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2. Mic input Noise Type electronically balanced discrete input circuit bus noise fader 0 dB 102 5 dBr Mic E I N 22 Hz 22 kHz 24 chs assigned 150 source 129 0 dBu 117 3 dBqp UL 16 chs assigned input shortened 132 0 dBu 122 0 dBqp input B amp set OdBgain 94 5 dBr Distortion THD N 0 007 96 4 dBu 1 kHz bandwidth 80 kHz Submaster output Gain range 10 dB to 50 dB max output level 22 dBu balanced unbalanced Max input level 12 dBu 32 dBu PAD Submaster insert A max output level 422 dBu Line input Submaster insert Type electronically balanced max input level 422 dBu Gain range O dB to 4 40 dB 20 dB to 20 dB PAD Fader range 410 dB to 85 dB off Max input level 422 dBu Channel fader range 10 dB to 85 dB off 1 2 Aux send gain range 0 dB to 15 dB off Noise bus noise fader 0 dB 101 0 dBr Ce si dis Hi shelving 12 kHz 15 dB input B amp set 0 dB gain 92 5 dBr Hi mid sweep 300 Hz to 20 kHz 15 dB 16 chs assigned Lo mid sweep 50 Hz to 3 kHz 15 dB input B amp set OdBgain 945 dBr Max output level 28 dBu XLR connector Lo shelving 80 Hz 15 dB balanced 22 dBu 14 jacks unbalanced Lo cut HPF Aux returns gain range 0 dB to 20 dB off Aux sends Max output level 422 dBu max output level 422 dBu Noise
3. behringer com 30 EURODESK SX4882 User Manual METER N d SUB 1 GROUP FADER J SUB 2 suB1 ma EFM ONO IT 5083 L 41 9 suB4 A suBs lt 5 ZUR Cm _ RIGHT gt SUB 8 T MIXL GROUP INSERT SUBGROUP 1 SOLOL soLo _ AUX 1 RETURN SOLOL Subg roups SOLO AUX 2 IDENTICAL SOLOR ROUP FADER METER TNT T i Aux Returns K L A LEFT MONO a PH 1L I vr PHAR Rail 9 GROUP INSERT u N D PH 2R SUBGROUP 2 SOLOL RE 1 BLOCK 4 TP gt C SOLO _ SUB 9 4 58 7 MXR SOLO SOLOL 2 AUX 3 RETURN Lon AUX 4 5 6 IDENTICAL en AUX 1 SEND 2 SOLO AUX 2 IDENTICAL I SOLOL Le SOLOR e
4. There is no absolute reason why the send from aux 1 should feed into a processor whose outputs are sent to the aux return 1 The processor could just as easily be patched into the aux return 3 or even a pair of channels For many purposes however it is sensible to set up a default patch where the aux outputs and inputs correspond It is logical to put your premier FX units into the aux 1 and aux 2 loops since these returns enable you to record to tape without re patching An exception to the above is when recording a group of performers live to multitrack See section 16 3 Wet monitoring Sometimes an engineer wants to narrow the stereo width of a reverb field To do this you will have to come back on either A or B channels which have full PAN facilities 6 2 MIX B master MIX B 41 528 ASSIGN TO 00 15 MAIN MIX LEVEL Fig 6 3 Mix B Only two controls occupy the MIX B master fig 6 4 P 48 offers the standard EURODESK gain of up to 15 dB 48 15 crucial it routes the MIX B bus output into the main mix bus MIX B can have three basic functions It can act as an entirely separate mixer within a mixer to provide a completely separate mix 48 523 DOWN See also section 17 It can act as an additional stereo aux feed to FX as well as a pre fader monitoring aid during mixdown L548 UP 523 DOWN can provide 24 extra
5. POSTEQ POSTEQ Add Post EQ link AUX 1 2 AUX 1 2 Modifications aux send gt post EQ 23 2 MIX B source gt post fader That s it You ve decided to use the MIX B as a stereo aux send to FX rather than a separate stereo feed You can move the tap from the A channel from pre to post the channel fader as follows Again look for the printing on the PCB shown below Disconnect power supply Cut the pre track Add in a post link Repeat for all channels you want to be modified PRE FAD CUT Pre Fader track pre Fao POST FAD POST FAD Add Post Fader link MIX B MIX B Fig 23 5 Modifications MIX B source gt post fader 23 3 LED meters gt pre fader In channel mode the meterbridge monitors the DIRECT OUT signal post EQ post mute and post fader You would prefer to see what s going on pre mute and pre fader Once you found the corresponding printing on the PCB all you have do is 1 Disconnect power supply Cut the line out track Add in a pre fade link Repeat for all channels you want to be modified S LINE OUT 9 meno Kt Add Pre Fader link METER LINE OUT PRE FAD CUT Line Out track METER Fig 23 5 Modifications LED meters gt pre fader 27 EURODESK SX4882 User Manual 24 Specifications Main Channel Strip Subgroup Section
6. e Lineln Inputs B Tape Returns Maybe you will need this Y shaped thing for Insert purposes Tip Out e Ring In Sleeve Ground Screen To mixer To From channel processor processor insert input output 17 EURODESK 5 4882 User Manual XLR plugs Balanced use with XLR connectors input 1 ground shield 2 hot ve 3 cold ve output For unbalanced use pin 1 and pin 3 have to be bridged You ll need this kind for e Main balanced outputs e Micinputs Besure to read also the sections 8 and 12 8 The Patchfield Nomenclature clarification e HELD entire patching area e unit of 48 jack sockets arranged as 24 outs over 24 ins If you really want to make the most of your home studio invest in a patchfield We know that you will often put off doing a complex patch if there is no patchfield 1 because it s so much bother and 2 in case you inadvertently damage or pull out a lead 8 1 The normalized bay Most decent jackbays offer two rows of 24 normalized jacks in a 1 U of rack space Lucky you ve got a 24 48 channel desk eh The term normalized refers to the fact that the top row outputs are internally connected to the bottom row inputs unless you plug something into an input socket Plugging into the output socket of a normalized insert
7. 19 12 Un balanced Lines e cerne eene enn 19 13 Start Up an ncn 20 14 8 track MIDI Suite Dance Production Studio 21 15 16 Track Recording with 2 Samplers 22 16 Professional 24 Track Studio 23 17 Live with 2 Track Recording 24 18 Live Concert with 24 Track Recording 24 19 Expanding the 25 20 Timecode sser 25 21 Bouncing sosssosesosssonesonssnnnenanssannsonnnsnnsnonssannennnne 26 22 Input Output 26 23 Modifications eere eee eee eene seen nennt 26 24 Specifications eee e creen eee eee eee ee nettes etna 27 Thank you Congratulations With the EURODESK you have acquired a state of the art mixing console that sets new standards Right from the very start it has been our goal to design a revolutionary unit that can be used for a great variety of applications And indeed this overwhelming mixing console gives you plenty of functionality and a broad range of connection and expansion options BEHRINGER is a company with its roots in professional recording studio technology For many years now we have been successful in developing products for studio and live use These include microphones and studio gear of all kinds compressor
8. Ifthe unit is damaged please do NOT return it to us but notify your dealer and the shipping company immediately otherwise claims for damage or replacement may not be granted behringer com We recommend that you use a flight case to give the unit optimum protection during use or transport Always use the original box to prevent damage during storage or transport sure that children cannot play unsupervised with the unit or its packaging Please ensure proper disposal of all packing materials 1 2 2 Initial operation Ensure adequate air supply and to avoid overheating do not place the unit near radiators etc A Caution Before you change the fuse switch off the device and pull the plug to avoid electric shock or damage to the device Blown fuses must be replaced by fuses of the correct rating Please refer to the Specifications section for the applicable rating For connection to the mains use the enclosed power cord with cold connector which complies with the relevant safety regulations Please make sure that all devices are properly grounded For your own safety never remove or disable the ground conductors from the devices or on the power cords The unit must always be connected to the mains outlet with a protective grounding connection Important notes concerning installation The sound quality may diminish within the range of powerful broadcasting stations and high frequency sou
9. SOLOR TALKBACK PHONES 1 Aux Sends CTR ROOM J e gt U Auxs N RS MIX B f SOLO AUX 3 SEND t salat nM gt pE SOLOR AUX 56 AUX 4 5 6 IDENTICAL EXTERNAL m PHONES 1 SOURCE SOLOR MIX L MIX L v TALKBACK PHONES 2 MIX L FADER m V Ik 9 CTR ROOM u ji 415 R MIX L INSERT MIX 2 y MIXR MIX R AUX 3 4 R lt gt gt 9 en MIX R FADER EXTERNAL 3 TO LIR PHONES 2 SOURCE Le Mai n Mix 5 _ Mix B Master 85 Phones 1 2 J _ MIX B L R MONITOR j C a m N SOLO L E N ne TALKBACK SOLO LEVEL T D Lf STUDIO OUTPUT E MONO SOLO R i gt e e b I INSOLO L gt INSOLO R n SOLO CONTROL 8 5 PFL ERANNEL MODE LEFT METER y A CONTROL ROOM RIGHT METER L Lig OUTPUT TAPE IN LIR MAIN MIX 5 MIX B MUTE EXTERNAI EXTERNAL L R E TALKBACK SPEAKER SOURCE QIOAUXT T TO AUX 2 e TO SUBGROUPS 6 Monitor Solo Talkback Section JG PHONES AND N SL STUDIO OUTPUT behringer com 31 EURODESK SX4882 User Manual FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION FC BEHRINGER EURODESK SX4882 Responsible party name MUSIC Group Services USA Inc Address 18912 North Creek Parkway Suite
10. Channel auxes 3 and 4 would be routed to A channels In this configuration a reasonable degree of balancing between the MIX B and aux 3 4 level into the cans is possible by adjusting P 55 68 minus infinity to 4 15 dB With the headphone configuration shown below there is no easy way to get FX returns into the cans Bring these back on A or B channels instead until mixdown time AUX 1 SEND AUX 3 RETURN 555 Headphones 1 AUX 2 SEND AUX 4 RETURN 569 Headphones 2 MIX B S76 88 Headphones 1 2 Fig 15 1 Headphones 15 3 Mixdown With 24 A channels and up to 36 significant tape and sampler tracks to accommodate some thought will need to be given to mixdown assignments Tracks which need little EQ and no access to the main track reverbs echoes on auxes 1 and 2 may be parked on B channels Lead tracks and prominent rhythm melodic voices should be placed onto A channels Remember that auxes 3 4 5 6 can be dedicated either to A or B channels by SOURCE switch 517 23 EURODESK SX4882 User Manual 16 Professional 24 Track Studio 16 1 Recording Chances are you ll occasionally want to record more than eight tracks at once e g ou re recording a band playing together live The following example covers a rock band with drums bass two guitars percussionist brass section lead and backing vocals In the real world you ll hardly ever be taking all these art
