Behringer ddx3216 manual portugues

As with most of its competitors, the DDX makes use of libraries to store settings for its internal effects and processors EQ as well as dynamic plus the complete settings for individual channel strips. The EQ section is fully parametric, with all parameters displayed on screen and controlled by the knobs beneath them. Up to 18dB of cut or boost is provided in each band. I was impressed to find that every channel's in-built compressor can have its side-chain controlled from any other channel as well as from its own input, which enables the user to set up ducking effects quite easily.

In other respects, the compressor is similar in concept to the one found in Yamaha mixers, with variable threshold, ratio, attack, release, knee and gain. A small area to the right of the display page shows the compressor curve and gain reduction. It isn't unusual for digital mixers to feature variable channel delay, but here the delay has enough range and parameters to be used as an effect as well as a timing corrector.

The delay time, which may be set to multiples of tempo as well as time, can be set to a maximum of milliseconds with variable mix and feedback. Delay is available only on the first 16 channels, though all 32 channels have switchable phase. It's also possible to record and replay fader movements and mutes over MIDI and to use the DDX to control software devices, such as sequencer mixers, using MIDI Continuous Controller data — note, however, that some remappng will probably be required at the sequencer end, as Controllers 1 to 32 relate to channel volume levels 1 to There are no dedicated hardware transport controls, though — when the transport screen is open, the push switches in the controller knobs below the LCD screen fill that role.

The DDX has all the automation features you'd expect from a mixer of its type, including the ability to store libraries of channel settings, EQ, dynamics processing and effects.

It can also save and load up to static snapshots. Dynamic automation may be run against SMPTE, MTC at all standard rates including drop frame or the mixer's own internal clock, and virtually any parameter change other than the analogue input gain can be recorded for later playback. A dynamic automation mix stores a snapshot that defines the starting conditions of the mix and then follows this up by recording any subsequent dynamic changes. A start snapshot of the current desk setup is created automatically when you clear the previously stored mix.

Automated controls are 'controller sensitive' insomuch as the mixer can tell when a control has been moved and, if that channel is in record-ready mode, new changes will be recorded from the time the console detects a change has been made. Unmoved controls remain in play mode so you don't have to keep disabling automation recording functions, such as dynamics or effects, to keep them safe from unplanned changes when you're working.

In Relative mode, the faders move to their 0dB position, which means you can increase levels by up to 12dB or reduce them by as much as you like. There are also global Record and Play switches that affect all channels when dynamic automation is switched on. When the automation is off, these same buttons operate a 'snapshot safe' function, which simply means any selected channels won't be affected when a new snapshot is loaded.

If a snapshot is recalled during the recording of an automated mix, any channels set to Play mode will ignore the snapshot while any set to record-ready mode will change to reflect the snapshot data and the changes will be stored accordingly.

This system doesn't relate back to the original snapshot data, but rather copies it in real time while recording mix automation, so if the snapshot is subsequently changed or deleted, it won't affect the recorded automated mix. When the global Write switch is pressed, all channels go to record-ready status, so if you need to make any safe or place them immediately into write, you must do so manually before proceeding. To prevent abrupt transitions when editing mix data, there are three 'release' options available when dropping out of mix record.

The Fadeback option allows for a smooth transition at a rate set by the user, whereas Offset adds any remaining offset to the data following the point at which the mix edit ends. In other words, if you come out of automation record at a level 2dB higher than the data you are overwriting, 2dB will be added to all subsequent data. Finally, you can opt to Write To End so that your final automation level is held until the end of the song.

Unacceptable passes may be undone using a conventional undo feature. Note that the console stores just one automation file, which must be purged from the internal flash memory before you can do another after backing up to PC or PCMCIA card if you need to go back to it. However, you can run a single mix to cover, for example, a whole reel of tape, and simply call up a fresh snapshot to define the start of each song on that tape. The four Virtualizer-based effects sections each provide a choice of 26 effect types, the first eight of which are reverbs.

