adjust the 3rd encoder to set the attack time of the compressor eect.

6. Tap the 3rd encoder to switch the compressor between Peak and RMS

(root-mean-squared) mode, where the average level of the signal is

evaluated more than any specic peak of the channel material.

• PEAK: A peak sensing compressor responds to the instantaneous level

of the input signal. While providing tighter peak control, peaksensing

might yield very quick changes in gain reduction, more evident

compression, or sometimes even distortion. This mode is very suitable

for control/limiting of dynamic material.

• RMS: In this mode, the compressor applies an averaging function on the

input signal before its level is compared to the threshold. Thisallows

a more relaxed compression that also more closely relates to our

perception of loudness. Sharp dynamic transients will be less aected in

this mode. This mode is good for controlling levels in a mix.

7. Adjust the 4th encoder to adjust the “hold” time of the compressor.

• “Hold” time is a parameter not often found on commercial units, but is

very handy. If a compressor is set to use a very fast attack/release time,

audible distortion can occur, because the compressor is trying to work

on individual waveform cycles of the signal instead of sound envelope

as a whole. The “hold” parameter works around this issue by providing

a short delay. This delay prevents the compressor from releasing until a

certain time has passed.

8. Tap the 4th encoder to switch between Linear and Logarithmic modes for the

compressor. Following are some brief denitions of these dierent modes:

• LOG: This mode is used in many well-respected compressors and is the

natural result of more recent analogue units employing logarithmic

side chains and resistor/capacitor time constants. The exponential/

dB law has some interesting characteristics. Firstly, the time taken to

complete a compression event tends to stay the same however large

the dynamic signal excursion is. Also, since the peak rate of gain change

increases with dynamic excursion, the resulting harmonic content due

to compression tends to follow the loudness of the program in a way

the ear expects. This helps to mask the eects of the compression and

thus provides the most forgiving solution, being tolerant to diering

timing settings and program material. This makes it the best choice

for general compression use and overall dynamic control of complex

musical program.

• Linear: In this mode, the rate of gain change is constant (as set by the

timing controls). Therefore, the greater the signal dynamic excursion,

the longer the compressor will take to complete a gain change.

Also,since the total time that the compressor spends in attack or decay

is proportional to the size of the gain excursion, the harmonic content

of the compression artifacts will seem to reduce in frequency content.

The louder the signal excursion is. This type of compressor is useful

for generating dynamic sound eects because the sonic character of

the compression is much more aected by time control settings and

program material than the exponential type.

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

10. Tap the 5th encoder to engage the “auto” function, which automatically

optimizes advanced parameters such as attack, hold and release.

11. Adjust the 6th encoder to set the makeup gain of the compressor,

usefulwhen the compression eect has reduced the overall signal level of

the channel too much.

Page 2

1. The 1st encoder still engages and adjusts the threshold.

2. Adjust the 2nd encoder to set the mix of the compressor. Normally this

would be set to 100%, but by reducing the mix level, an eect called

‘parallel compression’ can be achieved, allowing some of the signal to pass

through uncompressed.

3. Adjust the 3rd encoder to set the steepness of the compressor “knee”

between ve separate settings. Adjust this control to switch between a

“harder” sounding or more transparent compression eect.

4. Tap the 3rd encoder to move the compressor eect before or after the

equalizer in the channel signal path.

5. Adjust the 4th encoder to set the frequency of the key lter that can be used

to trigger the compressor.

6. Tap the 4th encoder to toggle the key lter on/o, allowing a specic

frequency to control the compressor.

7. Adjust the 5th encoder to set the steepness of the EQ slope used in

thecompressor.

8. Tap the 5th encoder to send the key source to the solo bus, allowing the key

source to be monitored and evaluated.

9. Adjust the 6th encoder to select the specic key source to be used.

Choicesinclude “self” (the channel’s own signal) as well as any other

input/output of the console.

10. Tap the 6th encoder to assign the selected key source to the compressor.

49 X32 DIGITAL MIXER Preliminary User Manual

7.2 . 5 Home Screen: EQ Tab

The EQ tab displays all aspects of the channel equalizer and also displays a

detailed visual graph of the current EQ curve. This tab can also be accessed

directly by pressing the “View” button in the top panel Equalizer section.

1. If the currently selected channel is an input, the channel equalizer contains

four bands, with various aspects of each band adjusted by encoders 2-5.

2. If the currently selected channel is a bus, the channel equalizer contains six

bands, with various aspects of each band adjusted by encoders 1-6.

3. On the EQ screen, the various push encoders are always tied to an aspect

of the frequency adjustment, and the Up/Down navigation controls are

used to toggle between the 4 bands. The 6th encoder also toggles which

band is active.

• Adjust the 1st encoder to set the low cut frequency.

• Tap the 1st encoder to engage the low cut.

• Adjust the 2nd encoder to adjust the frequency for the selected band. All 4

bands can be shifted between 20 Hz and 20 kHz, so the band labeled 'Low'

can actually be used to adjust mids, etc.

• Tap the 2nd encoder to determine whether the RTA operates as a bar graph

or spectrograph.

• Adjust the 3rd encoder to set the amount of cut or boost for the selected

band.

• Tap the 3rd encoder to set the RTA as pre or post, depending if you want to

monitor the incoming signal or the eects of the EQ adjustment.

• Adjust the 4th encoder to set the bandwidth (Q) of the selected band. This is

only available if the band is set to PEQ or VEQ.

• Tap the 4th encoder to reset the selected EQ band.

• Adjust the 5th encoder to determine the mode of the selected band. The

following options are available:

• Low cut

• Low shelf

• PEQ (standard parametric)

• VEQ (vintage style)

• High shelf

• High cut

• Tap the 5th encoder to reset all of the EQ bands.

• Adjust the 6th encoder to select the frequency band.

• Tap the 6th encoder to activate the EQ.

7.2 .6 Home Screen: Sends Tab

The sends tab displays and controls all aspects of the channel sends to the sixteen

mix buses. Compared to the dedicated top panel send controls, this screen

oers additional functions such as send muting and simultaneous metering of

the selected channel’s sixteen sends. This tab can also be accessed directly by

pressing the “View” button in the top panel sends section.

The sends tab contains the following parameters that can be adjusted using the

six rotary-push encoders:

Page 1

1. Adjust the 1st encoder to set the level for the rst send of the currently

selected four-send group.

2. Tap the 1st encoder to mute the rst send of the currently selected

four-sendgroup.

3. Repeat process with the next three encoders for the other three sends in the

currently selected four-send group.

4. Adjust the 6th encoder to select which four sends to control with the screen

encoders, shifting focus two sends at a time.

5. Tap the 6th encoder to select which four sends to control with the screen

encoders, shifting focus four sends at a time.

Page 2

1. Adjust the 1st encoder to select where in the signal chain the send is

tapped from, for the rst two sends of the currently focused four sends.

Optionsinclude:

• Pre-EQ

• Post-EQ

• Pre-Fader

• Post-Fader

• Sub-Group

2. Adjust the 3rd encoder to perform the same operation for the second two

sends of the currently focused four sends.

3. Adjust the 6th encoder to select which four sends to control with the screen

encoders, shifting focus two sends at a time.

4. Tap the 6th encoder to select which four sends to control with the screen

encoders, shifting focus four sends at a time.

7.2 .7 Home Screen: Main Tab

The main tab displays and controls all aspects of the main bus assignments.

The main tab contains the following parameters that can be adjusted using the

six rotary-push encoders:

1. Adjust the 1st encoder to pan the selected channel within the main

stereooutput.

2. Tap the 1st encoder to assign the selected channel to the main stereo output.

3. Adjust the 2nd encoder to adjust the level of the currently selected channel

within the mono (center) bus.

4. Tap the 2nd encoder to assign the selected channel to the mono output

signal path. Use this function when crafting an LCR mix as opposed to a

mono or stereo mix.

5. Tap the 5th encoder to solo/unsolo the currently selected channel.

6. Adjust the 6th encoder to set the fader level for the currently selected channel.

7. Tap the 6th encoder to mute/unmute the currently selected channel.

50 X32 DIGITAL MIXER Preliminary User Manual

7. 3 Meters Screen

The meters screen displays dierent groups of level meters for various signal

paths of the console, and is useful for quickly ascertaining if any channels need

level adjustment. A Real Time Analyzer has also been added for frequency

monitoring of various sources.

The meter screen contains the following separate screen tabs, each containing

level meters for the following signal paths:

1. Channel:

• Level meters and fader levels for the 32 input channels

• Gate response meters for the 16 input channels

• Gain reduction meters for the 16 input channels

2. Mix Bus:

• Level meters, fader levels, and gain reduction meters for the

16busmasters

• Level meters, fader levels, and gain reduction meters for the

6matrixoutputs

• Level meters, fader levels, and gain reduction meters for the stereo

main bus and the mono bus

3. Aux/FX:

• Level meters for the 6 auxiliary sends

• Level meters and fader levels for the 8 auxiliary returns

• Level meters and fader levels for the 4 stereo eects returns

4. In/Out:

• The 32 input channels

• The 8 auxiliary returns

• The 6 auxiliary sends

• The two rear panel digital outputs

• Monitor outputs

• The 16 rear panel analog outputs

• The P16 Ultranet outputs

5. RTA:

The Real Time Analyzer provides accurate feedback of source frequencies in either

bargraph or spectrograph form, allowing problematic or feedback frequencies to

be quickly identied. The frequency information can be viewed on the dedicated

RTA tab, but can also be overlayed on top of the channel parametric EQ or the

31-band EQ in an FX slot. The 6 encoders allow adjustment for all 3 scenarios.

