Behringer, continuing its line of wallet-friendly prices, presents the SL Series with the aim of offering live and studio solutions in a single console. The mixers are equipped with IMP preamps, low-noise circuitry, 24-bit effects units and FBQ (Feedback Detection System) for detecting feedback.

We have written this test in plain language to meet the information needs of both the audio professional who may need something affordable for small to medium-sized events and the musician taking his or her first steps in a home studio or other applications, with no budget for specialized staff, where a 32-channel mixer can offer certain advantages. I know that musicians are generally less familiar with "audio" jargon, hence my intention to make this readable for any kind of user.

For the studio
The mixer has two 24-bit effects processors and a talkback section for communication between the booth and the control room (or between the mixing desk and the stage, live), as well as "solo in place" and "pre-fader listen" functions.

Our test focused on installing this console in the control room of a simulated home studio, looking at the conveniences the mixer offered us, as well as checking the noise levels of the effects processors, their ease of use and the quality the preamps could deliver, for example.

For live sound
Among other things, the mixer offers a nine-band stereo graphic EQ to adapt to the acoustic conditions of the venue and a mono subwoofer output with a low-pass filter. We also found advantages for live use, such as the ability to mute all channels with a single button, which is handy during a break, while playing signals from the CD/TAPE inputs and leaving out other sources such as microphones (during the break).

The design of the mixer, built on a metal chassis, can help it withstand "tough" live conditions. In addition, the console is powered by its internal power supply, which automatically adapts to voltages between 100 and 240 V. This feature makes the mixer more stable against voltage spikes or changes that can occur on tour and, according to the manufacturer, it consumes less than a conventional power supply, preventing overheating.

Analysis of controls, inputs and outputs
This console is the largest version in Behringer's SL Series. It has 32 mono channels or 24 mono + 4 stereo. It also adds 4 subgroups, 2 switchable (pre/post-fader) aux sends and two post-fader aux sends per channel. Three-band EQ with semi-parametric mids and high-pass filters on the mono channels.

Mono channel description
- XLR input with optional phantom power (rear switch) for condenser mics.
- Balanced line-level jack input
- Insert I/O for external dynamics processors or EQs
- TRIM knob: input level adjustment. Input level LED.
- Low Cut filter.
- Three-band EQ: treble, mids (frequency and range) and low.
- Aux 1 and 2. Set the level of the aux signal sent.
- Pre fader. Switches the aux sends to pre-fader, which lets you create independent mixes (for example, monitor mixes).
- Effects. FX1 and FX2, a direct path to the internal effects processor or as a control for external processors (post-fader routing).
- Pan. Left/right
- Mute switch. Mutes the channel.
- CLIP LED. Lights up when input levels are too high or when the solo switch is active.
- SOLO. Routes the channel signal to the solo bus (solo in place) or to the PFL bus (pre-fader listen), letting you hear the isolated signal without affecting the main output signal.
- SUB 1/2 and 3/4 switches. Route the signal to the corresponding subgroups.
- MAIN. Routes the signal to the main mix
- FADER. Channel signal level in the main mix (or submix)

Stereo channel description
The differences from the mono channel are:
- Channel inputs. Left and right jacks
- EQ. Stereo, 4 bands (high and low mids), treble and bass.

Subgroups
- Channel fader for each subgroup (4)
- Routing switches: Solo (routes the signal to the solo bus), Left and Right (route the signal to the main mix, right, left or both)
- Subgroup outputs. Four jack outputs. Useful, for example, for sending each subgroup's signal to a multitrack recorder or computer

Mono out
This output can be used to connect another power amp driving a subwoofer, for example. The channel has a low-pass filter, a cutoff frequency control and a channel fader.

Main section
- Fader. Main mix output
- XLR outputs
- Jack outputs
- Main Insert, for inserting dynamics processors, external EQs, etc.
- LEDs:
Phantom power active LED
Power LED
Output level meter. If we press "solo" on a channel, the level meter will show that channel's output.
- SOLO/PFL switch. Pre-fader or post-fader listening.

Talk Back
Built-in mic for communication between rooms in the studio or between the mixing desk and the stage live.

Headphone/Control Room output
Volume control and buttons to choose the source sent to that output.

CD / Tape
Control of the CD/TAPE inputs, with a Stand By button

Master Aux send 1 and 2

9-band EQ and effects processors
The EQ processes the signal of the main mix or of aux 1. There is a switch to engage the EQ or not, a switch to choose whether to process the MAIN output or AUX1, and the FBQ switch, which activates automatic feedback detection.

It has two 24-bit effects units with a good assortment of effects: from various reverbs to modulation effects (chorus, flanger, phaser, etc.), guitar amp simulation and distortion, compressors, expanders, noise gates and much more.

We can assign one effect to each processor and send them independently to the desired channel: aux 1 or 2 of each channel, the subgroups or the main mix. The mixer has the appropriate connections for send and return.

Our impressions from testing
It seems that Behringer can raise doubts among the most professional users because of its (low) price or professional limitations, as they often say. Nevertheless, the mixer does its job quite well and for little money you get plenty of tools for live or studio work. In our test, we connected the mixer to a pair of powered monitors, using its input channels to receive instruments and various sources, while sending signals out through the subgroups to a multitrack and through the headphone output. We made a wide variety of recordings: bass, percussion, guitars through a mic and preamp, electric guitars, vocals, keyboards, etc. We also applied effects from the internal units to check the results.

The evolution of mixers for small studios is impressive, and on top of that you have the convenience of control surfaces made specifically to control the best-known programs, something this 3242 FX Pro does not do (it offers no synchronization or automation with software). Perhaps the charm of this product lies in how well suited it is to both the studio and live use, something other consoles designed for home or small studios lack.

The truth is that the versatility a small home studio gains when equipped with this Behringer product is pleasing, not only for the looks (an eye-catching mixer between your monitors), but also for the signal routing possibilities, the quick choice of input sources, level checking, phantom power for your condenser mics, level control for each instrument, assigning signals to headphones or several listening systems and, in short, all the applications described, used as each user sees fit. You can also use the mixer for the outputs and mix on it, if your multitrack system allows it, that is, if you can send out the recorded signals from each channel independently. This way you can mix using real controls instead of a virtual mixer on the screen. For a small home studio, the investment in additional equipment needed to make everything work properly and get the most out of the mixer might be a bit excessive. On the other hand, for a small studio with ambitions to grow, it could be an inexpensive (modest) physical mixer option.

The live applications are also interesting, thanks to the number of channels and routing options, the built-in effects processors, the metal chassis, the moderate weight, etc., especially considering the price.

Within the tier where it belongs, that is, not for huge events demanding pinpoint quality, we think it is a simple but well-equipped mixer considering the money you have to invest in it. This console really does what it has to do quite well, it offers more than reasonable possibilities, and the only thing that seems more "dangerous," especially in the studio, is the noise level of the effects processors, which must be used with care.