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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58 X32 DIGITAL MIXER Preliminary User Manual
“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
Talkback B: This screen controls various adjustments for the talkback B path
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.
• 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
• 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
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.