1. Rotate the rst encoder to cycle through the 6 check boxes to select various

designations. Press the encoder to check the box.

Channel EQ Defaults

The channel parametric EQ defaults to post-EQ, allowing you to see the results

of your EQ adjustments in real time on the analyzer. Select the ‘Pre EQ’ box to

monitor the RTA independent of channel adjustments. Select the ‘Spectrograph’

box to view in spectrograph form instead of the default bargraph.

GEQ Defaults

Per default, the 31-band EQ will display the RTA information at the bus in which

the EQ is inserted (for example, Main LR). Select the ‘Use RTA Source’ box to

display the RTA source (see encoder 6). To view the frequencies as they are

adjusted by the EQ, select the 'Post GEQ' box. Select the ‘Spectrograph’ box to

view in spectrograph form instead of the default bargraph.

RTA Source

When the ‘Solo Priority’ box is selected, the RTA source will be replaced with

the monitor solo bus whenever a channel solo is active. This option is useful

for analyzing a group of channels concurrently, or only briey analyzing other

channels than the xed RTA source. This aects both the GEQ RTA view and the

dedicated RTA tab view.

2. Press the 2nd encoder to view the frequencies on the RTA tab as a bargraph

or spectrograph. Note that this does not aect the channel EQ or 31-band EQ

view. The spectrograph view displays frequencies over a 10 second window,

which may make it easier to identify highly dynamic source material.

3. Press the 4th encoder to enable Auto Gain, which is recommended for most

situations to ensure meaningful readings. However, when disabled, the gain

can be manually adjusted with the encoder which may be necessary for

comparing absolute frequency band levels between dierent channels.

4. Adjust the 5th encoder to set the EQ overlay transparency of the analyzer on

top of the channel or 31-band EQ. When set to 0%, the RTA will not be visible

on the EQ screens. Press the encoder to set the source as Pre or Post EQ.

5. Adjust the 6th encoder to select the RTA source. This can be dynamic if you

would like to monitor the currently selected channel or monitor source, or a

xed channel can be selected (for use with a dedicated measurement mic,

for example).

51 X32 DIGITAL MIXER Preliminary User Manual

7.4 Routing Screen

The routing screen is where all signal patching is done, allowing you to route

internal signal paths to and from the physical input/output connectors located on

the console’s rear panel.

The routing screen contains the following separate tabs:

1. Home: Allows patching of physical inputs to the 32 input channels and

Auxinputs of the console.

2. Analog Out: Allows patching of internal signal paths to the console’s

16 rear-panel XLR outputs.

3. Aux Out: Allows patching of internal signal paths to the console’s

6 rear-panel ¼"/RCA auxiliary outputs.

4. P16 Out: Allows patching of internal signal paths to the 16 outputs of the

console’s 16-channel P16 Ultranet output. The iQ speakers can also be set up

from this tab.

5. Card Out: Allows patching of internal signal paths to the 32 outputs of the

XUF card.

6. AES50-A: Allows patching of internal signal paths to the 48 outputs of the

rear panel AES50-A output.

7. AES50-B: Allows patching of internal signal paths to the 48 outputs of the

rear panel AES50-B output.

8. XLR out: Allows patching of internal signal paths to the XLR outputs on the

rear panel.

None of the routing screen’s tabs contains a secondary level of encoder functions.

When routing audio, the Layer up/down keys do not need to be used.

7.4.1 Routing Screen: Home Tab

The routing screen’s home tab allows the user to patch the console’s physical

rear-panel inputs to the 32 input channels and Aux inputs of the console.

As a default, the console maps the console’s 32 rear-panel analog inputs to their

the respective 32 channel inputs that are accessed on input fader layers one

and two, and maps the rear panel line-level (auxiliary) inputs to the third input

faderlayer.

However, the home tab of the routing screen can be used to change this

default assignment and “crosspatch” dierent physical inputs to dierent

channel inputs, in banks of 8 channels at a time. This allows the user to create a

custom layout of channel inputs that diers from the order that the sources are

plugged into the rear panel, and is easier than physically re-patching physical

audiocables.

To assign various inputs to the console’s input channels, perform the

followingsteps:

1. Adjust the rst rotary encoder to select which 8-channel audio input

source feeds input channels 1-8 of the console. As the encoder is rotated,

thecurrently selected input will be highlighted in the vertical list of choices.

2. When the desired 8-channel source is selected, push the 1st encoder to

“connect” the currently selected 8-channel source. The selected source now

feeds input channels 1-8 of the console.

3. Input choices that can be assigned include:

• Local 1-8

• Local 9-16

• Local 17-24

• Local 25-32

• AES50-A 1-8

• AES50-A 9-16

• AES50-A 17-24

• AES50-A 25-32

• AES50-A 33-40

• AES50-A 41-48

• AES50-B 1-8

• AES50-B 9-16

• AES50-B 17-24

• AES50-B 25-32

• AES50-B 33-40

• AES50-B 41-48

• Card 1-8

• Card 9-16

• Card 17-24

• Card 25-32

4. To assign an 8-channel source for the other input channels of the console

(9-16, 17-24, 25-32), simply repeat the process above, usingthe other four

rotary encoders on the same screen.

5. Choices for Aux In 1-4 include:

• Aux 1-4

• Local 1-4

• AES50-A 1-4

• AES50-B 1-4

• Card 1-4

52 X32 DIGITAL MIXER Preliminary User Manual

7.4.2 Routing Screen: Analog Out Tab

The routing screen’s analog out tab allows the user to patch the console’s various

internal signal paths to the 16 analog XLR outputs that are located on the console

rear panel.

The X32 console allows for many dierent kinds of output signal paths, and this

screen is where these output paths are assigned to an actual physical rear panel

output so that the signal path can be patched to their eventual destination

(suchas the front-of-house PA speakers or a powered stage monitor).

To assign the various output paths to the rear panel XLR outputs, perform the

following steps:

1. Adjust the 1st encoder to select which of the 16 rear panel analog outs you

wish to assign an output signal path to.

2. Adjust the 3rd encoder to select an output path “category”.

These categories include:

• O

• Main (LRC) Mix

• Mix Bus Outputs

• Matrix Outputs

• Direct Outs

• Monitor

3. Adjust the 4th encoder to select a specic output path, including:

• O

• Main L

• Main R

• Main C/M

• Any of the 16 Mix Outputs

• Any of the 6 matrix outputs

• Any of the 32 direct outputs

• Any of the 8 Auxiliary Outputs

• Any of the FX Direct Outputs

• Monitor L

• Monitor R

• Talkback

4. Tap the 4th encoder to assign the selected output path,

completing the process.

5. Adjust the 5th encoder to select the signal tap point for the output

assignment. This determines where in the audio signal path the source is

“tapped” as it is sent to the physical rear panel output. The available signal

tap points include:

• Input

• Pre-EQ

• Pre-Fader

• Post-Fader

6. Tap the 5th encoder to assign the selected signal tap point.

7. Adjust the 6th encoder to adjust the amount of digital line delay applied to

the output path as it is sent to the rear-panel physical output. As the amount

of delay is adjusted, the current delay time is displayed in three dierent

units of measurement: Feet, Meters, and Milliseconds.

8. Tap the 6th encoder to toggle delay on/o. The “delay” label illuminates

when the delay is inserted into the signal path.

TIP: Applying a delay to an output signal is typically done when the console is

used in a “multi-zone” P.A. speaker setup, where some PA speakers are located

near the stage and a second set of speakers are located further back within

the audience. By applying an appropriate amount of delay only to the speakers

located further from the stage, the audience hears the audio from the closer/

further speakers at the same time, insuring maximum time-alignment and

sound quality. The console assumes an operating temperature of 20°C/68°F

whencalculating the delay times.

7.4.3 Routing Screen: Aux Out Tab

The route screen’s aux out tab allows the user to patch an internal signal

path (such as a mix output used as an eects send) to the 6 separate ¼"/RCA

auxiliaryoutputs.

Since these six outputs can have a wide variety of signal paths assigned to them,

they can be used for a wide variety of tasks, such as:

1. Feeding an external eects processor when the internal eects

areinsucient

2. Patching a specic console signal path into an outboard recorder

3. Feeding the analog or digital audio inputs of a nearby video recorder

To make an assignment as described above, perform the following steps:

4. Adjust the 1st encoder to select which auxiliary outputs to assign a source

for. Choices include:

• Aux Out 1

• Aux Out 2

• Aux Out 3

• Aux Out 4

• Aux Out 5

• Aux Out 6

• AES/EBU (Digital) Out L

• AES/EBU (Digital) Out R

5. Adjust the 3rd encoder to select for coarse range

• Insert

• Main (LRC)

• Mix Bus

• Matrix

• Direct Out

• Monitor

53 X32 DIGITAL MIXER Preliminary User Manual

6. Adjust 4th encoder to select specic signal path to feed the selected physical

output. Choices include:

• Insert Point

• Main L

• Main R

• Main C/M

• Any of the 16 Mix Outputs

• Any of the 6 matrix outputs

• Any of the 32 direct outputs

• Any of the 8 Auxiliary Outputs

• Any of the FX Direct Outputs

• Monitor L

• Monitor R

• Talkback

7. Tap the 4th encoder to assign the selected output path,

completingtheprocess.