11. split design This architecture enables much flexibility to be bestowed onto the tape monitor signal path not least being its ability to pick up functions easily from the main channel Also during mixdown when tape tracks are no longer monitored but MIXED the signal path between tape input and main channel is kept to a minimum The configuration is 24 into 8 into 24 This means that there are 24 channels eight subgroups or submixes or four stereo subgroups and 24 tape monitor returns one for each channel There are 24 100 mm channel faders eight subgroup faders and a stereo pair of faders driving the L R main mix In remix mode 48 channels are available all with EQ and access to the aux buses There are six additional stereo FX returns giving a grand total of 60 separate line level inputs and that s before you even consider using the subgroup insert points to provide eight more There are six aux buses accessed by four potentiometers two headphone mixes and professional recording monitoring and talkback facilities If you can afford to lose the extra 24 line inputs the MIX B bus can also act as a separate stereo aux send giving eight aux buses in all A comprehensive set of inputs and outputs include MIC 48 V line tape 4 dBu or 10 dBV inserts all round direct channel outs and all master recorder and monitoring options Just about everything you d expect from a massive console In addition jack e
12. 0 dB gain 94 dBu Output impedance 1200 Distortion THD N 0 007 96 4 dBu 1 kHz bandwidth 80 kHz 0 returns 14 jacks balanced unbalanced an ei a es tput globally switchable from 4 dBu to 10 dBV bandwidth 80 kHz Frequency response Max in out 22 dBu 20 Hz to 40 kHz 1 dB any input to any output Channel to channel crosstalk 95 dB 1 kHz 10 Hz to 120 kHz 3 dB 2 Gain range 0 dB to 15 dB off fader 0 dB 102 5 dBr 24 chs assigned Hi shelving 12 kHz 15 dB input amp 0 92 5 dBr Lo shelving 80 Hz 15 dB 16chs assigned input B amp set 0 dBgain 94 5 dBr behringer com 28 EURODESK SX4882 User Manual Power Supply Power consumption 250 W Mains voltage 100 240 V 50 60 Hz Fuse T3 15AH250V Mains connector standard IEC receptacle Physical Weight Dimensions H x W x D approx 2 8 8 7 x 37 x 29 5 approx 72 mm 220 x 940 x 750 mm Weight approx 61 2 165 approx 27 72 kg Equivalent Input Noise ref 4 dBu BEHRINGER is constantly striving to maintain the highest professional standards As a result of these efforts modifications may be made from time to time to existing products without prior notice Specifications and appearance may differ from those listed or illustrated behringer com EURODESK SX4882 User Manual 29 3dOW 0015
13. L24 s O Quy R 40 L R mE PAN ES HA pani 4 5 27 L27 dB de 10 4 8 90 1 2 R sze N T S30 PV 56 G rs 20 532 30 man Fig 3 5 Routing The level to the subgroup and main mix buses is ultimately determined by the channel faders These are designed to give a smooth logarithmic taper of a type more usually associated with the name of some pretty expensive brand The low level performance particularly is far smoother than that of a normal budget fader The MUTE button 27 like that for SOLO has an LED indicator 127 and removes the A channel signal from all buses save any auxes set to pre fader It is ergonomically placed immediately above the fader and engaging MUTE is equivalent to setting a fader level of minus infinity behringer com 3 7 B channel The B channel fig 3 6 comprises a secondary channel with its own high and low EQ and level P18 P19 P20 21 The EQ isa replica of the A channel shelving EQ The B channel ALWAYS feeds into the MIX B stereo bus but its source can be switched between TAPE LINE MIC and A CHANNEL depending on how _51 53 523 Jare set see fig 3 2 and section 3 2 Unusually for an 8 bus console B channels also have their own MUTE buttons 1522 Aux sends 3 4 5 6 may be diverted from the to the B chan
14. input pairs normalised IN 12346 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 DAT1 DAT2 Cass L Tuner Amp1 2 XTRN HiFi2 HiFi3 Fig 8 4 Wiring for bay 8 for advanced wiring scheme refer to section 11 8 3 Looming problems Loom wiring is an art in itself and it is worth taking time out to get it right First it is important to avoid earth loops Alooped wire acts as an arial picking up electromagnetic radiation Think of a tree Every part of that tree is connected to every other part but only by one route That s how the total earth picture for your entire studio should look Don t take the earth off your power cable plug to reduce audible 50 Hz mains hum or its harmonics Rather you should be looking at disconnecting the signal screen somewhere You could do worse than ensure that all screens are commoned at the patchbay in which case all unearthed equipment would pick up earth from this point via a single screen more than 1 route an earth loop while mains earthed equipment would have all screens cut at the equipment end Some quality equipment has an independent signal and mains earth In this case at least one and possibly all screens should carry earth to the equipment Sometimes the only way to find out is suck and see Take to ensure that using the patchbay does not disturb the studio s earth architecture Always use short as possible patch leads with th
15. tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid LA aaa injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 15 The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection 16 Where the MAINS plug or an appliance coupler is used as the disconnect device the disconnect device shall remain readily operable Legal Disclaimer Technical specifications and appearance are subject to change without notice The information contained herein is correct at the time of printing All trademarks are the property of their respective owners MUSIC Group accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description photograph or statement contained herein Colors and specifications may vary slightly from product BEHRINGER products are sold through authorized dealers only Distributors and dealers are not agents of MUSIC Group
16. 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 group ins returns L R EQ amp dynamic processor inputs see Bay7 out 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Bay 8 L R L R L R Rec Mon Mon DAT1 HiFi DAT2 Cass CD Disc in 1234 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 DAT2 Cass L Tuner Amp1 2 Tin XTRN HiFi2 Fig 8 3 Example of patchbay configurations 18 EURODESK SX4882 User Manual 8 L7 amp R8 equals the L R recording input to the 2 tracks On Bay 8 we have hard wired these to recording outputs 1 to 6 in order to drive all recorders simultaneously Copying from any 2 track source to all recorders may be done by patching the source outputs into L7 and R8 We have assumed you have a HiFi amp available to enable a variety of secondary sources to be condensed into the XTRN external input for easy monitoring selection via the HiFi amp s input selector switch if you want to record from any of these sources best patch direct from the individual outputs 17 to 22 rather than the HiFi amp mix 15 and 16 for the cleanest result The exception being vinyl which will need to use the HiFi amp s RIAA pre amp to present the mixer with a flat response signal 123 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Rec Mon Mon DAT1 HiFi DAT2 Cass CD Disc All output
17. 200 Bothell WA 98011 USA Phone Fax No Phone 1 425 672 0816 Fax 1 425 673 7647 EURODESK SX4882 complies with the FCC rules as mentioned in the following paragraph This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures Reorient or relocate the receiving antenna Increase the separation between the equipment and receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected Consult the dealer or an experienced radio TV technician for help This device complies with Part 15 ofthe FCC rules Operation is subject to the following two conditions 1 this device may not cause harmful interference and 2 this device must accept any interfere
18. Switched out trimpots and channel aux sends turned fully anticlockwise etc The natural initial setting for some pots e g master aux sends is unity gain However some settings such as selecting PRE or POST for channel aux sends and whether TAPE or MIC LINE is flipped onto B channel etc will depend on the operating environment whether in a MIDI or A V suite 24 track studio or live venue or even just on the engineer s preferred way of working Ultimately the object of the excercise is 13 2 2 Multitrack initialization Set up the multitrack so that any track in record ready condition has its input monitored when the tape is stationary Place all tracks to be recorded into record ready status once a recording has been made these tracks should automatically switch to tape playback Check that the input levels to each TRACK are optimized before recording commences 21 EURODESK SX4882 User Manual 13 2 3 Recording levels When recording to digital it s a good idea to keep the recorder s PEAK READING meters below 0 dB Engage peak hold on your recorder if you want to confirm that you haven t inadvertently overstepped the mark during a take or mix Most digital recorders though not SAMPLERS read 0 dB with some headroom left This is because unlike with analog the onset of digital distortion is as sudden as it is horrible and the manufacturers of digital recorders don t want you to hear this If you really want to take
19. compartmentalized the EURODESK manual into sections making it easy to find problem solving information and advice You might find that several cross sectional references have been made where areas of interest overlap E g Channel EQ is specified and described in the Main equalizer section 3 4 while EQUALIZATION has its own section reflecting it s importance and weight as a subject in its own right If we keep repeating ourselves concerning the use of B channels and the MIX B bus it s because a proper understanding of this area of the board will greatly expand your mixing repertoire 1 1 3 Key All DESK functions will be numbered consistently throughout the manual whether they be in the text or in an illustration In addition the following prefixes will be used to denote the various types of function control in any illustrations text respectively Prefix Meaning 5 Switch LED Potentiometer F Fader Tab 1 1 Meaning ofthe used prefixes After every prefix you will find the FUNCTION NUMBER Numbering starts at the top of a CHANNEL works its way through a stereo GROUP and finally through the MASTER SECTION The phantom power and tape operating level switches are not included in the numbering system 1 2 Before you get started 1 2 1 Shipment Your product was carefully packed at the factory to ensure safe transport Nevertheless if the box is damaged inspect the unit immediately for signs of damage
