X32 COMPACT: Home Screen

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The home screen contains a high-level overview of the selected input or output channel, and offers various adjustments not available through the dedicated top-panel controls:

The home screen contains the following separate tabs:

1. Home: General signal path for the selected input or output channel

2. Config: Allows selection of signal source/destination for the channel, configuration of insert point, and other settings

3. Gate: Controls and displays the channel gate effect beyond those offered by the dedicated top panel controls

4. Dynamics: Controls and displays the channel dynamics effect (compressor) beyond those offered by the dedicated top panel controls

5. EQ: Controls and displays the channel equalizer effect beyond those offered by the dedicated top panel controls

6. Sends: Controls and displays for channel sends, such as sends metering and send muting

7. Main: Controls and displays for the selected channel’s output


Home Screen: Home Tab

The home tab of the home screen displays a general signal path for the currently selected input or output channel. It visually displays various parameters of the input, gate, insert point, equalizer, dynamics, output path, and buses.

The home tab contains the following parameters (divided into two pages) that can be adjusted using the six rotary-push encoders.

Page 1

1. Adjust the 1st encoder to control the input gain (trim) of the channel.

2. Tap the 1st encoder to link the channel with its adjacent channel.

3. Adjust the 2nd encoder to set the threshold of the channel noise gate.

4. Tap the 2nd encoder to toggle the channel noise gate in/out of the signal path.

5. Adjust the 3rd encoder to toggle the channel’s insert point between pre-fader and post-fader status.

6. Tap the 3rd encoder to toggle the channel insert in/out of the signal path.

7. Adjust the 4th encoder to toggle the channel dynamics between pre-EQ and post-EQ status.

8. Tap the 4th encoder to toggle the channel EQ in/out of the signal path.

9. Adjust the 5th encoder to set the threshold of the channel compressor.

10. Tap the 5th encoder to toggle the channel compressor in/out of the signal path.

11. Adjust the 6th encoder to pan the selected channel within the main stereo output.

12. Tap the 6th encoder to assign the selected channel to the main stereo output.


Page 2

1. Adjust the 1st encoder to select the console channel currently controlled by the home screen.

2. Tap the 1st encoder to toggle +48V phantom power on/off for the currently selected input.

3. Tap the 2nd encoder to toggle phase flip on/off for the currently selected channel.

4. Adjust the 3rd encoder to select which of the 8 DCA groups the currently selected channel will be assigned to.

5. Tap the 3rd encoder to assign the currently selected channel to the selected DCA group.

6. Adjust the 4th encoder to select which of the 6 mute groups to assign the currently selected channel to.

7. Tap the 4th encoder to assign the currently selected channel to the selected mute group.

8. Tap the 5th encoder to toggles solo on/off for the currently selected channel.

9. Adjust the 6th encoder to adjust the fader level for the currently selected channel.

10. Tap the 6th encoder to toggle mute on/off for the currently selected channel.


Home Screen: Config Tab

The configuration tab allows selection of signal source/destination for the channel, configuration of insert point, and other settings, as well as configuration of the channel delay.

The config tab contains the following parameters that can be adjusted using the six rotary-push encoders:

1. Adjust the 1st encoder to control the input gain (trim) of the channel.

2. Tap the 1st encoder to allow linking of the channel with adjacent channel.

3. Adjust the 2nd encoder to set the low-cut frequency of the channel.

4. Tap the 2nd encoder to toggle the low-cut filter in/out of the signal path.

5. Adjust the 3rd encoder to scroll among all of the possible sources for the channel.

6. Tap the 3rd encoder to select the currently highlighted source and assign it to the channel.

7. Adjust the 4th encoder to set the amount of digital line delay applied to the channel.

  • Note – this is not an echo effect

8. Tap the 4th encoder to toggle the delay in/out of the signal path.

9. Adjust the 5th encoder to toggle the channel insert between pre and post EQ/compressor.

10. Tap the 5th encoder to toggle the channel insert in/out of the signal path.

11. Adjust the 6th encoder to scroll among the signal path choices for the insert point.

12. Tap the 6th encoder to assign the selected signal path to the insert point.


Home Screen: Gate Tab

The gate tab displays all aspects of the channel noise gate and allows for very deep control of the gate effect. Whereas the top panel’s dedicated gate section allows control of the gate’s threshold and in/out status, the gate tab offers many more controls. This tab can also be accessed directly by pressing the “View” button in the top panel Gate section.

The gate tab contains the following parameters, divided among two pages, that can be adjusted using the six rotary-push encoders:

Page 1

1. Adjust the 1st encoder to set the input threshold of the gate.

2. Tap the 1st encoder to toggle the noise gate in/out of the signal path.

3. Adjust the 2nd encoder to set the range of a “ducking” effect applied to the channel.

4. Tap the 2nd encoder to toggle the ducker effect in/out of the signal path.

5. Adjust the 3rd encoder to set the attack time of the onset of the noise gate effect.

6. Adjust the 4th encoder to set the hold time of the noise gate effect.

7. Adjust the 5th encoder to set the release time of the noise gate, controlling how quickly the gate opens up and lets the signal through.