8. Adjust the 5th encoder to select the signal tap point for the output

assignment. Choices include:

• Input

• Pre-EQ

• Pre-Fader

• Post-Fader

9. Tap the 5th encoder to complete the signal tap point assignment.

7.4.4 Routing Screen: P16 Tab

The routing screen’s P16 tab allows the user to route various console signal paths

to the rear panel P16 Ultranet output. The Ultranet output allows for 16 channels

of audio to be sent, in digital form, to various accessories such as a personal

monitoring distribution box.

Using the P16 routing screen, the user can congure the P16 output to carry not

only the main LR mix, but also various audio “stems” of program material sources

from a bus send mix, such as a stereo drum mix, stereo keyboards, guitars,

bass, vocals, etc. Musicians on stage would then be free to each craft their own

personal mix of these musical stems, all delivered from the FOH position to stage

over a single Ethernet cable.

To select which audio signals are sent to the P16 bus, perform the followingsteps:

1. Adjust the 1st encoder to select which of the 16 channels in the P16 bus you

wish to select an audio source for.

2. Adjust the 3rd encoder to select a category of audio source to send to the

currently selected P16 channel. These categories include:

• Insert

• Main (LRC)

• Mix Bus

• Matrix

• Direct Out

• Monitor

3. Adjust the 4th encoder to select which specic signal path to feed to the

currently selected P16 output. Choices include:

• O

• Main L

• Main R

• Main C/M

• Any of the 16 Mix Outputs

• Any of the 6 matrix outputs

• Any of the 32 direct outputs

• Any of the 8 Auxiliary Outputs

• Any of the FX Direct Outputs

• Monitor L

• Monitor R

• Talkback

4. Tap the 4th encoder to assign the selected output path,

completing the process.

5. Adjust the 5th encoder to select the signal tap point for the output assignment.

This determines where in the audio signal path the source is “tapped” as it is

sent to the P16 output. The available signal tap pointsinclude:

• Input

• Pre-EQ

• Pre-Fader

• Post-Fader

6. Tap the 5th encoder to complete the signal tap point assignment.

7. Tap the 6th encoder to enter iQ Setup

• Adjust the 1st encoder to select a P16 channel.

• Adjust the 3rd encoder to select the iQ speaker assigned to the selected

channel. Press the encoder to conrm.

• Adjust the 4th encoder to select an EQ Preset, then press the encoder

to conrm.

• Adjust the 5th encoder to select a Sound Prole that the iQ speaker will

model, then press the encoder to conrm.

• Press the 6th encoder again to return to the P16 tab.

54 X32 DIGITAL MIXER Preliminary User Manual

7.4.5 Routing Screen: Card Output Tab:

The routing screen’s card tab allows the user to patch various signal paths to the

physical inputs and outputs of the X-USB card. The X-USB’s signal path provides

32channels of inputs and 32 channels of outputs. The 32 card inputs can be used

as alternate sources for the two input fader layers, switchable in banks of 8.

To assign an output path to the option card, perform the following steps:

1. Adjust the 1st encoder to select which 8-channel output path to send to the

rst 8 outputs of the card. Choices include:

• Local 1-8

• Local 9-16

• Local 17-24

• Local 25-32

• AES50-A 1-8

• AES50-A 9-16

• AES50-A 17-24

• AES50-A 25-32

• AES50-A 33-40

• AES50-A 41-48

• AES50-B 1-8

• AES50-B 9-16

• AES50-B 17-24

• AES50-B 25-32

• AES50-B 33-40

• AES50-B 41-48

• Card 1-8

• Card 9-16

• Card 17-24

• Card 25-32

• Out 1-8

• Out 9-16

• P16 1-8

• P16 9-16

• Aux 1-6/Mon

2. Tap the 1st encoder to assign the selected output path,

completing the process.

3. Repeat the process with encoders 2-4 to select output paths for the other

24channels of card outputs.

7.4.6 Routing Screen: AES50-A and AES50-B Tabs:

The routing screen’s AES50-A and AES50-B tabs allow the user to patch various

console output paths to the outputs of the dual AES50 connectors. These AES50

connectors can feed other AES50 equipped devices such as a digital stagebox or

standalone multi-track recorder.

The console contains two separate AES50 connectors, an “A” connector and a

“B” connector. These dual connectors allow for an increased level of exibility in

networking the console with various AES50 based equipment.

Each of the two AES50 screens contains the same following sets of parameters

that can be adjusted. To assign various console signal paths to the AES50

connectors, perform the following steps:

1. Adjust the 1st encoder to select an 8-channel signal path that will be sent to

the rst 8 channels of the AES50 connectors output. Choices include:

• Local 1-8

• Local 9-16

• Local 17-24

• Local 25-32

• AES50-A 1-8

• AES50-A 9-16

• AES50-A 17-24

• AES50-A 25-32

• AES50-A 33-40

• AES50-A 41-48

• AES50-B 1-8

• AES50-B 9-16

• AES50-B 17-24

• AES50-B 25-32

• AES50-B 33-40

• AES50-B 41-48

• Card 1-8

• Card 9-16

• Card 17-24

• Card 25-32

• Out 1-8

• Out 9-16

• P16 1-8

• P16 9-16

• Aux 1-6/Mon

2. Tap the 1st encoder to connect the currently selected signal path to the

AES50 pathway.

3. Repeat the above process for the other ve sets of 8-channel AES50 outputs.

The AES50-B tab works exactly the same as the AES50-A screen, but instead

selects sources sent to the output of the console’s AES50-B connector.

7.4.7 Routing Screen: XLR out tab:

The XLR tab allows the rear panel XLR outputs to be reassigned in blocks of 4.

Each encoder can be adjusted to select the desired source, and pressed to conrm

the selection.

55 X32 DIGITAL MIXER Preliminary User Manual

7. 5 Setup Screen

The setup screen oers various controls for global, high-level functions of

the console such as display adjustments, sample rates and synchronization,

usersettings, and network conguration.

The setup screen contains the following separate tabs:

1. Global: This screen oers adjustments for console sample rate and

synchronization, as well as initialization options.

2. Cong: This screen oers adjustments for various global preferences of how

the console operates.

3. Remote: This screen oers dierent controls for setting up the console as a

control surface for various DAW recording software on a connectedcomputer.

4. Network: This screen oers dierent controls for attaching the console to a

standard Ethernet network.

5. Scribble strip: This screen allows a custom color, icon and name to be selected

for each channel which will appear in that channel's scribble strip mini display.

6. Preamps: This screen allows access to various preamp controls.

7. Card: This screen selects between the USB and FireWire connectors, and also

selects the input/output conguration.

7.5.1 Setup Screen: Global Tab:

The setup screen’s global tab allows the user to adjust various global controls of the

console, such as display brightness and contrast, sample rate, and the time and date.

To make adjustments in the global screen, perform the following steps:

1. Adjust the 1st encoder to select from the list of System Controls:

• Shutdown

• Reboot

• Update Firmware

2. Tap the 1st encoder to engage the selected function.

3. Adjust the 2nd encoder to select the sample rate and synchronization.

4. Tap the 2nd encoder to conrm your selection.

5. Adjust the 4th encoder to select an item to initialize.

6. Tap the 4th encoder to initialize your selection.

7. Adjust the 5th encoder to change the currently selected gure for the time

or date.

8. Tap the 5th encoder to scroll through the entries for time and date.

9. Adjust the 6th encoder to change the LCD or LED brightness.

10. Tap the 6th encoder to alternate between LCD and LED brightness.

7.5. 2 Setup Screen: Cong Tab:

The Cong tab allows a variety of global preferences to be selected. All of the

adjustments are made with just 3 encoders.

1. Adjust the 1st encoder to scroll through the list of preferences.

2. Tap the 1st encoder to conrm the selection.

3. Adjust the 4th encoder to scroll through the list of Link and Pan preferences.

4. Tap the 4th encoder to conrm.

5. Adjust the 5th encoder to select a bus pre-conguration scheme. Note that

individual channels and buses can be changed on the Sends screen.

6. Tap the 5th encoder to select the conguration.

7.5.3 Setup Screen: Remote Tab:

The setup screen’s remote tab allows setting up the console as a control surface

for various DAW recording software on a connected computer. With its large

complement of motorized faders, the console can act as an excellent controller

for various DAW software, allowing the user to make level adjustments quickly

and easily without using a mouse.

To adjust the various remote settings, perform the following steps:

1. Tap the 1st encoder to enable the console’s top panel Remote button.

Thisswitches various console hardware, such as the bus faders, tocontrol

computer DAW software instead of the console’s internal audiopath.

2. Adjust the 2nd encoder to select the specic control surface protocol used,

inconjunction with the target DAW software. Choices include:

• Mackie Control: Use this protocol to control any DAW software that is

compatible with a Mackie Control hardware control surface.