20. frequencies coincide then you might have to settle for second best in some cases Often you might want to boost two nice frequencies Really nasty frequencies will need notching Time to go outboard Why does the upper mid bell frequency go up to 20 kHz A more pertinent question might be why has it taken so long to get there After all even 16 bit the lowest acceptable quality digital audio sports a 20k bandwidth surely if 20k is important then so is controlling it OK You and will never hear a pure 20k sine tone However Rupert Neve the audiophile Guru would argue that when it comes to real instruments what happens even above 20k may have a perceptible effect on the listener It seems that one reason why high quality 2 at 30 IPS analog tape sounds better than DAT to many discerning ears is because although its frequency response begins to roll off at 12 dB octave somewhere around 15 to 20 kHz it is not abruptly cut off at 20 We have heard or detected a 20 kHz low pass filter being switched in and out when monitoring an analog master tape through a speaker system that included piezo electric tweeter elements capable of reproducing up to 40 kHz Perhaps less controversially it can be shown that if cut boost is applied at 20 kHz a significant portion of the resulting EQ curve for all but the tightest of Q s actually occurs in the audible spectrum below 16 to 18 kHz For example if the BEHRINGER EQ is boosted by 15 dB
21. g cutting away the top and bottom then pushing up the gain is equivalent to MID RANGE BOOST EQ is NOT a 1 way street Always re set a channel s input gain after altering the amount of EQ cut or boost applied see 3 3 10 Gain Optimization PFL Pre Fader Listening is the way to set a desk level Setting up the channel input gain is discussed in the essential section 13 Optimum master aux send levels will be dependent on the sensitivity of the FX device being driven but unity gain is a useful starting point As the mix progresses more and more channels are likely to be sending to effects via the aux buses and it s best to PFL all sends aux subgroup MIX B just before setting up for the final mix Outboard reverbs etc should all be made to work hard There s no point in having an 85 dB dynamic range if the input meter of your reverb is barely flickering On the other hand digital distortion is not one of the nicer noises around Fortunately you can SOLO the FX returns Here you ll have to rely on your ears to detect digital distortion since different outboard processors calibrate their meters differently and their dynamic range is not sufficient to allow say 15 dB of headroom as is the case with DAT etc The PFL SOLO meter on the other hand looks only at the desk s analog aux input level if you hear distortion but the meter says you re just hitting 0 dB then it must be coming from the aux send amp or the FX uni
22. pre fader and also pre EQ aux sends for channels Insert points may also be used as pre EQ direct outputs without interrupting the signal flow This is obvious when looking at the patchbay wiring section 8 fig 8 1 If you want to insert a dynamics processor post EQ the insert point must either be taken from subgroup or via a second channel aux return as follows Inserta compressor gate EQ across a subgroup and route the channel be processed and only that channel to that subgroup 2 Alternatively patch a channel s direct out into compressor gate EQ Take the output from that compressor gate EQ and feed it back into the desk via a secondary input channel aux return etc Figure 4 1 illustrates how you might insert into a channel post EQ for mixdown or track laying their requirements are different Mixdown requires one A and one B channel Recording requires two A channels 9 EURODESK SX4882 User Manual RECORD OR ALTERNATIVE MIXDOWN ROUTE CH gt MULTITRACK CH23 INPUT gt TAPE TRACK EQ 1 2 3 4 5 6 INSTRUMENT DYNAMICS POST PROCESSING Processor AUX SENDS p 4 5 6 LINE DIR OUT gt CH48 INPUT gt CH24 EQ B CHANNEL gt MIX B L R MIX MIXDOWN ROUTE PRE PROCESSING AUX SENDS 1 2 3 4 5 6 Fig 4 1 Post EQ channel insert Inthisarrangement you might find that compression tends to soften the perceived amount of EQ applied The solution Apply mo
23. scenario you ll probably want as many different headphones mixes as you can muster With the current channel group track assignments it is possible to set up four independent or semi independent headphone feeds while still keeping back auxes 3 4 5 6 for wet monitoring see 16 3 Subgroup 7 gt aux return 3 gt Subgroup 8 gt aux return 4 gt headphones 1 headphones 2 Main mix and or MIX B gt Main mix and or MIX B gt headphones 1 headphones 2 Active switches 55 S82 577 576 Active switches 569 582 589 588 See also fig 14 4 Subgroup driven auxless headphones mix and associated text In the above configuration HP 1 and HP 2 comprise a blend of the main mix MIX B and an additional feed from a subgroup The subgroup feed can be used to select which channel s should be boosted in the cans relative to the main mixes behringer com Choose to send to subgroups 7 and 8 from channels which are routed to tape from their DIRECT OUT Otherwise CHANNEL PAN which will already have been set for recording via another group is unlikely to be pointing to where you want the cue signal to go Aux sends 1 and 2 are available as two separate mono headphone feeds or as a single stereo headphone feed You ll need an extra stereo amplifier to amplify the aux 1 and 2 outputs to drive headphones properly Overdubbing It s all change Flip the recorded music onto A channels in order t
24. screen They operate at 4 dBu Fig 7 2 Auxiliary sends 14 EURODESK SX4882 User Manual Auxiliary returns All six stereo pairs to be located immediately below the aux sends are on unbalanced 14 jacks and operate at 0 dBu STEREO AUX RETURNS Fig 7 3 Auxiliary returns Subgroup inserts Unbalanced send and return from a single stereo jack socket wired tip out ring in and sleeve ground screen SUBGROUP INSERTS TIP OUT RING IN Fig 7 4 Subgroup inserts 2 track in out RCA sockets for use with tape recorders etc signal main mix wired center post signal ve and sleeve ground screen CD TAPE OUTPUT L OO 69 Fig 7 5 2 track in out 2 track external inputs Two additional stereo inputs this time on unbalanced jacks wired tip signal ve and sleeve ground screen MAIN INSERTS CONTROL ROOM OUT R CD TAPE INPUT STUDIO OUT EXTERNAL INPUT T TIP OUT RIL Fig 7 6 Additional connectors lo 6 behringer com Main inserts As above but for the main mix Stereo outputs The control room output monitors main mix MIX B and studio output are all on a pair of unbalanced jacks nominal output level 4 dBu The main mix is also available as a fully balanced pair P
25. send 5 9 9 ent Auxsend5 Auxsend1 To find out the value of X align the consoles in the following way Patch a 1 kHz 15 BVs 1 MIX B and6 and2 sine tone or play a sustained B above middle C on a keyboard into a channel 16 BVs2 MIX B 5 ir E 1 on each console Set up each console so that the signal produces unity gain an 0 dB at every output use each console s PFL or equivalent function to do this 17 BVs 3 MIX B aa 5 p Now connect the outputs of the second console into the EURODESK EXPANDER SESS PORT Mute the channel on the EURODESK carrying the signal and look at the 18 Congal 3 4 25 EURODESK outputs Systematically adjust the reading on each bus until they all sub T read 0 dB by adjusting the master send levels of console 2 i e master aux send 19 CongaR MIX B Mun 3 4 and 7 8 controls main mix master faders subgroup faders etc 20 MIX B Subgroups 3 and 4 microphone 21 ke MIX B Subgroups 3 and 4 20 Ti mecode Auxsend 5 In analog multitrack recording timecode usually goes down on the edge of the 2 Leadvocal Aux send 1 tape track 8 16 or 24 with the adjacent track left clear GUARD BAND to stop 23 PL MIX B Aux send 1 bleeding between recorded tracks and code Digital formats do not waste any 24 FXTR MIX B 5 Auxsend 1 audio tracks on timecode a separate sync is provided Tab 8 2 Front rear stage monitors routing For fron
26. should be connected to subgroup outs 5 6 7 and 8 via custom made Y adaptors Lining up is as per the previous example see section 14 3 When choosing which outputs where to assign you have to consider that you have got maybe 16 tape and 16 or 20 sampler outputs to accommodate onto 24 A channels and 24 B channels We d suggest all audio tape tracks be returned on A Channels while at least one stereo output from a sampler is also brought back on a pair of A channels for flying in a sampler can pick up e g chorus vocal and drop it into all choruses or sample a particularly nifty bit of flanging on a drum loop etc then lay the effected loop back to tape without re patching Most other sampler outputs and MIDI keyboards which need to be heard but not recorded can be assigned to B channels The remaining six or so A channels may then be used for overdubs 15 2 Headphones While auxless headphone monitoring see section 14 2 is still an option and a pretty good one a small general purpose studio might require a more straightforward way of working using one or two discrete headphone mixes Here it would be best to keep aux sends 1 and 2 free for monitoring purposes until mixdown time Aux returns 3 4 5 6 can be routed directly to headphones 1 and or 2 good idea would be to drive 2 from a combination of aux return 3 555 and MIX B 576 while LHP 2 picked up its signal from aux return 4 569 and MIX B 88