Page 2

1. Encoders 1 and 2 function the same on pages 1 and 2.

2. Adjust the 4th encoder to set the frequency of the key filter that can be used to trigger the noise gate.

3. Tap the 4th encoder to toggle the key filter on/off, allowing a specific frequency to control the gate.

4. Adjust the 5th encoder to set the steepness of the EQ slope used in the key filter.

5. Tap the 5th encoder to send the key source to the solo bus, allowing the key source to be monitored and evaluated.

6. Adjust the 6th encoder to select the specific key source to be used. Choices include “self” (the channel’s own signal) as well as any other input/output of the console.

7. Tap the 6th encoder to assign the selected key source to the gate.


Home Screen: Dynamics Tab

The dynamics tab displays all aspects of the channel compressor and allows for very deep control of the effect. Whereas the top panel’s dedicated compressor section allows control of the threshold and in/out status, the compressor tab offers many more controls. This tab can also be accessed directly by pressing the “View” button in the top panel Dynamics section.

The dynamics tab contains the following parameters that can be adjusted using the six rotary-push encoders:

Page 1

1. Adjust the 1st encoder to set the input threshold of the compressor.

2. Tap the 1st encoder to toggle the compressor in/out of the signal path.

3. Adjust the 2nd encoder to set the ratio of the compressor.

4. Tap the 2nd encoder to switch the channel dynamics effect between compression and expansion.

5. Adjust the 3rd encoder to set the attack time of the compressor effect.

6. Tap the 3rd encoder to switch the compressor between Peak and RMS (root-mean-squared) mode, where the average level of the signal is evaluated more than any specific peak of the channel material.

  • PEAK: A peak sensing compressor responds to the instantaneous level of the input signal. While providing tighter peak control, peak sensing might yield very quick changes in gain reduction, more evident compression, or sometimes even distortion. This mode is very suitable for control/limiting of dynamic material.
  • RMS: In this mode, the compressor applies an averaging function on the input signal before its level is compared to the threshold. This allows

a more relaxed compression that also more closely relates to our perception of loudness. Sharp dynamic transients will be less affected in this mode. This mode is good for controlling levels in a mix.

7. Adjust the 4th encoder to adjust the “hold” time of the compressor.

  • “Hold” time is a parameter not often found on commercial units, but is very handy. If a compressor is set to use a very fast attack/release time, audible distortion can occur, because the compressor is trying to work on individual waveform cycles of the signal instead of sound envelope as a whole. The “hold” parameter works around this issue by providing a short delay. This delay prevents the compressor from releasing until a certain time has passed.

8. Tap the 4th encoder to switch between Linear and Logarithmic modes for the compressor. Following are some brief definitions of these different modes:

  • LOG: This mode is used in many well-respected compressors and is the natural result of more recent analogue units employing logarithmic side chains and resistor/capacitor time constants. The exponential/

dB law has some interesting characteristics. Firstly, the time taken to complete a compression event tends to stay the same however large the dynamic signal excursion is. Also, since the peak rate of gain change increases with dynamic excursion, the resulting harmonic content due to compression tends to follow the loudness of the program in a way the ear expects. This helps to mask the effects of the compression and thus provides the most forgiving solution, being tolerant to differing timing settings and program material. This makes it the best choice for general compression use and overall dynamic control of complex musical program.

  • Linear: In this mode, the rate of gain change is constant (as set by the timing controls). Therefore, the greater the signal dynamic excursion, the longer the compressor will take to complete a gain change.

Also, since the total time that the compressor spends in attack or decay is proportional to the size of the gain excursion, the harmonic content of the compression artifacts will seem to reduce in frequency content. The louder the signal excursion is. This type of compressor is useful for generating dynamic sound effects because the sonic character of the compression is much more affected by time control settings and program material than the exponential type.

9. Adjust the 5th encoder to set the release time of the compressor.

10. Adjust the 6th encoder to set the makeup gain of the compressor, useful when the compression effect has reduced the overall signal level of the channel too much.


Page 2

1. Encoders 1 and 2 function the same on pages 1 and 2.

2. Adjust the 3rd encoder to set the steepness of the compressor “knee” between five separate settings. Adjust this control to switch between a “harder” sounding or more transparent compression effect.