• HUI: Use this protocol to control any D.A.W. software that is compatible

with a HUI hardware control surface, such as Pro Tools.

3. Tap the 2nd encoder to assign the currently selected control surface protocol.

4. Adjust the 5th encoder to select whether the remote function uses the MIDI

In and OUT jacks or the X-USB card’s MIDI.

5. Tap the 5th encoder to conrm the selection.

6. Adjust the 6th encoder to adjust various MIDI-based operations for the

console. Choices include:

• MIDI In/Out: This toggles the MIDI input and outputs for the console

on/o.

• Card MIDI: Allows MIDI transmission through the X-USB card.

• USB In/Out: This toggles the console’s USB ports on/o.

• RTP (Real-time Transport Protocol): This toggles on/o the console’s

ability to interface with an Ethernet-based MIDI system.

• Enable MIDI scene recall: This toggles on/o the console’s response to

incoming MIDI messages for switching console scenes.

7. Tap the 6th encoder to toggle the currently selected MIDI option

on/o. Thiscan be useful if you want to ensure that any connected MIDI

transmitters cannot interfere with the console.

7.5. 4 Setup Screen: Network Tab:

The setup screen’s network tab contains settings used when connecting the

console to a standard Ethernet network. The user can set parameters such as

using a xed IP address or having one assigned, as well as setting up the Ethernet

and subnet mask settings.

To set the network address for the console, perform the following steps:

1. Adjust the 1st encoder to select which specic network eld to adjust.

Choices include:

• IP Address

• Subnet Mask

• Gateway

2. Adjust encoders 2, 3, 4, and 5 to set the 4 numerical elds to be adjusted,

forthe selected network eld.

3. Tap the 6th encoder to assign the adjusted settings.

56 X32 DIGITAL MIXER Preliminary User Manual

7.5.5 Setup Screen: Scribble Strip Tab

57 X32 DIGITAL MIXER Preliminary User Manual

The Scribble Strip tab allows the color, icon and name that appears in the small

LCD display of a channel, bus, matrix or DCA group to be adjusted.

1. Adjust the 1st encoder to select the channel, bus, matrix, DCA group,

etc. you wish toedit.

2. Adjust the 2nd encoder to set the color for the currently selected channel.

• The selected color will be shown in the LCD screen above the selected

channel’s fader. For example, if DCA#5 is assigned the color red, the LCD

screen above output fader #5 will illuminate in red.

3. Adjust the 3rd encoder to select the graphical icon for the channel. A large

variety of clip-art is available to represent various input sources and

outputdestinations.

4. Adjust the 4th encoder to select a name from a list of common preset names

(snippets), for the currently selected channel.

5. Tap the 4th encoder to assign the currently highlighted preset text (snippet)

to the channel.

6. Tap the 5th encoder to edit the channel name. An edit screen will pop up.

7. Adjust the 4th encoder to shift the cursor position.

8. Tap the 4th encoder to issue a “backspace” command, deleting the currently

highlighted character.

9. Adjust the 5th encoder to select a letter, number, or symbol to enter into the

channel’s name eld.

10. Tap the 5th encoder to insert the currently highlighted letter, number,

orsymbol into the channel’s name eld.

11. Adjust the 6th encoder to select whether the text entry choices oer capitals,

normal characters, or numbers and symbols.

12. Tap the 6th encoder to exit the editing page, and save the current

parameters to the channel.

7.5. 6 Setup Screen: Preamps Tab

The Preamps tab allows the digital trim to be adjusted for all local and

AES50 channels.

1. Adjust the 1st encoder to select a block of 8 channels.

2. Adjust encoders 2-5 to set the preamp gain for the top or bottom

row of inputs.

3. Tap encoders 2-5 to toggle phantom power on and o.

Note - Use the Layer Up and Down buttons to select the top or bottom row of

inputs for editing.

4. Rotate the 6th encoder to select one of 4 checkboxes, then press the encoder

to mark the box and activate that function.

Lock Stagebox prevents front panel adjustments to be made on a connected S16

digital snake.

HA Gain Split separates the channel gain (trim) from the head amp gain, allowing

the FOH console and monitor console to operate their own local digital trims

independently. Note that head amp gains can only be adjusted from the Setup/

preamps page and input channels with have digital trims only.

HA Remote allows console gains to be remote controlled by another console

connected via AES50. This is particularly useful when operating an X32 Rack unit

as a stagebox.

7.5.7 Setup Screen: Card Tab

The Card tab allows selection and conguration of the XUF card. Note that if no

card is installed, this tab is not accessible. Specic routing for the card can be

adjusted on the Routing: Home and Card Out tabs.

1. Adjust the 1st encoder to select between the FireWire and USB connectors.

2. Tap the 1st encoder to conrm your selection.

3. Adjust the 2nd encoder to select the conguration that best suits your

application. See the XUF card chapter for more details. Options include:

• 32 in/32 out

• 16 in/16 out

• 32 in/8 out

• 8 in/32 out

• 8 in/8 out

• 2 in/2 out

4. Tap the 2nd encoder to conrm your selection.

58 X32 DIGITAL MIXER Preliminary User Manual

7.6 Libraries Screen

The libraries screen allows loading and saving of commonly used setups for the

channel inputs, eects processors, and routing scenarios.

The libraries screen contains the following separate tabs:

1. Channel: This tab allows the user to load and save commonly used

combinations of the channel DSP eects.

2. Eects: This tab allows the user to load and save commonly used eects

processor presets.

3. Routing: This tab allows the user to load and save commonly used signal

routings they have set up.

7.6.1 Libraries Screen: Channel Tab

The library screen’s channel tab allows you to load and save commonly used

combinations of the channel DSP eects. For example, once you have dialed in

a combination of equalization and compression that works well for a particular

singer, you can save the channel DSP chain as a preset for later recall.

To adjust the various settings on the channel tab, perform the following steps:

1. Adjust the 1st encoder to navigate among which specic elements of

the input channel can be recalled when loading an input channel preset.

Choicesinclude:

• Head Amp (Microphone Preamplier)

• Conguration

• Gate

• Compressor

• Equalizer

• Sends

2. Tap the 1st encoder to turn the currently selected element on/o in the

recalllist.

3. Adjust the 2nd encoder to scroll among a list of input channel presets.

4. Tap the 2nd encoder to load the currently highlighted preset and make it

active on the currently selected console channel.

5. Adjust the 3rd encoder to scroll among a list of channel preset slots to save

the current state of the currently selected console channel.

6. Tap the 3rd encoder to save the currently selected channel’s state, to the

currently selected preset slot.

• When the 3rd encoder is tapped, a preset naming screen appears.

Adjustand tap encoders 4-6 to apply a custom name to the preset

before saving it, then tap the 6th encoder to complete the save process.

7. Tap the 4th encoder to delete a preset from the currently highlighted

presetslot.

7.6. 2 Libraries Screen: Eects Tab

The library screen’s eects tab allows you to load and save presets for the various

onboard eects processors.

To adjust the various settings on the FX tab, perform the following steps:

1. Adjust the 1st encoder to navigate among which of the eight eects slots to

load or save a preset.

• As you navigate among the eight eects slots, the specic eect

processor loaded into each slot will display on the screen as both a name

and icon.

2. To save and load presets, as well as import/export them, follow the same

procedures as detailed in the Libraries Screen: Channel Tab

7.6. 3 Libraries Screen: Routing Tab

The library screen’s routing tab allows you to load and save presets of the

console’s signal routings. This can be useful for repeating specic routing

scenarios that occur over and over on a regular basis, such as when using the

console for a weekly club gig or worship service.

To adjust the various settings on the routing tab, perform the following steps:

1. Adjust the 1st encoder to navigate among which specic console signal paths

will be recalled when loading a routing preset. Choices include:

• Channel Inputs

• Analog Out

• Auxiliary Out

• P16 (Ultranet) Out

• Card Out

• AES50 Out

• XLR Out

2. Tap the 1st encoder to turn the currently selected element on/o in the

recalllist.

3. To save and load presets, as well as import/export them, follow the same

procedures as detailed in the Libraries Screen: Channel Tab.

59 X32 DIGITAL MIXER Preliminary User Manual

7.7 Eects Screen

The eects screen controls various aspects of the eight internal eects

processors. On this screen, the user can select specic types of eects for

the eight internal eects processors, congure their input and output paths,

monitortheir levels, and adjust the various eects parameters.

The home screen contains the following separate tabs:

1. Home: The home screen provides a general overview for all eight eects

processors, displaying what eect has been inserted in each of the eight slots,

as well as displaying input/output paths for each slot and the I/O signal levels.

2. FX1-8: These eight duplicate screens display all relevant data for the eight

separate eects processors, allowing the user to adjust all parameters for

the selected eect.

7.7.1 Eects Screen: Home Tab

The eects screen’s home tab provides a high-level overview of the eight eect

processor slots, giving the user “at-a-glance” feedback on what eects they

have assigned to the slots, the console source and destination for each processor,

andthe input/output levels for each processor.

To make adjustment on the eects screen’s home tab, perform the

followingsteps:

1. Adjust the 1st encoder to select the input source for the currently highlighted

eect block. Signal path choices include:

• Insert Send

• Mix Bus 1-16

2. Tap the 1st encoder to assign the currently selected input source.

3. Adjust the 2nd encoder to select the input source for the right side of the

currently highlighted eect block.

