Whether in a recording studio or a live context, there's nothing worse than running out of channels. Not only is it annoying, but in a pro audio situation, it can be a downright liability. You don't want artists refusing your future service because you can't provide them with all the inputs their twelve-piece, two-drummer, afro-bengali groove-funk outfit requires. The Behringer SX3282 Eurodesk boasts a whopping 32 channels of audio, including 24 fully fledged microphone channel strips outfitted with XENYX preamps and three-band "British" EQ -- because sounding great is just as important as having enough channels.
Huge Channel Count
Just try getting this many channels anywhere near this price from a different manufacturer. You can't. Behringer's manufacturing output makes it possible for them to offer an incredibly low price for professional-grade audio equipment. With 24 microphone channels, and an additional eight line inputs arranged in stereo pairs, you'll be able to mix rock bands, chamber groups, pit orchestras, choirs, worship services, and a whole lot more.
Absolutely Pro-Quality Sound
Behringer Eurodesk mixers certainly do not champion quantity over quality. Each of the 24 microphone channels features Behringer's crystal-clear XENYX preamps, renowned for their low self-noise and transparent gain architecture. They make the perfect complement to the three-band "British" EQ on channels 1 through 28. By "British," Behringer means the kind of warm, musical equalization that British console manufacturers specialize in. In stark contrast to the surgical EQs found on most American-designed consoles, the SX3282's British EQ makes it easy to dial frequencies in (or out) in a way that always sounds "pleasant" to the listener. In other words, it's hard to make this board sound bad.
Lots And Lots Of Additional Signal Routing
In addition to the 32 true input channels, the SX3282 gives you eight subgroups for assigning group inputs to a single fader. Use the subgroups to control an entire drum kit or all the backup signers from a single volume fader, or use them to create specific monitor mixes for different performers. You also get an impressive eight AUX sends. AUX sends can be used in a ton of useful applications, including looping outboard effects like reverb, chorus, and delay, returnable through the eight stereo-linked AUX returns and mixed independently into each channel. You can also use AUXs for creating sophisticated monitor mixes. Or use any combination of subs and AUX sends to drive complex, multi-amplifier sound systems for bigger venues. . . whatever your heart's desire, the SX3282 can deliver. This may seem like a lot of routing options, but the Behringer SX3282 is just giving you what any serious venue needs.
Give your venue the sound it deserves, and the sound that serious musicians demand. Pick up a Behringer SX3282 Eurodesk mixer at an unbeatable price from zZounds.
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Type: XLR connector, electronically balanced, discrete input circuit
Phantom power: +48 V DC Mic E.I.N. (22 Hz - 22 kHz)
@ 150 ohms source: -129.0 dBu
Input shortened: -132.0 dBu
Distortion (THD + Noise): 0.007 % @ +4 dBu, 1 kHz, bandwidth 80 kHz
Gain range: +10 dB to +60 dB
Max. input level: +12 dBu Line input
Type: 1/4-inch TRS jack, electronically balanced
Impedance: 20 kOhm balanced, 10 kOhm unbalanced
- Mono channels: -10 dB to +40 dB
- Stereo channels: -20 dB to +20 dB
Max. input level: +22 dBu
Channel fader range: +10 dB to off
Aux send gain range: +15 dB to off EQ MONO CHANNELS
Hi shelving: 12 kHz, +/-15 dB
Mid sweep: 100 Hz to 8 kHz, +/-15 dB, Q fi xed at 2 oct.
Lo shelving: 80 Hz, +/-15 dB
Lo out (HPF): 75 Hz, 18 dB/oct. EQ STEREO CHANNELS
Hi shelving: 12 kHz, +/-15 dB
Hi Mid peaking: 3 kHz, +/-15 dB, Q fi xed at 2 oct.
Lo Mid peaking: 500 Hz, +/-15 dB, Q fi xed at 2 oct.
Lo out (HPF): 75 Hz, 18 dB/oct. CHANNEL INSERTS
Type: 1/4-inch TRS jack, unbalanced
Max. in/out: +22 dBu
Channel to channel crosstalk: -95 dB @ 1 kHz SUBGROUP SECTION
Bus noise, fader @ 0 dB: -105.0 dBr
- All input channels assigned & set @ 0 dB gain, channels muted-92.0 dBr
- All input channels assigned & set @ 0 dB gain -87.0 dBr
- Submaster max. output level
- +22 dBu, balanced/unbalanced
Fader range: +10 dB to offMAIN MIX SECTION
Bus noise, fader @ 0 dB: -102.0 dBr
- All input channels assigned & set @ 0 dB gain, channels muted -92.0 dBr
- All input channels assigned & set @ 0 dB gain-87.0 dBr
Submaster max.: +28 dBu, balanced/output level: +22 dB, unbalanced
Fader range: +10 dB to off
Aux returns gain range: +20 dB to off
Aux sends max. output level: +22 dBu SYSTEM DATA
Distortion: 0.007% @ +4 dBu, 1 kHz, (THD + Noise) bandwidth 80 kHz
20 Hz to 40 kHz: -1 dB (any input to any output)
10 Hz to 120 kHz: -3 dB POWER SUPPLY
Power consumption: max. 150 W
Fuse: 100 - 240 V~, 50/60 Hz T 2 A H 250 V
Mains connector: Standard IEC receptacle PHYSICAL/WEIGHT
Dimensions (H x W x D): 3.5 x 40.0 x 20.7 in, 89 x 1016 x 526 mm
Weight: 53 lb, 24 kg
- Dimensions and Weight in Packaging
- Shipping Weight: 52 lbs
If you have additional warranty questions,
please call the manufacturer at 425-672-0816
If you're looking for old-school analog handling in a package armed to the teeth with modern reliability, the search is over. This mixer's British EQ, 24 mic inputs (each with its own built-in studio-grade XENYX preamp), 8 stereo inputs and 8 buses give you enough leeway to craft the recording of your dreams or create the perfect mix for a live show.