27. 1 and 2 two dedicated pots LP 12 and LP 13 are used These can be taken from a point before or after the channel fader i e PRE or POST 13 Aux sends 3 and 4 and 5 and 6 are serviced by two potentiometers 14 15 The SHIFT button 15 determines whether buses 3 and 4 or 5 and 6 are addressed Also these four sends can be derived from the main mix or MIX B depending on SOURCE 577 and as before can be pre or post 516 1 24 AUX PRH e 15 15 camh A 3 PRE U X 514 gt 5 5 0 15 E 4 ga N P 15 gt 6 e x S15 nn HIFT S 16 N source _ 517 SHENDE A Fig 3 4 Aux sends For almost all FX SEND purposes you will want auxes to be post fader so that when a fader level is adjusted any reverb send from that channel follows the fader Otherwise when the fader is pulled down the reverb from that channel would still be audible For CUEing purposes aux sends will usually be set pre fader i e independent of the channel fader 13 Jand 516 Mostreverbs etc sum up the left and right inputs internally The very few that don t may be driven in true stereo either by 1 2 aux sends or 2 the MIX B bus see section 3 7 B channel Thereis 15 dB of gain on every aux sen
28. 11 12 13 14 15 16 17 18 19 20 21 22 23 24 tie lines see out 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 group outputs Bay2 in 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 multitrack tape hard disk recorder and or sampler inputs out 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 multitrack tape outputs Bay3 in 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Eurodesk tape returns out 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 samplers MIDI expanders etc Bay4 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 channel line inputs neutral 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Mix time domain FX outputs links see in neutral 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 time FX inputs stereo aux returns links see out 123456 aux outs 5 out 1234 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 channel insert sends Bay6 in 123456 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 __ channel insert returns on 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 group insert sends L R EQ amp dynamic processor outputs see in break normalizing
29. B inputs to the mix 48 DOWN 523 UP 12 EURODESK SX4882 User Manual For live applications try using MIX B to feed a secondary set of speakers These could be sidefills or even more spectacular the rearward portion of a quadraphonic sound system There is no SOLO provision for MIX B However you can audition it by selecting only MIX B 1583 in the monitor sourcing matrix is assigned to the main mix 548 DOWN do not listen to MIX B 1583 and the main mix 82 simultaneously That way you ll be monitoring MIX B twice over and what you hear won t correspond with what s going down to tape 6 3 Monitoring MONITOR SECTION 00 MAX STUDIO LEVEL MAIN MIX 582 MIX B is 2 TRACK 8 82 EXTERNAL Ne E P 582 MONO CTRL ROOM LEVEL Fig 6 4 Monitoring Though most of you will want to audition the main mix most of the time there are exceptions These include PFL SOLO and 2 TRACK PLAYBACK The SOURCING matrix 82 to S85 see fig 6 5 allows you to monitor the main mix the MIX B and two external sources marked 2 track and EXTERNAL The master meters follow whatever source is being auditioned The meters won t make much sense if more than one source is selected EXTERNAL coul
30. L LP 49 BALANCE P51 and SOLO 1554 LEVEL controls the amount of signal being blended into the mix or a subgroup while BALANCE controls the relative amounts of L and R processed signal We doubt if you ll often want to adjust BALANCE away from center As always there are exceptions to the above rule Some short stereo delay effects say 30 ms to L 50 ms to right cause a psychoacoustic effect where the earlier delay seems louder A similar effect is noticeable when harmonizing in stereo a slight pitch shift upwards will seem louder than one that goes down In both cases use the BALANCE control 51 to compensate When carrying out the above mentioned information or any other stereo imaging exercise don t just rely on the control room monitors Get a pair of headphones and listen in stereo and in reverse stereo to allow for any hearing discrepancy between your ears b Auxreturns3 to 6 And so aux returns 3 through 6 These too have a routing matrix 55 10 558 for aux return 3 but this time it is designed to facilitate monitoring rather than recording The options are MAIN L R MIX and PHONES 1 2 Gain pots and solo switches complete the picture c SOLO Below each column of aux returns lies a local solo LED L61 amp 174 These illuminate whenever a SOLO button in the column above is pressed
31. Source Tape route Destination b ad2 Mxs Gema 1 Kick Directout Track 1 8 Cymbals Subgroups 1 _ _ 2 Snare Direct out Track 2 overheads and 2 MIX B 3 Hi Hat Direct out Track 3 Aux send 1and2 4 Tom1 Subgroups 5 and 6 Tracks 5 and 6 si 5 2 Subgroups 5 and 6 Tracks 5 and 6 10 Keyboards R nd NGS Aux send 1 and 2 6 Tom 3 Subgroups 5 and 6 Tracks 5 and 6 Main mix 7 Tom 4 Subgroups 5 and 6 Tracks 5 and 6 n Bass DI MIX B 7 Aux send 1 and 2 8 Cymbals overheads Direct out Track 4 9 Keyboards L Direct out Track7 12 Trumpet Subgroups 5 Aux send 5 Aux send 2 e and 6 MIX B 10 Keyboards R Direct out Track 8 13 Trombone a Aux send 5 Aux send 2 n Bass DI Direct out Track a 12 Trumpet Direct out Track 10 14 Sax a Aux send 5 Aux send 2 3 Trombone 00 out Track 11 s 73 Subgroups 7 Auxsend5 e 14 Sax Track 12 5 and 8 MIX B and6 ux send 15 BVs 1 Direct out Track 13 Subgroups 7 Auxsend 5 16 BVs 2 Direct out Track 14 16 and 8 MIX B and 6 17 BVs3 Direct out Track 15 7 BVs3 EN Jar zm 5 Aux send 1 2 18 Conga L Direct out Track 16 an 19 CongaR Direct out Track 17 18 Conga L sori z Aux send 2 20 Guitar 1 microphone Direct out Track 18 21 Guitar 2 microphone Direct out Track 19 Main mix 19 MIX B Aux send 2 22 Lead vocal Direct out Track 20 Main echo Guitar 1 Main mix _ 23 Send aux 3 Track 21 2 microphone MIX B Aux send 1and2 reverb return eT Main ec
32. The built in mic above the main mix faders allows you to converse with artists remotely The most important controls are the VOLUME LP 99 and PHONES amp STUDIO button S99 see fig 6 7 It is possible to route the talkback mic to any of the following aux 1 aux 2 subgroups and phones and studio 1596 to 599 behringer com Complex headphone or stage monitoring networks could be constructed where HP1 HP2 aux 1 pre aux 2 pre and one or more subgroups all feed Separate monitor mixes See section 16 2 Very tricky headphones However since the four pushbuttons are non latching it might drive you crazy If you are using many headphone feeds you may find it easier to patch a separate microphone for talkback straight into a channel where it can be routed pretty much anywhere Engaging TALKBACK 599 dims the control room monitors not lights by 20 dB to restrict the possibility of feedback All other talkback routes are unaffected 7 Connections 7 1 Rear panel Expander port bus inputs If you want to add another console to your EURODESK 5 4882 the expander port bus inputs give access to all subgroups auxes and mix busses via an array of 14 jacks situated top left on the rear panel Fig 7 1 Expander port bus inputs Auxiliary sends Unbalanced 74 jacks wired tip signal ve and sleeve ground
33. X bargraph meters indicating the SOLOed level 2 For LINE INPUTS Adjust GAIN control P regularly hitting 0 dB 3 ForMICINPUTS If your meters are reading 0 dB although the GAIN control is completely turned counterclockwise push the PAD switch 1 to lower the input signal by 20 dB before you continue the gain adjustment 4 TAPE inputs do not pass through the GAIN pot P2 This is why it is important to match the operating level of the desk 10 dBV or 4 dBu to that of your machine If the signal is low due to incorrect operating level setting or too low a level having been recorded to tape try the 10 dBV setting If too high try 4 dBu If neither gives a good level try patching the tape track output into a line input and repeat steps 13 1 1 and 13 1 2 5 is used repeat steps 13 1 1 amp 13 1 2 until transient peaks are 6 Ifan insert is used to patch in a compressor gate EQ etc use any outboard processor s BYPASS or EFFECT OFF switch to A B monitor the effect Adjust the processor s output level so that effected and bypassed signals are level matched 7 Channel PFL SOLO switch wu 26 UP Move onto next channel 13 2 Desk tape setting up procedures 13 2 1 Desk normalization All board settings should be set to the normal default condition before or after every session Usually faders are set to zero minus infinity EQs set flat and
34. aker when turning phantom power on or off Allow one minute after powering up for the system to equilibrate before setting input gains Channel inserts These provide for unbalanced send and return from a single stereo jack socket Wiring is tip out ring in and sleeve ground screen Direct outputs This tap comes from just after the channel fader Unbalanced jacks B channel inputs tape returns They also accept balanced or unbalanced 14 jacks and are switchable in groups of eight between 10 dBV unbalanced and 4 dBu balanced corresponding to the standard semi professional and professional operating levels and configurations respectively Consult your multitrack manual to find out which one applies INPUT MODES 4 4 dBu v 10 dBV A OPERATING LEVEL CHANNELS 41 48 OFF v ON N PHANTOM POWER CHANNELS 17 24 Fig 7 9 MIX B operating level switch and phantom power switch Subgroup outputs tape sends The eight subgroups are each connected to two stereo jack sockets for easy patching into 16 track recording systems or 24 track if you use Y adaptors Once again the operating level is switchable between 4 dBu and 10 dBV in two banks of 2x 4 SUBGROUPS OUTPUTS TAPE SENDS 4 4 4 dBu 10 dBV OPERATING LEVEL SUBGROUPS 1 4 Fig 7 10 Subgroup outputs tape sends and operating level switch behringer com 7 2 Connector pinout You will need a l
35. and have absolutely no authority to bind MUSIC Group by any express or implied undertaking or representation This manual is copyrighted No part of this manual may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying and recording of any kind for any purpose without the express written permission of Red Chip Company Ltd ALL RIGHTS RESERVED 2010 Red Chip Company Ltd Trident Chambers Wickhams Cay P 0 Box 146 Road Town Tortola British Virgin Islands Limited Warranty 8 1 Warranty This limited warranty is valid only if you purchased the product from a BEHRINGER authorized dealer in the country of purchase A list of authorized dealers can be found on BEHRINGER website behringer com under Where to Buy or you can contact the BEHRINGER office closest to you MUSIC Group warrants the mechanical and electronic components of this product to be free of defects in material and workmanship if used under normal operating conditions for a period of one 1 year from the original date of purchase see the Limited Warranty terms in 4 below unless a longer minimum warranty period is mandated by applicable local laws If the product shows any defects within the specified warranty period and that defect is not excluded under 4 MUSIC Group shall at its discretion either replace or repair the product using suitable new or reconditioned product or parts In case MUSIC G