4. Tap the 2nd encoder to assign the currently selected input source.

TIP: To congure an eect as mono input and stereo output, set both input

sources to the same signal path.

5. Tap the 4th and 5th encoders to mute either side of the eect block.

6. Adjust the 5th encoder to scroll among the dierent available audio eects.

Choices include:

7. Tap the 5th encoder to assign the selected eect to the currently highlighted

eects slot.

8. Adjust the 6th encoder to scroll among the eight eects slots, to select one

for editing.

9. Tap the 6th encoder to go to the edit page for the currently highlighted

eects slot.

7.7. 2 Eects Screen: FX 1-8 Tabs:

The eect editor tab allows you to edit the parameters for the specic eect

processor assigned to the corresponding eects slot.

In order to more closely simulate the look and feel of the outboard processors

that are no longer necessary with a digital console, the individual eects

processor screen provides a graphical representation of the eect processor’s real

world physical counterpart. This provides greater ease of use to the user than a

simple text list of parameters.

To make adjustment on the FX screen’s editing tab, perform the following steps:

1. Adjust the six rotary encoders to change the various eect parameters

shown at the bottom of the screen.

2. Use the Layer up/down buttons to switch the rotary encoders to a second

set of parameters for eects that contain more than six adjustable

parameterstotal.

3. When the eect processor has been edited to your satisfaction, push the 6th

encoder to go back to the FX home tab (or simply resume the mixing duties

in general).

4. See the FX Descriptions chapter for details on specic parameters.

TIP: For the Graphic EQ eects, tap the 1st encoder to implement the “Graphic EQ

on Faders” function. This allows you to boost-cut the dierent EQ bands using the

8 console output faders, 8 faders at a time, with the relevant EQ bands displayed

on the channel LCD screens.

7.8 Mute Group Screen

The mute group screen allows for quick assignment and control of the console’s

6mute groups, and oers two separate functions:

1. It mutes the active screen during the process of assigning channels to mute

groups. This ensures that no channels are accidentally muted during the

assignment process during a live performance.

2. It oers an additional interface for muting/unmuting the mute groups in

addition to the dedicated mute group buttons at the bottom of the console.

When activated, the mute screen only covers the bottom portion of the

main display, allowing the middle portion to continue displaying its usual

screencontent.

To assign channels to one of the 6 mute groups, perform the following steps:

1. Press the Mute Group button to switch the main display to the mute

groupsview.

2. Press and hold the desired mute group button (1-6) on the lower right hand

corner of the console.

3. While holding the mute group button, press the select keys of any input or

output channel, on any layer, that you wish to assign to the mute group.

4. When you have assigned all the desired channels to the mute group,

releasethe dedicated mute group button. The individual channel mute

buttons will resume their normal function.

1. Hall Reverb 21. Suboctaver 41. Fair Comp

2. Ambience 22. Delay + Chamber 42. M/S Fair Comp

3. Rich Plate Reverb 23. Chorus + Chamber 43. Dual Fair Comp

4. Room Reverb 24. Flanger + Chamber 44. Leisure Comp

5. Chamber Reverb 25. Delay + Chorus 45. Dual Leisure Comp

6. Plate Reverb 26. Modulation Delay 46. Ultimo Comp

7. Vintage Reverb 27. Dual Graphic EQ 47. Dual Ultimo Comp

8. Vintage Room 28. Stereo Graphic EQ 48. Dual Enhancer

9. Gated Reverb 29. Dual TruEQ 49. Stereo Enhancer

10. Reverse Reverb 30. Stereo TruEQ 50. Dual Exciter

11. Stereo Delay 31. Dual DeEsser 51. Stereo Exciter

12. 3-Tap Delay 32. Stereo DeEsser 52. Stereo Imager

13. Rhythm Delay 33. Stereo Xtec EQ1 53. Edison EX1

14. Stereo Chorus 34. Dual Xtec EQ1 54. Sound Maxer

15. Stereo Flanger 35. Stereo Xtec EQ5 55. Dual Guitar Amp

16. Stereo Phaser 36. Dual Xtec EQ5 56. Stereo Guitar Amp

17. Dimension-C 37. Wave Designer 57. Dual Tube Stage

18. Mood Filter 38. Precision Limiter 58. Stereo Tube Stage

19. Rotary Speaker 39. Combinator 59. Dual Pitch Shifter

20. Tremolo/Panner 40. Dual Combinator 60. Stereo Pitch

60 X32 DIGITAL MIXER Preliminary User Manual

To use the mute groups screen to mute/unmute the groups, perform the

following steps:

1. Tap any of the six encoders to mute the corresponding group, and thus mute

all channels that are assigned to that mute group.

2. Tap the encoder of a currently muted group to “un-mute” the mute group.

3. When nished working with mute groups, tap the Mute Group screen button

to exit the mute groups screen. The entire screen will again display its full set

of controls for whatever page it was previously on.

7.9 Utility Screen

The utility screen is a supplemental screen designed to work in conjunction

with the other screens that may be in view at any particular moment. The utility

screen is never seen by itself, it always exists in the context of another screen.

To reinforce this point, when the utility screen button is pressed, it illuminates at

the same time that another screen button is also illuminated, showing you which

screen it is providing extra utilities for. For most screens, pressing the utility

button simply acts as a shortcut to a page that can be navigated to by other

means. In a few cases, a utility page provides extra utility functions not seen

anywhere else.

The utility button works in the following manner with the other screens on

theconsole:

Channel Preamp Screens: Takes the user directly to the channel tab of the

library screen.

USB Screen: Takes the user directly to the “select folder” tab of the USB screen.

Monitor/Talkback Screens: There are no utility functions for any of the

dierent pages of the monitor screen.

Scenes Page: Provides an interface for copying, pasting, loading, and saving

dierent scenes in the scene list. Adjust and tap the six rotary encoders to

perform these functions.

Custom Screen: There are no utility functions for any of the dierent pages of

the custom screen.

Meters Screen: There are no utility functions for any of the dierent pages of

the meters screen.

Routing Screen: Takes the user directly to the routing tab of the library screen.

Setup Screen: There are no utility functions for any of the dierent pages of the

setup screen.

Library Screen: There are no utility functions for any of the dierent pages of

the library screen.

Eects Screen: Takes the user directly to the eects tab of the library screen.

“View” Based Screens

The screens described in the following sections are all “View” based screens.

Theyare navigated to by pressing the “View” button in various sections of the

console top panel.

7.10 Monitor/Talkback Screens:

The monitor screen is selected by pressing the “View” button of the top panel’s

monitor section, as well as the “View” button of the top panel’s talkback section.

The screen controls various aspects of the console’s solo bus, control room

outputs, and talkback section.

The monitor/talkback screen contains the following separate tabs:

Monitor: This screen controls various solo options, dimming, speaker delay,

andsources for the control room output.

Talkback A: This screen controls various adjustments for the talkback A path

ofconsole.

Talkback B: This screen controls various adjustments for the talkback B path

ofconsole.

Oscillator: This screen oers various controls for the onboard oscillator and how

it is routed throughout the console.

7.10.1 Monitor/Talkback Screen: Monitor Tab:

The monitor tab controls various console options related to the solo bus, aswell

as the console’s control room outputs. These options include various solo

settings, speaker dimming, speaker delay, and selection of sources for the control

room output.

To adjust the various settings on the monitor tab, perform the following steps:

1. Adjust the 1st encoder to change the gain of the monitor signal. This digital

gain stage occurs as a rst preliminary level control, before the top panel’s

analog-based monitor level control. A display above the encoder shows the

currently set gain value in dB.

• A multi-segment level meter is displayed on the color screen to allow for

proper gain staging of the monitor signal.

2. Adjust the 2nd encoder to scroll through the various solo methods

availableto the console when audio is routed to the solo bus.

Availableoptions include:

• Exclusive (Last): In this mode, pressing another solo button disengages

the previous solo.

• Solo Follows Select: When this method is selected, the audio of the

currently selected channel will automatically be sent to the solo bus.

Since a user will often select a channel to adjust its dedicated DSP

controls, this method is useful because the audio of the channel will

now already be feeding the solo bus where it can be monitored with

headphones in a live sound environment.

• Select Follows Solo: When this method is selected, any channel that is

soloed will automatically become the currently selected channel.

• Channel Solo AFL: With this method, the channel and select button do

not have any correlation to each other. When a channel’s solo button

is pressed, its audio is sent to the solo bus in “after-fader listen” mode,

reecting the current level of the channel fader and any channel DSP

that has been applied.

61 X32 DIGITAL MIXER Preliminary User Manual

• Mix Bus AFL/PFL: This toggles the AFL/PFL setting for the mix

buses when they are soloed (as opposed to the soloing of a single

inputchannel).

• DCA Group AFL: This puts the contents of a soloed DCA group into after-

fader listen mode when the solo button is pressed on a DCA channel.

• Use Master Fader: This allows the Main Fader/mute button to control the

solo/mon output.

3. Tap the 2nd encoder to select and assign the currently chosen solo option.

4. Adjust the 3rd encoder to adjust the amount of digital delay that is applied to

the control room signal path. The display on the screen will show the current

amount of delay in feet, meters, and milliseconds.

