Out of 2 Ratings

Owner's of the Behringer Music Mixer 32-Channel, 16-Bus, 40-Bit Digital Mixing Console with Programmable MIDAS Preamps, Motorized Faders, 32-Channel Audio Interface and iPad Remote Control gave it a score of 2.0 out of 5. Here's how the scores stacked up:
  • Reliability

    1.0 out of 5
  • Durability

    3.0 out of 5
  • Maintenance

    2.0 out of 5
  • Performance

    2.0 out of 5
  • Ease of Use

    2.0 out of 5
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44 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. 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. Encoders 1 and 2 function the same on pages 1 and 2.
2. 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.
3. Tap the 3rd encoder to move the compressor eect before or after the
equalizer in the channel signal path.
4. Adjust the 4th encoder to set the frequency of the key lter that can be used
to trigger the compressor.
5. Tap the 4th encoder to toggle the key lter on/o, allowing a specic
frequency to control the compressor.
6. Adjust the 5th encoder to set the steepness of the EQ slope used in
7. Tap the 5th encoder to send the key source to the solo bus, allowing the key
source to be monitored and evaluated.
8. 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.
9. Tap the 6th encoder to assign the selected key source to the compressor.