36. anding the EURODESK against MIX B P20 P21 19 1 Connections Channels Source F 0 H FX Wedges Infills The EXPANDER PORT is input only and provides access to all but the PFL SOLO i i Subgroups 1 2 3 4 buses Since the nominal internal operating level of your EURODESK SX4882 is and 7 8 0 dB and that at the jack outputs 4 dB the sends from the outputs of console j Se P send 1 1 2 2 must be attenuated by 4 dB if unity gain between it and the primary console and and 3 4 is to be maintained Wiring is as follows Subgroups 1 2 3 Hi Hat and 3 4 EURODESK 2 gt 4dB gt EURODESK 1 4 Tom 1 MIX B Aux send 4 Subgroup outputs 1 to 8 EXPANDER PORT subgroup inputs 1 to 8 5 2 MIX B Aux send 4 Aux outputs 1 to 6 EXPANDER PORT aux inputs 1 to 6 6 Tom 3 MIX B Aux send 4 Main mix output EXPANDER PORT main mix inputs 7 Tom 4 MIX B Aux send 4 MIX B output EXPANDER PORT MIX B input Cymbals 7 _ Another manufacturer s 8 overheads desk gt XdB gt EURODESK 1 9 Keyboards MIX B Subgroup 12 Subgroup outputs 110 8 EXPANDER PORT subgroup inputs 1 to 8 10 KeyboardsR MIX B Subgroup 12 Aux outputs 1 to 6 EXPANDER PORT aux inputs 1 to 6 11 Bass DI MIX B Main mix output EXPANDER PORT main mix inputs an MIX B output EXPANDER PORT MIX B input 12 Trumpet MIX B Aux send 5 13 Trombone MIX B Aux send 5 19 2 Alignmen 14 Sax MIX B Aux
37. ape inputs to the main mix _548 DOWN 7 EURODESK SX4882 User Manual 3 3 Input gain setting The channel input level is set by the TRIMPOT LP2 Use SOLO PFL 526 to bring the channels input onto the L R bargraph meters under the master section of the EURODESK 5 4882 This also sends the SOLO PFLed signal to the left and right speakers Channel PFL SOLO 26 has an associated LED 126 See also 13 1 A channel setting up procedure and 6 5 PFL SOLO Forlevel setting as opposed to localized listening choose to use the mono PFL rather than the post fader SOLO bus _595 DOWN SOLO PFL never interrupts the mix at the main recording outputs It follows that aux sends and subgroups must also be unaffected since they can contribute directly to the main mix o In addition to switchable PFL SOLO metering a couple of LEDs 124 Jand 125 continuously monitor whether a signal is present 20 dB or the channel is going into overload PEAK These take their cue from three test points input post EQ and post fader In all cases the higher level wins You do NOT want the overload light to come on or if it does no more than very intermittently during atake or a mix 3 4 Main equalizer 5 EQ IR Bat U HIGH Pe Ruy 12 kHz AR HIGH P5 M MID ZUR U FREG a Hz E 400 8
38. at 20 kHz the amount of boost at 10 kHz will be 3 dB The resulting EQ curve will bear no relation to one where 3 dB of boost is applied at 10 kHz Agood vocal signal can be enhanced by applying a significant boost in the 15 k region or higher above the nasty sibilance region Especially effective if you ve got a de esser post EQ Use the LF cut to tighten up channels in a mix maybe remove it only for the bass kick drum toms tablas didgeridu and other deliberate subsonics When recording classical music ignore this advice 19 EURODESK 5 4882 User Manual With an LF cut at 100 Hz and low shelf boost at 80 to 160 Hz you have pretty much got a peak response rather than shelving at the bottom Look at the extraordinary width of the frequency sweep of the upper mid EQ 300 Hz all the way up Set to maximum boost and play about with the frequency in real time We bet you ll get some stunning filter sweeps Try it on drumloops great for dance music You can cascade channel EQs by connecting the DIRECT OUT see section 7 Connections of one channel into the LINE or TAPE INPUT of another The first channel should first be un routed to all buses including L R and aux sends The second channel then becomes the control channel routing to the buses You now have a 23 channel mixer but one channel has a 4 band semi parametric plus 30 dB of shelving swing Remember EQ contouring can be done with CUT as well as BOOST E
39. be heard so long as the MIX B MAIN MIX switch 548 is depressed Some to tape channels will have no routing other than a direct out patch into the recorder others may be routed through subgroups When a subgroup is sending to tape the subgroup L R assignment buttons 1537 538 should be UP Le that subgroup should not feed into the main mix bus directly 14 8 track MIDI Suite Dance Production Studio 8 track MIDI studio with sampler 8 track recording system one vocal microphone and an array of synthesizers and FX MIDI sequencer driven A typical dance production suite 14 1 Sends GROUPS 1 8 8 TRACK RECORDER digital analog or disk GROUPS 7 amp 8 SAMPLER INPUTS Use the sampler s input gain control to match it s input sensitivity to that of the recorder AUXES 1 2 3 4 5 6 MIX FX MIX B Extra MIDI keyboard returns etc Fig 14 1 Send routing In a dance production effects are often of paramount importance in creating interesting evolving sounds and aux sends are usually all dedicated to this purpose Also it is not unusual for a vocalist to be drafted in to add some colour to the mix at alate stage The following set ups avoid using aux sends for headphone monitoring while enabling both the vocalist and engineer to get a comfortable headphone mix behringer com 14 2 Auxless headphones mix The vocalist will probably want to hear her himself above the normal mix l
40. behringer reif el 54 a we 5 ea Ultra Low Noise Design 48 24 Input 8 Mixer with XENYX Mic Preamplifiers Integrated Meterbridge EURODESK 5X4882 User Manual behringer com 2 EURODESK 5 4882 User Manual Table of Contents Thank you 2 Important Safety Instructions 5 3 Legal Disclaimer eere eere eene 3 Limited Warranty 20s00ussossnssnssonsnnssonsonssnnsnnssnnsnnsnnnnnne 3 1 Introduction Lees ee eee eee eere eerte eere eere estne senserat 5 2 EURODESK Overview ceres serene eere ente ennt 6 3 Input Output Channel e eeeeeeeeeeee eere 6 4 Inserts s M 8 5 Subgroup and Direct 9 6 Master Panel usssorsnesssesssnsen sssnenensnssncinusssnenenensenee 10 7 Connections Leere eee eee sensa sensus 13 8 The Patchfield 17 9 Equalization 18 10 Gain Optimization ecsonssssonsossnnennonnennnnensnnennes 19 11 Impedances and
41. coustic EURODESK insert points are of course simultaneously inputs and outputs Get them onto a patchbay where they can appear as independent sockets and do away with all these fiddly Y leads that always seem to be the first to get knotted in the flightcase See section 8 The patchfield Now it is possible to do the following incredibly useful patch without having to make up what would amount to a ring to tip tip to ring stereo patch lead Group X Insert out gt Channel Y Insert in Main Channel Insert out gt Group X Insert in gt Main Fig 5 2 Using insert to add channel EQ to subgroup output while keeping the number of line inputs unchanged 10 EURODESK SX4882 User Manual 5 2 Direct outputs Each of the 24 main channels on the EURODESK X4882 has its own DIRECT OUTPUT which is taken from a point immediately after the fader i e post EQ and after the aux sends see block schematics This can feed a tape track directly without having to resort to the subgroups enabling more than eight different tracks to be recorded simultaneously Almost alone among the EUROjacks these on unbalanced mono sockets at 4 dB See section 22 Input output configuration also section 16 1 Recording 6 Master Panel 6 1 Aux masters 6 1 1 Aux sends Much of the master section is taken up by master aux sends and returns We ll s
42. d Such a high boost is only appropriate where the channel fader is set around 15 dB or lower Here an almost exclusively WET signal will be heard Previously in most consoles such a wet mix required the use of a PRE setting for the channel auxiliary send This meant losing fader control over the signal 3 6 Routing and muting ROUTING means selecting which BUS you want a channel to address There are actually six stereo buses in the EURODESK 5 4882 plus a stereo SOLO bus The main mix bus is selected by 532 see figure 3 5 while the subgroups are selected by switches 528 for groups 1 and 2 29 3 and 4 L530 5 and 6 and 31 7 and 8 Odd and even numbered groups are selected via the main A channel PAN P 24 as are the left and right mix buses The sixth stereo bus is the MIX B bus with it s own independent pan control P20 see section 3 7 B channel Usually only one of 28 to L531 will be selected for a particular channel See block schematics 8 EURODESK 5 4882 User Manual An exception to this rule is when laying down voice takes It is often convenient to have the mic channel s routed to alt potential TAKE tracks simultaneously since you are often dropping in quickly between four or more tracks It means one less button press each time you switch tracks
43. d be normalled to a HiFi pre amp allowing you to monitor extra sources such as vinyl cassette CD etc Altering what goes into the control room s monitors does not affect the signal from the main recording outputs Just as well or every time you wanted to do a quick SOLO during a mix you d have to start again The CONTROL ROOM LEVEL pot 86 sets the level to the control room monitors This is sourced post the main main mix stereo fader setting otherwise you wouldn t be able to hear your fades There is also a similar STUDIO volume pot LP 82 BJ a behringer com Owners of MIDI production suites might like to drive a second pair of control room speakers from the studio output but take care when using the TALKBACK mic no 20 dB offset is applied to the studio output We would like to recommend you to use half a dozen sets of speakers on an external switching matrix including studio monitors ghettoblaster club system car stereo and overblown 2 speakers loosely screwed into a less than airtight cardboard box Ifyou are using the STUDIO output to drive a pair of monitors actually in the studio do not ever leave 82 turned up during a take Howls and howlround may well be the result Lastly there is MONO button 86 useful for checking the phase correlation and or coherence of a stereo signal Again this does not affect the main mix output wu a 6 4 H
