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12 EURODESK SX3282 User Manual
◊ There is no absolute reason why the send from aux 1 should feed into
a processor whose outputs are sent to the aux return 1. The processor
could just as easily be patched into the aux return 3, or even a pair of
channels. For many purposes, however, it is sensible to set up a default
patch where the aux sends and returns correspond. It is logical to
put your premier FX units into the aux 1 and aux 2 loops, since these
returns enable you to record to tape without repatching.
◊ Sometimes an engineer wants to narrow the stereo width of a reverb
field. To do this you will have to come back on channels, because they
have full panorama facilities.
6.2 Monitoring
Though most of you will want to audition the main mix most of the time,
thereare exceptions. These include Solo/PFL and 2-track playback (30).
Thebargraph meters follow whatever source is being auditioned (the meters
won’t make much sense if more than one source is selected).
◊ Altering what goes into the control room monitors does not affect
the signal from the main mix recording outputs. That offers to you
the opportunity to do a quick solo during a mix whenever you want
without having to start again!
The Monitor/Ctrl Level pot (28) sets the level to the control room monitors.
This is sourced post the main mix stereo fader setting. Your fades couldn’t be
heard otherwise.
Don’t rely on a single pair of loudspeakers to audition your mix. You’d better use a
variety of dierent speakers.
Lastly, there is a Mono button (29), useful for checking the phase correlation and/or
coherence of a stereo signal. Again, this does not aect the main mix output.
6.3 Headphones
The headphones may be sourced from the monitor/control room mix (27), and/or
from pre-fader aux sends 1/2 (26) or switchable pre/post aux sends 5/6 (25)
forartist cueing. Two headphones sockets are provided on the back panel.
The headphone mix level is controlled by a LEVEL pot (24), and the gain is sucient
to drive headphones directly. This is ne for a MIDI suite with overdub booth,
but for the bigger studio’s headphone network using a separate headphones
distribution amplier like the Behringer POWERPLAY PRO-XLHA4700 is
recommended. This can oer the added advantage of independent headphones
level control for every performer.
6.4 Solo/PFL
Solo
Solo is short for Solo-in-Place, and is the preferred method for auditioning
an isolated signal, or group of signals. Whenever a Solo button is pressed,
allunselected channels are muted in the monitors. Stereo panning is maintained.
The solo bus is derived from the output of the channel pans, aux sends,
stereoline inputs and subgroups, and is always post-fader.
PFL
Pressing the channel mode switch (38) once disengages the stereo solo bus,
andreplaces it with a separate mono PFL (Pre-Fader Listen) bus. Now any
channel which is solo-ed, isn’t. It is PFL-ed instead. PFL should always be used
forgain-setting.
The channel mode (PFL or Solo) is indicated by a pair of status LEDs
(locatedbelow the bargraph meter (40)), pot (39) controls the solo level, whichwill
normally be set to unity gain (center detent) to match the in-the-mix level
(seealso the essential section 8 “Setting up”).
6.5 2-Track Input and Output
The 2-track input is on unbalanced RCA phono plugs, and is primarily made for
auditioning mix playback from tape. The 2-TRACK switch (30) routes this signal to
the control room monitors.
With the MON/CTR Level control (28) fully clockwise, your 2-track input will be
matched to the semi-professional level -10 dBV. For higher output recording
sources (e.g. +4 dBu) turn the level of (28) down.
◊ The 2-track input could usefully be connected to the output of a hi-fi
pre-amp or integrated amplifier, allowing you to easily audition a
variety of sources (e.g. CD, phono etc.).
2-track output
A pair of balanced XLR and jack connectors deliver the mix output to your
2-track recorder (or PA system) at +4 dBu. Alternative RCA phono (-10 dBV)
connectorsare provided, too.
Level to tape is ultimately determined by precision faders (31). Main mix insert
points are provided for patching a gate, a compressor etc. pre-fader. This is
important: Connecting a compressor or gate after the 2-track output would
disrupt any attempt to acquiring a smooth fade using the output faders.
Although the 2-track output is primarily designed for recording, it can also be
used as a PA feed, or as a send to the input of your sampler. In fact up to three
simultaneous destinations can be serviced without resorting to a patchbay or
splitter leads—there are three separate 2-track outputs on your SX3282!
6.6 Talkback
The built-in ush-mounted mic (33) is activated by depressing the non-latching
talk switch (32) just above the MAIN MIX faders. Engaging talkback dims the
control room monitors, (not lights!) by -20dB to avoid feedback. This does not
aect the other talkback routes.
Talkback level is set by (37), and the mic can be routed to any or all of auxes
1/2, 5/6 or 7/8 ((36), (35), (34)) —in other words every possible pre-fader (cue)
auxsend—toenable you to talk to artists remotely through their headphones
orpersonal stage mixes.
Sometimes you will want a much higher rejection of feedback than a
ush-mounted talkback mic could ever provide. When running a live concert mix,
a dynamic mic plugged into a spare channel and routed to all the pre-fader sends
only will do the job.
7. Connections
7.1 SX3282 Back Panel
Phantom power switch
When using capacitor mics, +48 V DC can be switched globally on or o by (71).
7.2 Patcheld and Plug Wiring Scheme
Most of the inputs (inserts being the major exception) are balanced. Refer to
section 9 “Patchbay” if you are not sure what this means.
◊ Unbalanced equipment may be connected to balanced inputs/outputs.
Either use mono ¼" jacks or connect ring and barrel of TRS jacks
(or pin 1 and 3 of XLR plugs).