3. Tap the 3rd encoder to move the compressor effect before or after the equalizer in the channel signal path.

4. Adjust the 4th encoder to set the frequency of the key filter that can be used to trigger the compressor.

5. Tap the 4th encoder to toggle the key filter on/off, allowing a specific frequency to control the compressor.

6. Adjust the 5th encoder to set the steepness of the EQ slope used in the compressor.

7. Tap the 5th encoder to send the key source to the solo bus, allowing the key source to be monitored and evaluated.

8. Adjust the 6th encoder to select the specific key source to be used. Choices include “self” (the channel’s own signal) as well as any other input/output of the console.

9. Tap the 6th encoder to assign the selected key source to the compressor.


Home Screen: EQ Tab

The EQ tab displays all aspects of the channel equalizer and also displays a detailed visual graph of the current EQ curve. This tab can also be accessed directly by pressing the “View” button in the top panel Equalizer section.

1. If the currently selected channel is an input, the channel equalizer contains four bands, with various aspects of each band adjusted by encoders 2-5.

2. If the currently selected channel is a bus, the channel equalizer contains six bands, with various aspects of each band adjusted by encoders 1-6.

3. On the equalizer screen, the various encoders are always tied to the various equalizer bands, and the Layer up/down keys are used to toggle whether the four/six encoders adjust:

  • Gain
  • Frequency
  • Q (Bandwidth)
  • Equalizer Mode

Page 1 (Gain)

1. Adjust the 1st encoder to set the frequency of the channel low-cut filter.

2. Tap the 1st encoder to toggle the low-cut filter in/out of the signal path.

3. Adjust the 2nd encoder to boost/cut the gain of the low band.

4. Adjust the 3rd encoder to boost/cut the gain of the low-mid band.

5. Adjust the 4th encoder to boost/cut the gain of the high-mid band.

6. Adjust the 5th encoder to boost/cut the gain of the high band.

7. Tap the 6th encoder to toggle the EQ in/out of the signal path.

Page 2 (Frequency) 1. Works as above, but the encoders now adjust the frequency center points for the different EQ bands.

Page 3 (Q)

1. Works as above, but the encoders now adjust the Q (bandwidth) for the different EQ bands. Use a narrow slope for working with a specific frequency, or use a more broad slope for general tone shaping.

Page 4 (Mode)

1. Mode: Works as above, but the encoders now adjusts the EQ mode for each EQ band. Choices include:

  • Low Cut
  • Low Shelf
  • Parametric Equalizer
  • VEQ
  • High Shelf
  • High Cut

2. The LOW and HIGH EQ bands available in the six matrices allow selection of additional Modes for filtering, especially in crossover applications:

BU (Butterworth), BS (Bessel) or LR (Linkwitz-Riley) with 6, 12, 18 or 24 dB slopes. When one of these is active, the adjacent LOW2 or HIGH2 bands are not available.


Home Screen: Sends Tab

The sends tab displays and controls all aspects of the channel sends to the sixteen mix buses. Compared to the dedicated top panel send controls, this screen offers additional functions such as send muting and simultaneous metering of the selected channel’s sixteen sends. This tab can also be accessed directly by pressing the “View” button in the top panel sends section. The sends tab contains the following parameters that can be adjusted using the six rotary-push encoders:

Page 1

1. Adjust the 1st encoder to set the level for the first send of the currently selected four-send group.

2. Tap the 1st encoder to mute the first send of the currently selected four-send group.

3. Repeat process with the next three encoders for the other three sends in the currently selected four-send group.

4. Adjust the 6th encoder to select which four sends to control with the screen encoders, shifting focus two sends at a time.

5. Tap the 6th encoder to select which four sends to control with the screen encoders, shifting focus four sends at a time.

Page 2

1. Adjust the 1st encoder to select where in the signal chain the send is tapped from, for the first two sends of the currently focused four sends. Options include:

• Pre-EQ

• Post-EQ

• Pre-Fader

• Post-Fader

• Sub-Group

2. Adjust the 3rd encoder to perform the same operation for the second two sends of the currently focused four sends.

3. Adjust the 6th encoder to select which four sends to control with the screen encoders, shifting focus two sends at a time.

4. Tap the 6th encoder to select which four sends to control with the screen encoders, shifting focus four sends at a time.


Home Screen: Main Tab

The main tab displays and controls all aspects of the main bus assignments.

The main tab contains the following parameters that can be adjusted using the six rotary-push encoders:

1. Adjust the 1st encoder to pan the selected channel within the main stereo output.

2. Tap the 1st encoder to assign the selected channel to the main stereo output.

3. Adjust the 2nd encoder to adjust the level of the currently selected channel within the mono (center) bus.

4. Tap the 2nd encoder to assign the selected channel to the mono output signal path. Use this function when crafting an LCR mix as opposed to a mono or stereo mix.

5. Tap the 5th encoder to solo/unsolo the currently selected channel.

6. Adjust the 6th encoder to set the fader level for the currently selected channel.

7. Tap the 6th encoder to mute/unmute the currently selected channel.