44. d warranty does not cover any such modification adaptation regardless of whether it was carried out properly or not Under the terms of this limited warranty MUSIC Group shall not be held responsible for any cost resulting from sucha modification adaptation This limited warranty covers only the product hardware It does not cover technical assistance for hardware or software usage and it does not cover any software products whether or not contained in the product Any such software is provided AS IS unless expressly provided for in any enclosed software limited warranty This limited warranty is invalid if the factory applied serial number has been altered or removed from the product 5 Free inspections and maintenance repair work are expressly excluded from this limited warranty in particular if caused by improper handling of the product by the user This also applies to defects caused by normal wear and tear in particular of faders crossfaders potentiometers keys buttons guitar strings illuminants and similar parts 6 Damage defects caused by the following conditions are not covered by this limited warranty improper handling neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals e connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where t
45. dB is referenced to the selected tape operating level 4 dBu or 10 dBV The main mix meters double up as mono PFL or stereo SOLO meters or 2 track return meters or EXTERNAL return meters in general what you HEAR is what you SEE During PFL SOLO only the main mix bargraph meters illuminate behringer com InSOLO PFL mode 0 dB meter reading matches an internal operating level of 0 dBu 0 775 V However when looking at the mix 0 dB is referenced 4 dBu the 2 track operating level l e if only ONE signal is present in the main mix bus SOLOing that signal will cause the meter reading to increase by 4 dB 3 Input Output Channel 3 1 Channel strip On the EURODESK 5 4882 the 24 INPUT OUTPUT 1 0 or channels cover most ofthe console Most of each strip is occupied by the main or A CHANNEL accepting MIC LINE or TAPE inputs depending on the positions of 51 and _S3_ see fig 3 1 and 3 2 Each channel strip also sports a secondary B CHANNEL fig 3 6 Anything routed to a B channel is directed to a separate MIX B bus See section 3 7 B channel and also section 6 2 MIX B master 3 2 Input switching First look at the MIC LINE switch 1 In the UP position it selects MIC in the DOWN position LINE The next switch _ 3_ chooses whether A channel looks at INPUT or TAPE If INPUT is routed to A channel TAPE is offered to B channel If TAPE is routed to A chann
46. e channels have PAN and EQ or as an extra stereo aux send 24 EURODESK SX4882 User Manual 17 Live with 2 Track Recording 548is UP ie MIX B is NOT blended into the main mix In this example we ll use the aux sends 1 and 2 for stage foldback and 3 4 5 6for Bringing the DAT back on aux 1 return P49 as opposed to the 2 track or front of house effects The P A is driven from the main mix MIX B will be used to external inputs enables not only auditioning of DAT playback but also set up the mix to DAT balancing playback level against the main mix in case you also want Wedges to use it to play a pre recorded intro tape to set the scene for the Channels Source FOH FX en coming performance 1 Kick on aux send tand Besureto have aux return 1 turned all the way down or de assigned an when recording to DAT Otherwise expect massive and terminal 2 Snare Auxsend 4 Aux send 1 and 2 as far as the and gig are concerned howlround 3 Hi Hat Aux send 1 2 5 eee 18 Live Concert with 4 Tom 1 Aux send 4 and2 MIK B 24 Track Recording 5 2 Subgroups Aux send 4 and 2 Stereo quadraphonic with sidefills three infills two wedge mixes 6 T Subgroups 1 _ four and simultaneous 24 track recording and 2 Subgroups Channels
47. e sampler into SAMPLE mode If the tape operating level switches are correctly set then 0 dB on the subgroup output meters should also show 0 dB on the tape recorder s input meters A discrepancy of 14 dB indicates a wrong operating level selection Small discrepancies may be taken up by the SUBGROUP FADERs though a better solution would be to get the multitrack properly aligned Refer to multitrack manual and or qualified personnel Adjust the sampler s input level until it also reads 0 dB Beware of inaccurate uncalibrated sampler input meters Work out how hard you can safely drive the sampler s input reference this to 0 dB on a EURODESK subgroup meter then take note of the sampler s input gain pot setting Or use soft adhesive tape etc to hold it in one position For more info on digital metering and associated problems see section 13 2 3 14 5 Mixdown The situation here is no different from record really save that the subgroups may now be routed directly to the main mix L R bus 535 to for easier mixing Remember you started off with the tape returns coming up on A channels 1 to 8 therefore there is no need to flip them You will probably definitely be running lots of MIDI sequencer tracks live Take care not to encourage MIDI delays behringer com 15 16 Track Recording with 2 Samplers 15 1 Recording Subgroup outputs tape sends 1 to 16 should be wired to the multitrack record inputs 1 to 16 Sampler inputs
48. e screen connected at both ends If you re really serious about hum levels you could run balanced lines wherever appropriate The earth wiring scheme would be the same as before By shorting the ring to the barrel for all balanced jack sockets connected to unbalanced equipment you could use balanced patch leads throughout There is no percentage in wiring a balanced output to a balanced input with a mono patch cord See section 12 Un balanced lines Having designed mains hum out of the system make up your cable looms from the patchbays outwards and use cable ties flexible sheaths multicores etc to keep the back of your racks tidy It s going to get very busy in there and loose cables will inevitably mean lost signals Possibly even lost equipment behringer com 9 Equalization The variable parameters of the channel A and B equalizers on the EURODESK SX4882 are described in sections 3 4 and 3 7 Few people buying the EURODESK will need to be told how an equalizer works But how to get the best out of it Well that s another story In the beginning EQ was an instrument for removing unwanted frequencies or compensating for imperfect microphone response curves or bumps ina studio s acoustic It was a corrective device Tamla Motown turned that notion upside down in the sixties with the novel idea that you try to find for each instrument a characteristic frequency not shared by the other instruments in the mix Then
49. eadphones Both HEADPHONES 1 amp 2 masters are identical We 00 MAX LEVEL 111576 MIX B 877 411573 CTRL ROOM AUX 3 4 579 AUX 5 6 8 gt sa EXTERNAL SOLO Fig 6 5 Phones A SOURCING matrix picks up any or all of MIX B 576 CONTROL ROOM as chosen in monitor section 577 AUX 3 4 78 AUX 5 6 579 and EXTERNAL 5 80 In addition to the sources which are directly selectable from the headphones masters aux returns 3 to 6 may be force fed into HP 1 amp HP 2 from the aux returns masters 55 556 etc The headphone mix level is controlled by a master volume pot P75 and the gain is sufficient to drive headphones directly This is fine for a MIDI suite with overdub booth but for the bigger studio s headphone network we d recommend using a separate headphones distribution amplifier like our BEHRINGER POWERPLAY PRO HA4400 This can offer the added advantage of independent headphones level control for every performer A SOLO button 5 81 with its own LED enables monitoring of the headphones amplifier s output signal This way the engineer can monitor what s going on in the cans on the control room monitors though in our experience this does not gi
50. el INPUT is offered to B channel Depressing the PAD switch 5 1 lowers an incoming mic signal by 20 dB if necessary INPUT 1 MIC 20dB PAD so I 1 JE gH TRIM ENT 1 4 Fig 3 1 Input When laying tracks it is usual to use the MIX B inputs for monitoring the signal from TAPE while the A channels take care of microphones 01 etc For MIXING purposes TAPE tracks are normally flipped onto the main channels leaving the B channels free for other applications such as offering extra line inputs These rules are however made to be broken 523 to the B channel only and replaces the normal TAPE or INPUT source with a tap from the main channel taken post mute and pre fader Now MIX B acts as an extra stereo aux send or extra stereo mix You should remove MIX B from the main mix via 48 master section in this configuration Stup Mic input 81 Channel Line input S3up 53 down Tape input B Channel Fig 3 2 Channel input switching architecture TheB channels 25 to 48 are only routable EN BLOC to the main mix via 48 Therefore the MIX B bus can only have one function at any one time either as a stereo AUX or secondary mix send 548 or as a set of 24 extra line or t
51. evel With the following headphone sources you can do this without tying up any aux sends or MIX B Passing the DIRECT OUT through any 1 in 2 out delay reverb device enables the vocalist to choose an effect she he is comfortable singing along with MIC CHANNEL RECORDING BUSES lt DIRECT OUT gt EXTERNAL INPUT L REVERB ECHO EXTERNAL INPUT R MAIN MIX HEADPHONES 1 S 77 S 82 Backing track EXTERNAL HEADPHONES 1 S 80 Extra vocal Fig 14 2 Simple auxless headphones mix Here the MIC CHANNEL FADER controls the amount of extra voice blended into the main mix Adjust the FADER level first until the vocalist is happy then set the level to tape with the SUBGROUP FADER S Alternatively Split the microphone onto two channels and use one to feed the routing matrix whilethe other drives the EXTERNAL input via its direct out Now you have totally indepedent monitoring and tape send levels for the vocal signal MIC CHANNEL RECORDING BUSES DIRECT OUT TO LINE IN EXTERNAL INPUT L 2ndary CHANNEL REVERB ECHO EXTERNAL INPUT R MAIN MIX HEADPHONES 1 S 77 S 82 Backing track EXTERNAL HEADPHONES 1 5 80 Extra vocal Fig 14 3 Slightly more complicated auxless headphones mix Alternatively If you need to hear the harmonies but they re putting the vocalist off key you ll want to be able to delete channels from the headphone mix If you still don t want to assign a couple of aux buses to headphones monito
