Behringer SX3282 Ultra-Low Noise 32-Input 8-Bus Studio/Live Mixer

Behringer EuroDesk SX3282 Ultra-Low Noise 32-Input 8-Bus Studio/Live Mixer with XENYX Mic Preamplifiers and British EQs

• Ultra-low noise, high-headroom analog mixer for studio, live, front-of-house, monitor, corporate and touring audio applications
• 24 state-of-the-art XENYX Mic Preamps with switchable +48 V phantom power plus 4 stereo Line inputs
• Neo-classic "British" 4-band EQ (stereo channels) and 3-band EQ with semi-parametric mid band (mono channels) for warm and musical sound
• 8 subgroups with independent Pan controls, Solo and Main functions and insert connections
• Clip and -20 dB LEDs plus Low Cut, Mute, Solo/PFL, Subgroup and Main routing switches on all channels
• 8 Aux sends per channel: 4 pre/post fader switchable for flexible routing
• Main Aux sends with Level controls and Solo functions
• 4 multi-functional stereo Aux returns featuring Level and Balance controls, Solo and extensive routing functions
• Solo-In-Place with PFL function plus full-featured Talkback, Phones and Monitor section
• Inserts on all mono channels, subgroups and main
• Balanced inputs and Main outputs for highest signal integrity
• High-precision, 13-segment LED meter for main mix
• Long-wearing 60-mm logarithmic-taper faders and sealed rotary controls
• Internal autorange power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving
• High-quality components and exceptionally rugged construction ensure long life
• Conceived and designed by BEHRINGER Germany

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 studiograde 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.

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.

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 off just a hair instead of turning muffled.