5. Tap the 3rd encoder to toggle the delay function on/o.

TIP: The delay function is useful for aligning the sound of audio monitored

through headphones or speakers used at the Front-of-House position with audio

that is coming from the stage location.

By delaying the control room audio, it can be brought into alignment with

the slightly delayed audio that has to travel from the stage to the Front of

Houseposition.

6. Adjust the 4th encoder to set the amount of volume reduction that occurs

when the control room bus has its “dim” function enabled. The amount of

volume reduction ranges from -40 dB to 0 dB (no change).

7. Tap the 4th encoder to toggle the dim function on/o.

8. Adjust the 5th encoder to adjust the volume trim for the source currently

feeding the control room bus, allowing it to be level/matched with other

sources. The amount of trim can be adjusted from -20 dB to +20 dB.

9. Tap the 5th encoder to toggle the control room between mono and stereo

operation. This is very useful in a studio context for checking how a mix

sounds when played back on a mono speaker such as a clock radio.

10. Adjust the 6th encoder to select what specic signal source to monitor in the

control room bus. Choices include:

• O (No source)

• LR Bus

• LR + C/M

• LR PFL (pre-fader listen solo bus)

• LR AFL (after-fader listen solo bus)

• Auxiliary returns 5/6

• Auxiliary returns 7/8

11. Tap the 6th encoder to activate the signal source that has been chosen.

7.10. 2 Monitor/Talkback Screen: Talkback Tabs:

The talkback tabs oer various adjustments for the talkback paths of the console,

such as destination of the talkback signal and more.

To adjust the various settings on the Talkback A tab, perform the following steps:

1. The screen displays a multi-segment level meter showing the signal strength

of the talkback signal as it has currently been set. It also displays a multi-

segment gain reduction meter, showing the user how much compression has

been automatically applied to the talkback signal to keep its level even to

the recipient.

2. Tap the 1st encoder to enable the talkback circuit. The internal/external

talkback microphone will now transmit audio to the Talkback A path’s

assigned destination.

3. Tap the 2nd encoder to switch the talkback circuit from the internal talkback

to the external microphone connector. A 2nd tap of the encoder switches the

console back to using the internal talkback microphone.

4. Adjust the 3rd encoder to set the gain of the talkback A signal. This is an

additional gain stage that follows the initial gain stage set by the top panel

Talk Level knob.

5. Tap the 3rd encoder to toggle on/o the talkback circuit’s “auto-dim”

function. This function is useful in a studio setting, and will automatically

dim the control room outputs when the talkback circuit is active.

Thisprevents a feedback loop from occurring between the talkback

microphone and the nearby studio monitors.

6. Adjust the 4th encoder to scroll through the various talkback destinations,

which include:

• Mix Bus 1-16

• LR Bus

• Center/Mono Bus

7. Tap the 4th encoder to activate any talkback destination when it is currently

selected. Multiple talkback destinations can be selected, allowing the

talkback signal to reach many destinations at the same time.

8. Tap the 5th encoder to toggle the dedicated top-panel talkback buttons

between latching and non-latching operation.

9. Adjust the 6th encoder to adjust the brightness of the lamp that is connected

to the console’s top-panel lamp connector.

10. Tap the 6th encoder to toggle the attached lamp on/o.

All controls for the talkback B tab work as described above, but pertain to the

talkback B signal path.

62 X32 DIGITAL MIXER Preliminary User Manual

7.10. 3 Monitor/Talkback Screen: Oscillator Tab:

The oscillator tab oers controls for the console’s onboard oscillator, a very handy

tool that can be used for setting up PA systems and testing various signal ow

paths without the need for a live source feeding a microphone. Settings include

oscillator type, frequency, volume, and routing destinations.

To adjust the various settings on the Oscillator tab, perform the following steps:

1. Adjust the 1st encoder to set the level of the onboard oscillator.

2. Tap the 1st encoder to toggle the onboard oscillator on/o.

• The color screen displays a multi-segment level meter that show the

current level of the oscillator.

3. Adjust the 2nd encoder to set the frequency of the primary

onboardoscillator.

4. Adjust the 3rd encoder to set the frequency of the alternate

onboardoscillator.

5. Tap the 3rd encoder to alternate between the 2 onboard oscillators.

6. Adjust the 4th encoder to select the type of oscillator to be used.

Choicesinclude:

• Sine Wave

• Pink Noise

• White Noise

7. Tap the 4th encoder to engage the selected oscillator type.

8. Adjust the 6th encoder to select a destination for the onboard oscillator.

Choices include:

• Mix Bus 1-16

• Main L Bus

• Main R Bus

• Main L+R Bus

• Main Center/Mono

• Matrix Outputs 1-6

9. Tap the 6th encoder to assign the selected oscillator destination.

7.11 USB Screen

The USB screen controls various aspects of the console’s onboard audio le

player/recorder, allowing the user to record stereo audio to an attached

USBdrive, as well as playback audio les from the drive through the console.

The USB screen contains the following separate tabs:

Home: This screen provides a general overview of the USB record/

playback interface.

Cong: This screen allows conguration of the various parameters associated

with recording to and playback from the USB drive, such as audio paths,

recordfolders, etc.

7.11.1 USB Screen: Home Tab:

The USB screen’s home tab provides a general overview of the recording/playback

process for audio les residing on the attached USB drive. It oers a basic set of

transport controls, as well as metering and a list of les available for playback.

To adjust the various settings on the USB screen’s home tab, perform the

following steps:

1. Tap the 1st encoder to stop playback of the audio le.

2. Tap the 2nd encoder to play back audio from the currently loaded audio le.

3. Tap the 3rd encoder to rewind the audio.

4. Tap the 4th encoder to fast forward the audio.

5. Tap the 5th encoder to record audio from the currently congured audio

path, to the attached USB drive.

6. Rotate the 6th encoder to select an audio track from the currently attached

USB drive.

7. Tap the 6th encoder to begin playback of the selected audio le.

A list of available audio les is displayed on the right hand side of the screen.

When the currently loaded track nishes playback, the next track in the list will

begin playback. This allows assorted audio tracks on the USB drive to be played

back in sequence and used as “break music” during a break in the band’s set.

The USB screen’s home tab also contains the following helpful displays:

• Stereo meter displays for the recorder input level

• Stereo output meters for the playback level of the le currently

playingback

• A list of available tracks on the attached USB drive

7.11.2 USB Screen: Conguration Tab

The conguration tab allows setting up all aspects of the stereo recorder. In this

screen, one can select audio paths to feed to the recorder and adjust the level of

incoming audio.

To adjust the various settings on the USB screen’s conguration tab, perform the

following steps:

1. Tap the 1st encoder to select a folder to save the recorded audio les to.

• A pop-up window appears, displaying all available folders on the

attached drive.

• Rotate the rst encoder to select an available folder.

• Tap the rst encoder to select the currently highlighted folder.

• Tap the 2nd encoder to select the folder and return to the

maininterface.

2. Rotate the 2nd encoder to adjust the input trim for the currently selected

channel of the stereo recorder. A stereo input meter on the left side of the

screen shows the current input level.

3. Tap the 2nd encoder to select the left or right input of the stereo recorder for

further conguration.

63 X32 DIGITAL MIXER Preliminary User Manual

4. Rotate the 3rd encoder to select the category of input to feed to the currently

selected channel of the stereo recorder. Choices include:

• Main (LRC)

• Mix Bus

• Matrix

• Direct Out

• Monitor

5. Rotate the 4th encoder to select the specic signal source to feed the

currently selected channel of the stereo recorder. Choices include:

• Main L

• Main R

• Main C/M

• Any of the 16 Mix Bus Outputs

• Any of the 6 matrix outputs

• Any of the 32 direct outputs

• Direct Outputs Aux 1-8

• Any of the FX Direct Outputs

• Monitor L

• Monitor R

• Talkback

6. Rotate the 5th encoder to select the signal tap point that the selected audio

path is tapped from when feeding currently selected channel of the stereo

recorder. Choices include:

• Pre EQ

• Post EQ

• Pre-Fader

• Post-Fader

7. Tap the 6th encoder to toggle the “playback folder” mode on/o.

• When playback folder mode is OFF, the transport will stop after playing

the currently selected audio le. This is useful for situations like

triggering audio cues or sound eects in a theatrical setting.

• When playback folder mode is ON, the transport will continue playing

back all audio les residing in the currently selected folder one by one.

This is useful for playing back several songs during a break in the main

set, allowing the attached USB drive to act as a source for “break music”.

7.12 Assign Screen

The assing screen allows setup for the 4 user-assignable rotary encoders and

eight user-assignable buttons. Using this screen, the console operator can assign

3 sets of 12 custom controls to be available for adjustment at all times.

The assign screen contains the following separate tabs:

Home: This screen provides a general overview of the 12 assigned controls for all

three control sets at the same time.

Set A: This screen allows assignment of dierent console parameters to the

12custom controls for set A.

Set B: Works as described above but for custom controls set B.

Set C: Works as described above but for custom controls set C.

7.12.1 Assign Screen: Home Tab

The assign screen’s “home” tab provides a visual overview of the 12 assigned

controls for all three sets at the same time.