52. ferred to as bouncing Examples would be when reducing 4 lead vocal take tracks down to 1 reducing 4 separate tom tom tracks down to a stereo pair via noise gates putting a wild effect or EQ onto a dry signal comping backing vocal tracks etc On an analog tape recorder bouncing to an adjacent track is to be avoided A feedback loop can be set up since for all overdubs or bounces you will be using the same sync head for both playback and record Organize your track layout so that any bounces you might have to do are always over at least one track There are no restrictions when using digital multitracks 22 Input Output Configuration Nominal level Balanced Attenuation EURODESK internal 4 dBu XLR microphone input Yes a PAD Line A input 4 dBu Yes Trimpot Line B tape input 4 dBu 10 dBV Yes Gain switch Aux sends 4 dBu No Pot Aux returns 0 dBu No Pot MIX B output 4 dBu No Pot Subgroup output 4 dBu 10 dBV Yes Gain switch Main mix 1 4 jack 4 dBu No Fader Main mix XLR 28 Yes Fader 2 track out RCA 4 dBu No Fader 2 track in 1 4 jack RCA 4 dBu No No External input 4 dBu No No Channel insert out 4 dBu No No Channel insert in 4 dBu No No Channel direct out 4 dBu No Fader Subgroup insert out 0 dBu No No Subgroup insert in 0 dBu No No Main mix insert out 0 dBu No No Main mix insert in 0 dBu No No Control room out 4 dB
53. found under Support at behringer com Alternatively please submit an online warranty claim at behringer com BEFORE returning the product All inquiries must be accompanied by a description of the problem and the serial number of the product After verifying the product s warranty eligibility with the original sales receipt MUSIC Group will then issue a Return Materials Authorization number 4 EURODESK 5 4882 User Manual Subsequently the product must be returned in its original shipping carton together with the return authorization number to the address indicated by MUSIC Group Shipments without freight prepaid will not be accepted 8 4 Warranty Exclusions This limited warranty does not cover consumable parts including but not limited to fuses and batteries Where applicable MUSIC Group warrants the valves or meters contained in the product to be free from defects in material and workmanship for a period of ninety 90 days from date of purchase This limited warranty does not cover the product if it has been electronically or mechanically modified in any way If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level in any country which is not the country for which the product was originally developed and manufactured this modification adaptation shall not be considered a defect in materials or workmanship This limite
54. gm moves forwards and backwards according to the air pressure increases and decreases that constitute sound waves Diaphragm movement generates a corresponding electrical signal which is either positive or negative depending on the direction of travel The ve and ve signals are mirror images of each other if you shorted and you d end up with nothing one would cancel out the other In fact this cancelling effect is what makes the balanced line work Instead of simply shorting the negative line to earth as would be the case in an unbalanced system losing half the signal or 6 dB in the process the two lines are kept apart until they reach an electronic or transformer balanced input Here something exquisitely simple happens You may not know this but whenever a signal is amplified its polarity is reversed By inverting the negative side and adding it 1 1 to an unchanged positive a balanced input wastes none of the available signal energy In doing 50 it also subtracts all the radiation picked up along the line Random noise is unaffected but you ll hear hum and much reduced thyristor noise from poorly screened lighting dimmers Live you could not run a rig without balanced mic lines and although in the studio cable runs are shorter the recorded medium s demand on signal to noise is far greater When patching a balanced input output to an unbalanced one simply short the ve and screen together at the unbalanced input
55. he product is used e damage defects caused by acts of God Nature accident fire flood etc or any other condition that is beyond the control of MUSIC Group behringer com gt Any repair or opening of the unit carried out by unauthorized personnel user included will void the limited warranty 8 Ifan inspection of the product by MUSIC Group shows that the defect in question is not covered by the limited warranty the inspection costs are payable by the customer 9 Products which do not meet the terms of this limited warranty will be repaired exclusively at the buyer s expense MUSIC Group or its authorized service center will inform the buyer of any such circumstance If the buyer fails to submit a written repair order within 6 weeks after notification MUSIC Group will return the unit C 0 D with a separate invoice for freight and packing Such costs will also be invoiced separately when the buyer has sent ina written repair order Authorized BEHRINGER dealers do not sell new products directly in online auctions Purchases made through an online auction are on a buyer beware basis Online auction confirmations or sales receipts are not accepted for warranty verification and MUSIC Group will not repair or replace any product purchased through an online auction 5 Warranty transferability This limited warranty is extended exclusively to the original buyer customer of authorized retail dealer and
56. ho Guitar 2 Main mix a 24 Send aux 3 Track 22 21 microphone MIX B Aux send 1 and 2 reverb return 7 nt 5 Aux send 1 and 2 Tab 18 1 Channel assignments 24 track track 24 pre striped with SMPTE Main mix A E 2 23 PL MIX B None of the tape tracks can be auditioned in this configuration The channel fader controls the level to tape MIX B adjusts the level 24 FX1R cae The channel inserts which pre fader may be used as virtual direct outs Hopefully you will be able to set the input gains P2 to suit the multitrack on any channel that does not have a massive EQ i e energy swing away from 0 dB The consequent lack of any desk EQ on your tape tracks might even be an advantage when it comes to remixing the concert back in the studio Tab 17 1 Channel assignments 2 track Every B channel has its own LEVEL PAN and HIGH and LOW EQ MIX B in fact is acting here like a totally independent separate mixer albeit with fewer facilities than the main mix The primary stereo reverb echo unit s outputs have been patched into A channels rather than an aux return to enable them to be sent to the MAIN MIX and MIX B independently behringer com 25 EURODESK SX4882 User Manual Using this setup you can even change the P A to a quadrophonic system Positioning takes place by balancing the main mix channel fader PANpot P24 19 Exp
57. hones 1 2 These are on stereo jacks wired tip left signal ring right signal and sleeve ground screen see section 6 4 Headphones Meter analyzer out Unbalanced jacks at 4 dBu for use with external measuring equipment e g the built in real time analyzer of our BEHRINGER ULTRACURVE PRO DEQ2496 signal master LED meters Master balanced outputs Balanced XLR for connecting to the mastering recorder Wired pin 1 ground screen pin 2 hot and pin 3 cold Maximum level is 28 dBu MAIN BALANCED OUTPUTS PIN 2 PIN 3 COLD LEFT RIGHT Fig 7 7 Main balanced outputs INPUT 24 VLINE 20 dB PAD A A LINE IN BAL OR UNBAL B INPUT TAPE RETURN Fig 7 8 A and B channel input section 15 EURODESK 5 4882 User Manual A channel line inputs The A channel line inputs accept balanced or unbalanced 1 4 jacks tip hot ring cold and sleeve ground screen Mic inputs These are via XLR type connectors wired pin 1 ground pin 2 hot and pin 3 cold for balanced low level operation Since most quality capacitor microphones require a 48 V DC offset to charge the plates phantom power is provided and can be switched on or off in three blocks of eight via a switch situated below channels 8 16 and 24 Care should be taken not to plug microphones into the console or stagebox wallbox while the phantom power is on Also mute the monitor PA spe
58. ils online at behringer com MUSIC Group Macao Commercial Offshore Limited of Rue de Pequim No 202 A Macau Finance Centre 9 J Macau including all MUSIC Group companies 5 EURODESK SX4882 User Manual 1 Introduction 1 1 The manual 1 1 1 Nomenclature Most specialist subjects are not really all that difficult provided you understand the language used and the vocabulary of mixing is pretty straightforward Nevertheless it is as well to be clear about what certain terms mean A slot ina recorder will always be referred to as a TRACK while that in a mixer will invariably be a CHANNEL A GROUP will always refer to a submix of channels never a collection of musicians Similarly the term BAND will be mentioned only in conjunction with FREQUENCY We will attempt to be as unambiguous as possible with terms since much confusion can arise from sloppy definitions Some terms can have a plurality of meanings TRACK in mixing parlance refers to a tape recorder In electronic circuits components on a PCB printed circuit board are linked by flat conductors called TRACKS Hopefully where terms have different meanings the contexts will be sufficiently diverse so as to avoid any possible confusion 1 1 2 An unholistic approach It is virtually impossible to fully explain one aspect of a mixing console e g CHANNEL ROUTING without also making it clear what those routes are where they go are they migratory etc That s why we have
