Behringer 32-Channel - Manual (Page 20)

20 X32 DIGITAL MIXER Preliminary User Manual
4. FX Descriptions
FX Descriptions
Here is a list and brief description of the effects available on the X32.
When Stereo and Dual versions of an effect are offered, use the Stereo version
when the left and right signal are to be altered together (e.g. on linked stereo
channels or buses), or Dual when you want to dial different settings for the left
and right signal. See the Topic Guide for instructions on how to add effects to a
channel or bus.
Stereo Precision Limiter
Stereo Precision Limiter allows you to set a precise volume limit,
ensuring distortion-free, optimal signal integrity. Use X32’s Stereo Precision
Limiter to boost quiet signals or preventing clipping while preserving the level of
“hot” signals.
AUTOGAIN activates an additional long-term gain correction, allowing automatic
gain scaling of varying input level ranges. STEREO LINK applies limiting to both
channels equally when activated. INPUT GAIN provides up to 18 dB of gain to
the input signal prior to limiting. OUTPUT GAIN sets the final gain level of the
processed signal. SQUEEZE adds compression to the signal to add punch and a
slight distortion depending on the amount you dial in. ATTACK sets the attack
time, ranging from 0.05 mS to 1 mS. RELEASE adjusts the release time from
0.05 mS to 1.04 seconds. KNEE adjusts the soft limiting threshold point from hard
limiting (0 dB) to maximum soft limiting (10 dB).
Stereo Delay
Stereo Delay provides independent control of left and right delay (echo)
times and features high and low pass filters for enhanced tone shaping of the
delayed signals. Use the Stereo Delay to give your mono signals a wide presence
in the stereo field.
The MIX control lets you blend the source signal and the delayed signal.
TIME adjusts the master delay time up to three seconds. LO CUT adjusts the low
frequency cut, allowing lower frequencies to remain unaffected by the delay.
HI CUT adjusts the high frequency cut, allowing higher frequencies to remain
unaffected by the delay. FACTOR L sets the delay on the left channel to rhythmic
fractions of the master delay time. FACTOR R sets the delay on the right channel
to rhythmic fractions of the master delay time. OFFSET LR adds a delay difference
between the left and right delayed signals. The FEED LO CUT/HI CUT adjusts filters
in the feedback paths. FEED L and FEED R control the amount of feedback for
the left and right channels. MODE sets the feedback mode: Mode ST sets normal
feedback for both channels, X crosses feedbacks between left and right channels.
M creates a mono mix within the feedback chain.
Triple Delay
Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with
independent frequency, gain, and pan controls. Create time-based echo effects
with the Triple Delay to increase the sense of stereo separation.
TIME BASE sets the master delay time, which is also the delay time for the first
stage. GAIN BASE sets the gain level of the first stage of the delay. PAN BASE sets
the position of the first delay stage in the stereo field. LO CUT sets the frequency
at which the source signal can begin passing through the delay. HI CUT sets the
frequency at which the source signal no longer passes through the delay. X-FEED
indicates that stereo cross-feedback of the delays is active. MONO activates
a mono mix of both channels for the delay input. FEED adjusts the amount of
feedback. FACTOR A controls the amount of delay time in the second stage of
the delay. GAIN A controls the gain level of the second delay stage. PAN A sets
the position of the second delay stage in the stereo field. FACTOR B controls the
amount of delay time in the third stage of the delay. GAIN B controls the gain
level of the third delay stage. PAN B sets the position of the third gain stage in the
stereo field.
Ambience
Ambience creates a customizable virtual acoustic space in which to place the
elements of a mix. Use Ambience to add warmth and depth without coloring the
direct sound. (Inspired by the Lexicon Ambience Algorithm)
PRE DELAY sets the time before the reverb follows the source signal.
DECAY adjusts the time it takes for the reverb to completely dissipate.
SIZE controls the room size emulation. DAMPING controls the high frequency
decay within the reverb tail. DIFFUSE controls the initial echo density. Level sets
the volume output of the affected signal. LO CUT adjusts the low frequency cut,
allowing lower frequencies to remain unaffected by the reverb. HI CUT adjusts
the high frequency cut, allowing higher frequencies to remain unaffected by the
reverb. MOD adjusts the level of reverb decay modulation. TAIL GAIN adjusts the
volume of the reverb tail.
Reverse Reverb
Reverse Reverb takes the trail of a reverb, turns it around, and places it in front
of the sound source. Use the swelling crescendo of the Reverse Reverb to add an
ethereal quality to vocal and snare tracks. (Inspired by the Lexicon 300/480L)
Adjusting the PRE DELAY knob adds up to 200 milliseconds of time before the
reverb follows the source signal. The DECAY knob adjusts the time it takes for
the reverb to completely dissipate. RISE controls how quickly the effect builds