The home tab oers visual feedback of the controls that have been assigned to

all three sets of custom controls, without having to bank between the three sets

one-by-one or relying on the abbreviated syntax shown in the custom control’s

dedicated LCD displays.

To adjust the various settings on the home tab, perform the following steps:

1. Press the Up and Down arrows to select Set A, B or C. You can also press the

1st encoder to skip to the next set.

2. Rotate encoders 2-5 to adjust the currently-assigned parameters.

3. Tap the 6th encoder to jump to the edit page for the currently selected set.

64 X32 DIGITAL MIXER Preliminary User Manual

7.12. 2 Assign Screen: Set A Tab

The “Set A” tab allows mapping of specic console parameters to the 8

assignable buttons and 4 assignable rotary encoders. Using this screen, the

user can map the exact parameters that are most useful to them to the desired

controls, in the desired order.

To adjust the various settings on the set A tab, perform the following steps:

1. Adjust the 1st encoder to select the color used for the LCD screens within

that set.

2. Tap the 1st encoder to invert the text and background color.

3. Adjust the 2nd encoder to select which of the 12 assignable controls in

set A you wish to map a parameter to. Choices include encoders 1-4 and

buttons 5-12.

4. Adjust the 3rd encoder to scroll through a list of parameter categories

that the selected assignable control can be mapped to. Choices for the

buttonsinclude:

• Not Assigned

• Jump to Page

• Mute Channel

• Inserts

• Eect button

• MIDI

• Remote

Choices for the encoders include:

• Not Assigned

• Panorama

• Sends

• Dynamics

• FX Parameters

• MIDI

• Remote

5. Tap the 3rd encoder to assign the selected.

6. Adjust the 4th encoder to scroll through a list of parameters that can be

mapped to the currently selected assignable control.

7. Tap the 4th encoder to assign the selected parameter.

8. Adjust the 5th encoder to select from additional parameters that can be

mapped to the assignable controls.

Assign Screen: Set B Tab and Set C tabs

The Assign screen’s “Set B” and “Set C” tabs works as described above, but are

used to congure the set B and set C controls instead of the set A controls.

65 X32 DIGITAL MIXER Preliminary User Manual

7.13 Scenes Screen

The scenes screen allows setup for saving and recalling dierent memory scenes

of the console. The comprehensive recallability of the console (including gain

settings for the digitally controlled mic preamps) is one of the most powerful

aspects of the console.

The scenes screen contains the following separate tabs:

Home: This screen contains a general overview of the scenes contained in the

console, along with their custom names and what parameters are included in

each scene.

MIDI: This screen allows the console to associate dierent scenes with incoming

and outgoing MIDI messages, allowing the console’s scene changes to control or

be controlled by external MIDI equipment.

Parameter Safe: This screen congures which console parameters are and are

not saved/switched with the console scenes.

Channel Safe: This screen congures which console channels are and are not

changed when a console scene change occurs.

7.13.1 Scenes Screen: Home Tab

The scenes screen’s home tab shows a general overview of the scenes that

have been congured in the console, along with their custom names and what

parameters are included in each scene.

For a setting where scenes are used heavily and are very critical (such as a theater

performance), this would be a good screen to leave on at all times so that the

console operator can be completely sure, at all times, what scene the console

currently resides on and what scene will come up next when the “Go” button

ispressed.

To adjust the various settings on the home tab, perform the following steps:

1. Rotate the 1st encoder to scroll among the available scenes in the scenes list,

which is displayed on the left side of the color screen.

2. Tap the 1st encoder to “go” to the currently selected scene in the list,

switching the console to the state it was in when that scene was stored

3. Rotate the 2nd encoder to select a scene in the list to be “skipped”

whencycling through scenes using the Prev and Next buttons.

4. Tap the 2nd encoder to complete the “skip” command on the currently

selected scene. That scene will now be skipped when scrolling through

thelist.

5. Rotate the 3rd encoder to add a Cue to the list, and determine if it will be

added as a completely new entry, or a subset of an existing cue. Tap the

encoder to bring up the edit screen where the cue can be named.

6. Rotate the 4th encoder to scroll through the list of scenes and tap the

encoder to select.

7. Rotate the 5th encoder to scroll through the list of snippets and tap the

encoder to select.

8. Tap the 6th encoder to undo.

7.13. 2 Scenes Screen: Scenes Tab

The scenes tab allows scenes to be saved, edited and loaded.

1. Rotate the 1st encoder to select a saved scene and tap the encoder to load.

2. Rotate the 2nd encoder to select a scene slot and press the encoder to bring

up the save screen where a name and note can be entered.

3. Rotate the 3rd encoder to select a scene to edit, then tap the encoder to

bring up the edit screen.

4. Tap the 4th encoder to import settings from an attached USB drive.

5. Tap the 5th encoder to save settings to an attached USB drive.

6. Rotate the 6th encoder to scroll through the list of scene safes, tapping the

encoder on each box that you wish to omit from the saved scene.

7.13. 3 Scenes Screen: Snippets Tab

The snippets tab allows specic bits of information to be saved,

edited and loaded.

1. Rotate the 1st encoder to scroll through the list of snippets, then tap the

encoder to load.

2. Rotate the 2nd encoder to scroll through the snippet slots and tap the

encoder to bring up the save screen.

3. Rotate encoders 3-6 to scroll through the list of inputs, outputs and specic

information to be saved, tapping the encoder to check the boxes.

66 X32 DIGITAL MIXER Preliminary User Manual

7.13. 4 Scenes Screen: Parameter Safe Tab

The scenes screen’s “parameter safe” tab congures which console parameters

are and are not saved/switched with the console scenes. This is very useful

when the operator has certain parameters that they wish to remain in control

of, andwould never want to have altered during a scene change, for example,

themic pre gains on the input channels.

To adjust the various settings on the Parameter Safe tab, perform the

followingsteps:

1. Rotate any of the rst 4 encoders to navigate among the checkboxes in the

color screen, which represent various console areas that can be isolated from

scene changes.

2. Tap any of the rst 4 encoders to select the console areas that have been

selected with the encoders. In each of the four columns, multiple console

areas can be selected and isolated from scene changes.

The following areas of the console can be isolated from scene changes, and are

divided up into 4 columns on the color screen:

Column 1: Input Channels

• HA (Head Amp/Microphone Preamp)

• Conguration

• Channel Equalizer

• Channel Gate/Compressor

• Channel Insert

• Channel Groups

• Fader, Pan, Mute, Mix Ons

Column 2: Input Channels

• Mix sends 1-16

Column 3: Mix Buses

• Mix sends 1-16

• Conguration

• Equalizer

• Compressor

• Insert

• Groups

• Fader, Pan, Mute, Matrix Ons

Column 4: Console

• Conguration

• Solo

• Routing

• Output Patch

7.13. 5 Scenes Screen: Channel Safe Tab

The scenes screen’s “channel safe” tab congures which console channels are

and are not changed when a console scene change occurs. This allows the

user to “protect” certain channels from ever changing during a scene change,

givingthem as much control as possible for key audio sources.

For example, in a theater context, the console operator may have dialed in just

the right EQ and compressor settings and channel volume for the voice of the lead

actor, and does not wish to have them altered when the console changes scenes

and alters various parameters.

To adjust the various settings on the Channel Safe tab, perform the

followingsteps:

1. Rotate any of the 6 encoders to navigate among the check boxes in the color

screen, which represent various groups of channels that can be isolated from

scene changes.

2. Tap any of the 6 encoders to select the console areas that have been

highlighted with the encoders. In each of the 6 columns, multiple console

areas can be selected and isolated from scene changes.

The following areas of the console can be isolated from scene changes, and are

divided up into six columns on the color screen:

Column 1: Channels

• Input Channels 1-16

Column 2: Channels

• Input Channels 17-32

Column 3: Buses

• Aux 1-8

• FX 1L through 4R

Column 4: Returns

• Mix 1-16

Column 5: Main/Matrix/Groups

• Matrix 1-6

• LR Bus

• Center/Mono Bus

• DCA groups 1-8

Column 6: Eects Slots

• FX 1-8

67 X32 DIGITAL MIXER Preliminary User Manual

7.13. 6 Scenes Screen: MIDI Tab

This MIDI tab of the scenes screen allows the console to associate dierent scenes

with outgoing MIDI messages, allowing the console’s scene changes to control by

external MIDI equipment.

For instance, the user could congure the console to issue a MIDI program

change message as each new scene is recalled, with the outgoing MIDI message

triggering a new scene of a MIDI-equipped lighting controller.

Note - Scenes can be recalled via MIDI using simple Program Change 1-100

commands, provided that MIDI Scene Recall is generally enabled on the

Setup/Remote page.

To adjust the various settings on the MIDI tab, perform the following steps:

1. Rotate the 1st encoder to scroll through the cue list.

2. Rotate the 3rd encoder to select program change, control change, or note.

3. Adjust encoders 3-6 to select the channel, number, and (if applicable) the

value or velocity.