Each effect has up to eight variable parameters accessed from a single edit screen. The 50 presets for each effect are available as 26 read-only factory settings plus a bypass position preset one with 23 further ready-made effects that can be overwritten if desired. The channel delay can also be set up to produce basic repeating echo effects independently of the effects section.

Because of the intuitive operating system, I was able to find my way around this console pretty quickly and, where help was needed, it was either forthcoming from the context-sensitive display prompts or easily found in the manual. Clearly a console this affordable must be built to a price, but from the outside it's not obvious where corners have been cut and there is even a free extended warranty available for users who register their purchase.

The PC software is not included, as it is subject to frequent revisions, but the latest version may be downloaded at www. Unfortunately, it is available for PC only, so I was unable to test it. Starting with the mic amps, though they are not as sensitive or as clean as good outboard mic amps, these are adequate for most jobs and are comparable to those fitted to the budget Yamaha desks.

Most of the gain is right at the top of the trim control, and when two channels are set to maximum gain, there's some audible crosstalk between the channels, but it's not something that should present a problem in most real-life situations. Even so, I'd prefer to use a good external voice channel connected to the line input for anything not being close-miked.

Digital desk EQ varies enormously according to design. For example, my Yamaha O3D works like a textbook description of an EQ in that it makes selected parts of the audio spectrum louder or quieter, but it doesn't actually change the timbre of the sound very much. Cutting the high end on an aggressive violin, for example, results in the aggressive element of the sound being pushed down in level, but it doesn't sound as smooth or as rounded as when doing the same thing with an analogue EQ.

My impression of the Behringer EQ is that it falls somewhere in between these two extremes, and it's certainly very usable in most situations.

It's also very easy to adjust, with one knob for moving between bands and others for directly adjusting the selected band's parameters. It was a similar tale with the compressor, which I felt sat somewhere between analogue and digital and had a slight tendency to pump, so if you want something to sound as though it is being compressed, you just need to push it hard.

Having the option of side-chain control is useful, as is the facility to assign both a compressor and a gate to any channel. Routing is easy to set up, though I would have liked to have been able to select the digital input as a two-track return for patching in my DAT recorder. As to the effects, while I've never placed the Behringer Virtualizer near the top of the pile of hardware processors, it's certainly competent and quite versatile for the price, providing all the bread-and-butter effects you're likely to need in a mix.

Having access to four internal Virtualizers means you're unlikely to need external effects, though you can patch in others easily if you need to. In terms of automation, although there's no fancy off-line mix editing, it's actually easier and quicker just to record the relevant mix moves again in most cases. I like the long-throw faders and the dedicated hardware buttons for accessing the main automation modes, and, of all the mixer automation systems I've tried, this is perhaps one of the easiest to use.

The DDX certainly gives you a lot of mixer for your money. It combines a no-frills approach to digital mixing with a generous allocation of channels, effects and dynamics processing, while omitting those things most people are unlikely to need anyway, such as EQ and dynamics in the busses, off-line automation editing, surround panning and suchlike.

The routing system offers sufficient flexibility without going overboard, and the internal structure means that it won't feel underpowered if you fill up both expansion slots.

I was also favourably impressed by the smooth fader action when running automated mixes. No need for external computers due to the integrated dynamic automation. The DDX can be used as a stand-alone unit in combination with multi- track recorders. EQ, effects and dynamics libraries facilitate frequently recurring mix scenarios. If you connect the DDX via MIDI to your computer, please be sure that the software does not respond to the controller data triggered by fader movements Page 5: Live Sound The built-in meter bridge gives you full control over all input signal levels.

Inserts on the first 12 channels allow you to integrate outboard analog gear. Rack-mountable kit included. Program change data allows you to run snapshots in sync with the main console. Up to 24 outputs for complete control of the most complex PA systems. Grouping allows you to make up for run-time differences between various speaker systems. Page 9: Functions Primary functions at a glance Faders The fader settings correspond to the layer currently selected with the fader keys.

Depending on which key you select, the channel controllers will perform the associated function. It is also possible to route one input to two channels to allow various processing or mix parameters of the same signal.

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