- Built-in pristine XENYX mic preamps
- British-style EQ dials give you the sound and control preferred by top studio engineers
- Awesomely complete I/O - everything from bus inserts to mono output Studio Mixer
What the heck is "British EQ"?
British EQ is a smashing thing to have on your side when you start reaching for those channel equalization knobs at a live concert or in the studio.
The EQ's on British consoles from the 60s and 70s are what many engineers believe does their sound the best justice. When it comes to tweaking your sound, they're kind, gentle and above all, musical. It's like drinking a fine scotch instead of fortified wine--or maybe receiving a warm hug instead of a kick to the crotch.
British EQ's distinct configuration of wider curves/lower Q and harmonic phase characteristics allows you to add or subtract EQ more generously than you can with conventional EQ circuit designs. When you add low midrange, you get a firmer sound instead of a nasty bonk. When you back high frequencies off a bit, treble backs or just a hair instead of turning muted.
The Ins and Outs
Some manufacturers make what they call 32-input mixers that count features like CD/Tape In as an input. But the SX3282 really gives you 24 mono channels and four stereo channels (with two Quarter-inch inputs apiece--an additional 8 inputs), making it easy to accommodate a wide variety of studio or live performance configurations. That means you can connect up to 24 microphones or other mono instruments and up to four stereo instruments (keyboards, for example). You also get eight buses, allowing you to assign multiple channels--say all the mics on a drum kit or all the backup singers' mics -- to a single fader.
Best of all, you don't need a black belt in engineering to operate the SX3282. The mono channels are grouped along two-thirds of the board, featuring dials in uniform primary colors (Gain in white; EQ in blue; AUX in red; Pan in black). Sub groups are located next door to the Main and Mono faders in the bottom right corner. Directly above, there's a handy built-in talkback mic that sends signal to your AUX 1-2 monitors via a push button, as well as a multi-purpose 13-LED master level meter to give you a dynamic visual gauge of the selected output.
The SX3282's intuitive patch bay makes it equally at home in the club or studio. You get two balanced XLR Main outputs as well as a two Quarter-inch TRS Main outs. There's also a Quarter-inch Mono Out (perfect for a subwoofer output).
Eight Subgroup Out jacks allow you to send your buses to an external recording device. This section also includes Aux Send jacks for connection to monitors, CD/Tape input and output jacks, and FX send/return jacks for use with outboard effects processors. Directly below, you'll find the Quarter-inch headphone/ control room out jack.
A Million Ways To Change The Channel
At the top of each mono channel, you'll find both a balanced XLR input with a XENYX mic preamp and a Quarter-inch input. A phantom power switch located on the back near the main power switch accommodates condenser mics.
Each mono channel has a 3-band EQ with semi-parametric mids (giving you control of the Mid level and a sweepable frequency with a boost or cut of 15dB) and a Trim control for adjusting input gain via a Level Set LED. A Low Cut button eliminates the frequencies where unwanted infrasonics such as mic handling noise occur. The eight Aux dials control the volume of the Aux Send Quarter-inch output signals (more on that below).
Stereo channels feature the same functions, but a with dual Quarter-inch inputs and a different EQ. Instead of sweepable mids, stereo channels feature High Mid and Low Mid dials, both with bell center frequencies set at 8 kHz and 800 Hz, respectively.
This is especially useful for EQ'ing the critical midrange frequency content found in keyboard signals. Near every mono channel's fader you'll find a 1-2, 3-4, 5-6, 7-8 and button. By engaging the Main button, the signal is sent to the main mix. Or, if you engage the 1-2 button, the channel becomes part of a bus. Twist the Pan control all the way to the left to assign it to Sub 1, or all the way to the right for Sub 2. The same principle applies to the 3-4, 5-6 and 7-8 buttons.
A Mute button with accompanying LED cuts the signal from the channel, and a Clip LED helps you dial in a distortion-free post- EQ signal. The Solo button on individual channels routes the subgroup signal to the solo bus or Pre-Fader Listen--depending on whether the signal has been included in a subgroup.
Finally, each of the eight buses feature an inde- pendent fader, Solo switch, and Left and Right but- tons to assign them to Left or Right stereo channels.
Hitch your art to the Aux
The SX3482 has eight Aux Send outputs as well as eight Aux return inputs, giving you more routing options than a Los Angeles road map. Aux Send 1-8 allow you to send the signal governed by an individual channel to an outboard FX unit or EQ.
Meanwhile, the Aux returns can be thought of as eight extra line inputs working as four stereo pairs. You can apply up to 20 dB of gain to these inputs. Aux returns 1, 2, 7 and 8 allow returning FX to be sent to tape, and, along with 5 and 6, are also good for cuing artists via headphones. Aux returns 3 and 4 are always assigned to the main bus.
Buy it now
Teach your great grandkids how to run it. Behringer mixers last and last. They use top quality parts such as long- wear faders, sealed rotary controls and premium circuit boards. Behringer have 20 years of experience figuring out how to compensate for clumsy load-ins, spilled drinks, crazed guitarists and millions of road miles. The result is a mixer you can count on day after day and night after night.
Take On The World
Not every town on the planet uses the same voltage common in yours. Unfortunately, this sometimes doesn't occur to jet-setting sound technicians until they're 5,000 miles from home. With the SX3282, this is never an issue. The internal autorange power supply can run on anything from 100 to 240 V with noise-free audio, top-quality transient response and low power consumption.