68 X32 DIGITAL MIXER Preliminary User Manual

8. Specications

Processing

Number of input processing channels 32 input channels, 8 aux channels, 8 fx return channels

Internal eects engines, true-stereo / mono 8/16

Internal total recall scenes (incl. preamp and fader) 100

Signal processing 40-bit oating point

A/D-D/A conversion 24-bit @ 44.1 / 48 kHz, 114 dB dynamic range

I/O latency (console input to output) 0.8 ms

Network latency (stagebox in > console > stagebox out) 1.1 ms

Connectors

XLR inputs, programmable mic preamp, designed by MIDAS 32

Talkback mic input, XLR 1

RCA inputs/outputs 2/2

XLR outputs 16

Monitoring outputs XLR / ¼" TRS balanced 2/2

Aux inputs/outputs, ¼" TRS balanced 6/6

Phones outputs, ¼" TRS 2 (stereo)

Digital AES/EBU output, XLR 1

AES50 ports, SuperMac, Neutrik ethercon 2

Expansion card 32 channel audio input/output, various standards

P-16 connector, Ultranet (no power supplied) 1

MIDI inputs / outputs 1/1

USB Type A, top panel, for audio and data export/import 1

USB Type B, rear panel, for remote control 1

Ethernet, RJ45, rear panel, for remote control 1

Mic Input Characteristics

Design MIDAS

THD + noise, 20 dB gain, 0 dBu out < 0.006% A-weighted

Input impedance XLR, unbal. / bal. 5 kΩ / 10 kΩ

Non clip maximum input level, XLR +23 dBu

Phantom Power, switchable per input 48 V

Equivalent input noise level, XLR (input shorted) -128 dBu

CMRR, XLR, @ 20 dB gain (typical) > 70 dB

CMRR, XLR, @ 40 dB gain > 80 dB

69 X32 DIGITAL MIXER Preliminary User Manual

Input/Output Characteristics

Frequency range, @ 48 kHz sample rate, 0 dB to -1 dB 10 Hz - 22 kHz

Dynamic range, analog in to analog out (typical) 106 dB

A/D dynamic range, preamp and converter (typical) 109 dB

D/A dynamic range, converter and output 108 dB

Cross talk rejection @ 1 kHz, adjacent channels 100 dB

Output level, XLR, nom./max. +4 dBu / +21 dBu

Output impedance, XLR, unbal. / bal. 75 Ω / 75 Ω

Input impedance TRS Jack, unbal. / bal. 20 kΩ / 40 kΩ

Non clip maximum input level, TRS +16 dBu

Nominal output level, TRS +4 dBu / +16 dBu

Output impedance, TRS, unbal. / bal. 150 Ω / 300 Ω

Phones output impedance / level 40 Ω / +25 dBm (stereo)

Residual noise level, XLR and TRS -87 dBu A-weighted

Display

Main screen 7", 800 x 480, 262k color TFT

Channel LCD screen 128 x 64, LCD with RGB color backlight

Main meter 24-segment (-57 dB to clip)

Power

Switch-mode power supply Autorange 100-240 V (50/60 Hz)

Power consumption 120 W

Physical

Standard operating temperature range 5°C - 40°C (41°F - 104°F)

Dimensions 900 x 528 x 200 mm (35.4 x 20.8 x 7.9")

Weight 20.6 kg (45.4 lbs)

FireWire, iPhone, iPad, and OS X are trademarks of Apple Inc., registered in the US and other countries. Windows is a registered trademark of Microsoft Corporation in the United States and other countries.

The AES50 trademark is property of the Audio Engineering Society, NY. Cirrus Logic is a trademark of Cirrus Logic Inc. Linux is a registered trademark of Linus Torvalds.

70 X32 DIGITAL MIXER Preliminary User Manual

Block Diagram

MAIN

L R C L R

SOLOMATRIX

1 2 5 6

MIX BUS

1 2 15 16

FADER

MIX 1–16

INSERT

6-BAND

INSERT

COMP/

EXPAN

KEY-IN

Pre EQ Post EQ

Pre Fader

Post Fader

Matrix 1,3,5

MUTE

SOLO

Post Fader

Matrix 2,4,6

MIX 1-16

OUT

EFFECTS 1-8

EFFECT

31 BAND GEQ

FX OUT L

FX OUT R

FX IN L

FX IN R

USB

PLAY

USB

REC

USB RECORDER

REC

LEVEL

USB

MEMORY

USB MEMORY

RECORDER

L+C/R+C MIX

L+C OUT

R+C OUT

DSP

PATCH

USB

PLAY

USB

REC

FX 1-8 OUT (L / R)

FX 1-8 IN (L / R)

8 x 2

MIX 1-16 INSERT RETURN

MIX 1-16 INSERT SEND

MIX 1-16 OUT

MAIN LRC INSERT RETURN

MATRIX 1-6 INSERT RETURN

MATRIX 1-6 INSERT SEND

MATRIX 1-6 OUT

MAIN LRC INSERT SEND

MAIN LRC OUT

MAIN LRC PRE EQ OUT

PATCH CUE

MONITOR LR OUT

MONITOR L+C/R+C OUT

MONITOR SOURCE IN

I/O

PATCH

A/D

INPUT

(1-32)

AES-50 A

(48ch IN)

AES-50 B

(48ch IN)

SLOT

(32ch IN)

AES-50 A

(48ch OUT)

AES-50 B

(48ch OUT)

SLOT

(32ch OUT)

AUX

RETURN

(1-6)

+48V

PHANTOM

A/D

TALKBACK

COMP

GAIN

+48V

A/D

P16 BUS

(16ch)

D/A

OUT 1-16

D/A

AUX OUT 1-6

DELAY

GAIN

AES/EBU OUT

GAIN

AUX Returns 1–8

AUX Returns 7–8 by default on USB Play

Pre EQ

Pre EQ/Pre Fader/Post Fader/Post Pan L

Pre EQ/Pre Fader/Post Fader/Post Pan R

Pre Fader

Mix 1,3...15

Mix 2,4...16

SOLO

4BAND

ATT

Pre EQ/Pre Fader/Post Fader/Post Pan L

Pre EQ/Pre Fader/Post Fader/Post Pan R

MUTE

FADER

LCR

PAN (LR)

PAN (LCR)

GAIN

Post Fader

Post Pan

GAIN

ATT

CH 1–32

LOW

CUT

GATE/

DUCK

INSERT

4-BAND

INSERT

COMP/

EXPAN

DELAY

KEY-IN

Pre EQ

Post EQ

Pre Fader

Mix 1,3...15

Mix 2,4...16

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R

KEY-IN

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R

SOLO

INSERT RETURN

INSERT SEND

PRE LOW CUT OUT

POST FADER OUT

MUTE

FADER

LCR

PAN (LR)

PAN (LCR)

GAIN

Post Fader

Post Pan

GAIN

COMP/

EXPAN

8 x 2

STEREO FX RETURNS 1 L/R – 8 L/R

Pre Fader/Post Fader/Post Pan L

Pre Fader/Post Fader/Post Pan R

Pre Fader

Mix 1,3...15

Mix 2,4...16

SOLO

Pre Fader/Post Fader/Post Pan L

Pre Fader/Post Fader/Post Pan R

MUTE

FADER

LCR

PAN (LR)

PAN (LCR)

GAIN

Post Fader

Post Pan

GAIN

WHITE NOISE

PINK NOISE

OSCILLATOR

SINE WAVE

GENERATE

GAIN

COMP/

EXPAN

LCR

PAN (LR)

PAN (LCR)

GAIN

MONO

MONITOR LR OUT

DELAY

MONITOR

D/A

PHONES

OUT

MONITOR L

OUT

D/A

MONITOR R

OUT

SOLO / SOURCE

MONITOR SOURCE IN

DIM

GAIN

FADER

MATRIX

1-6

INSERT

KEY-IN

Pre EQ Post EQ

Pre Fader

Post Fader

MUTE

SOLO

MATRIX 1-6

OUT

Post Fader

COMP/

EXPAN

6BAND

COMP/

EXPAN

FADER

MAIN LRC

INSERT

6BAND

INSERT

COMP/

EXPAN

KEY-IN

Pre EQ Post EQ

GAIN

Pre Fader

Post Fader

Matrix 1,3,5

MUTE

SOLO

Post Fader

Matrix 2,4,6

MAIN LRC

OUT

COMP/

EXPAN

mute

stereo

mono

stereo

mute

stereo

mono

stereo

mono

stereo

mono

stereo

71 X32 DIGITAL MIXER Preliminary 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:

• 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).

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

• 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

72 X32 DIGITAL MIXER Preliminary 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 buttons 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 buttons for transport controls in the

DAW, (latching)

73 X32 DIGITAL MIXER Preliminary User Manual

Dimensions

22.00 mm

169.46 mm

221.33 mm

527.05 mm

900.23 mm

Top view

22.00 mm

169.46 mm

221.33 mm

527.05 mm

900.23 mm

Side view Back view

74 X32 DIGITAL MIXER Preliminary User Manual

FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

Responsible Party Name: MUSIC Group Services NV Inc.

Address: 5270 Procyon Street

Las Vegas, NV 89118

USA

Phone Number: +1 702 800 8290

X32 DIGITAL 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, pursuant 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 interference received, including interference 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.

X32 DIGITAL MIXER

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Behringer X32 COMPACT 16 x 8 Digital Mixing Console

Product's Documents

User Manual10.7 MB

Specifications

Behringer X32 COMPACT Questions and Answers