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 User Manual

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29 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.

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