59. is not transferable to anyone who may subsequently purchase this product No other person retail dealer etc shall be entitled to give any warranty promise on behalf of MUSIC Group 6 Claim for damage Subject only to the operation of mandatory applicable local laws MUSIC Group shall have no liability to the buyer under this warranty for any consequential or indirect loss or damage of any kind In no event shall the liability of MUSIC Group under this limited warranty exceed the invoiced value of the product 7 Limitation of liability This limited warranty is the complete and exclusive warranty between you and MUSIC Group It supersedes all other written or oral communications related to this product MUSIC Group provides no other warranties for this product 8 Other warranty rights and national law This limited warranty does not exclude or limit the buyer s statutory rights as a consumer in any way The limited warranty regulations mentioned herein are applicable unless they constitute an infringement of applicable mandatory local laws mi This warranty does not detract from the seller s obligations in regard to any lack of conformity of the product and any hidden defect 89 Amendment Warranty service conditions are subject to change without notice For the latest warranty terms and conditions and additional information regarding MUSIC Group s limited warranty please see complete deta
60. ists at once but if you are Channels Source Route Destination 1 Kick Direct out Track 2 2 Snare Direct out Track 3 3 Hi Hat Direct out Track 4 4 Tom 1 Subgroups 5 and 6 racks5 and 6 5 2 Subgroups 5 and 6 racks 5 and 6 6 Tom 3 Subgroups 5 and 6 Tracks 5 and 6 7 Tom 4 Subgroups 5 and 6 racks5 and 6 8 Cymbals overheads L Direct out rack 7 9 Cymbals overheads R Direct out Track 8 10 Bass microphone Subgroup 3 Track 1 11 Bass DI Subgroup 3 rack 1 12 Escaping prisoners Subgroup 4 Who knows 13 Trumpet Subgroups 1 and 2 Tracks 9 and 10 14 Trombone Subgroups 1 and 2 racks 9 and 10 15 Sax Subgroups 1 and 2 Tracks 9 and 10 16 BVs 1 Subgroups 7 and 8 Tracks 11 and 12 17 BVs2 Subgroups 7 and 8 racks 11 and 12 18 3 Subgroups 7 and 8 racks 11 and 12 19 CongaL Direct out Track 13 20 Conga R Direct out rack 14 21 Guitar 1 microphone Direct out rack 15 22 Guitar 2 microphone Direct out Track 16 23 Lead vocal Direct out Track 17 Tab 16 1 Channel assignment Tape Monitoring will be via MIX B in tape return mode Once tracks are layed they will be flipped onto the A channels 1 to 17 and overdubbing can commence via tracks 18 to 24 Also bouncing reducing several tracks onto one or a stereo pair requires access to the full routing matrix This is available to the A channels but not the B channels 16 2 Very tricky headphones In a multi musician
61. k Q U Low Ru sf 45 5 2 e e d RE f N tow 2 Quy 80 Hz 510 45 5 YN Fig 3 3 Main equalizer The main equalizer can be switched 510 out of circuit for easy A B comparisons between EQed and straight signals or when you know that you don t want to use desk EQ at all It is best considered in three sections First there are two Baxendall shelving frequency controls for treble and bass at 12 kHz and 80 Hz respectively _P4 Jand P9 These are DUPLICATED for the B channel P 18 and P 19 not merely SPLIT off from the main EQ l e you can have a full 4 band EQ on the main channel AND a 2 band EQ on B channel Secondly there are two semi parametric swept mids Q fixed at 1 which cover the bands 300 Hz to 20 kHz and 50 Hz to 3 kHz An unusually broad frequency range is catered for and there is an enormous 3 plus octave overlap between the two mid bands P5 Pe P7 P8 No experienced engineer will complain about that All four bands offer 15 dB of cut and boost behringer com wu Thirdly there is a steep high pass low cut filter 571 slope 12 dB octave 3 dB 75 Hz for reducing floor rumble plosives woolly bottom end etc 3 5 Aux sends All six aux sends are mono and post EQ They are switchable PRE POST fader in two banks 513 16 For aux sends
62. n commences Any sequenced music dick track mix automation is then referenced to it Always check sync before laying down any sequenced music record a click track then check to see that a live playback doesn t drift Timecode comes in various formats The general rule is format and make model of timecode generator must be matched to the reader This shouldn t be a problem if recording and mixing take place in house and under one roof It s when tapes move around that problems arise be sure to include every conceivable technical detail on a tracksheet accompanying the master tape Fortunately there are ways to generate fresh in sync timecode even where none existed in the first place otherwise most remixes would never happen You would rather not have to though since it takes time effort and an intelligent learning synchronizer to do it If the gain from the recorder is too low to drive the sync unit re stripe at a higher level or e amplify the recorded timecode somehow possibly via a desk channel not routed to any of the main buses In this case use the channel s direct out to drive the synchronizer s input in order to keep the timecode as remote as possible from the audio timecode crosses over like nothing else we know 26 EURODESK SX4882 User Manual 21 Bouncing Sometimes you want to play back from one or more tracks route the signals to a new track or pair of tracks and re record This process is commonly re
63. nce received including interference that may cause undesired operation Important information Changes or modifications to the equipment not expressly approved by MUSIC Group can void the user s authority to use the equipment behringer com imagine music behringer com behringer
64. nel 517 Therefore ifthe B channel is being used to monitor off tape some FX processing e g reverb and echo can still be applied See section 16 3 Wet monitoring When B channel looks at A channel 23 DOWN the signal comes A channel mute switch and pre fader A modification can convert this PRE stereo aux send to POST fader See 23 2 MIX B source gt post fader wu HIGH ND 12 kHz gt Low Kur S 80 Hz e 15 5 H P 20 E PAN N Run N L R P 21 4 gt U Sl ever Kay g 5 22 MIX B YN 25 MUTE SOURCE 523 Fig 3 6 B channel 4 Inserts Insert points are useful for adding dynamic processing or equalization to a channel subgroup or the mix Unlike reverbs etc which are usually added to the dry signal dynamic processing is normally applied across an entire signal Here an aux send would be inappropriate Instead the signal is intercepted somewhere along the channel subgroup mix fed through the dynamics processor and or EQ and then returned to the console at the same point where it left The insert point is invisible or normalized until a jack is plugged into it All subgroups and channels have got insert points as does the main stereo output Both SEND and RETURN are accommodated on a single stereo 14 jack socket wired tip send ring return Inserts are always
65. o feed from tape into all the headphones buses Alternatively and probably much more sensibly use the headphones routine outlined in section 15 2 fig 15 1 16 3 Wet monitoring It is customary with live recording to lay tracks dry Not so with MIDI setups often a tape track is used to record a complex effect In a MIDI studio a take is generally MIDI sequencer driven and hence reproducible should the recorded effected track eventually prove to be unsuitable in live recording a great take is irreplaceable Hence the extra caution when laying live tracks With dry recording you will probably want to audition tape tracks with some reverb and or echo to get a better idea of how the final mix might sound By pressing the AUX 3 4 5 6 SOURCE switch 517 aux buses 3 and 4 are available to the B channels i e tape monitoring You could send to reverb from input channels but the FX would disappear on tape playback Bring the FX back on aux returns 1 2 5 or 6 Remember 3 and 4 have been used for headphones patching 16 4 Mixdown All aux sends and subgroups are now available for mixing as are A channels 23 and 24 Ifyou have two different instruments recorded onto one track the mixdown settings for each might be totally different Set up two A channels One for each instrument and switch between them The B channels may be used e g as FX returns in place of the normal aux returns the advantage being that thes
66. or output mic output cable input pin1 gt screen gt gt earth 0 signal pin 2 signal gt gt radiation gt gt PASS gt gt signal radiation ee 2x SIGNAL et ees pin signal gt gt radiation gt gt INVERT gt gt signal radiation Fig 12 1 A balanced microphone line 13 Start up 13 1 A channel setting up procedure 13 1 1 Selecting inputs e MICROPHONE MIC LINE switch S1 UP PAD switch S1 UP FLIP switch S3 UP LINE MIC LINE switch DOWN FLIP switch UP FLIP switch DOWN behringer com 13 1 2 Initializing channel for gain setting 1 Set GAIN P2 and all aux sends fully counterclockwise 2 EQswitch 510 UP off 3 LOW CUT switch 51 low frequency content 4 CHANNEL MODE set to PFL 595 v 12 P13 P14 Jand P15 to OFF wu ON for microphones OFF for signals with desired 5 Channel PFL SOLO 526 switch UP LL26 off 6 Check that main PFL SOLO LED LL95 is not lit 7 Channel PFL SOLO switch 26 DOWN LL26 Jand 195 should light 13 1 3 Auditioning a signal 1 Make atypical noise or roll the tape The 20 dB light should flicker showing that a signal is present There should also be some activity at the MAIN MI
67. orresponding to mains hum interference since these frequencies would be tangled up in the audio signal to spot them visually you d need to perform a FOURIER TRANSFORM AC mains frequency and its overtones are picked up by any wire and some will always leak through a cable screen The question is when does it become audible Well all other things being equal the amount of mains hum picked up by a cable is independent of the signal level Speaker lines run 50 or more volts enough to diminish the effect of mains radiation to vanishingly small even with no screen In fact at these voltages another effect comes into play capacitive resistance 20 EURODESK SX4882 User Manual It is positively undesirable to use screened cable to wire an amp to a speaker Speaker leads should be as thick and short as possible with XLR or wound post terminals Line level signals can usually be run unbalanced over short or moderate distances rack to desk etc but NOT from the back of the hall to the stage always provided that there are no earth loops see section 8 3 Looming problems A loop acts as an aerial positively inviting electromagnetic radiation to flow around the system Microphone lines however are another story altogether Most microphones generate not volts but millivolts Protecting such a low level signal requires a more sophisticated solution Hence all mic networks run along balanced lines It works like this The mic diaphra
68. ot of cables for a lot of purposes Here s how they should look Ya mono TS plugs Unbalanced 1 4 TS connector Tip 4 signal 4 Strain relief clamp You ll need this kind for e Expander Port Bus Inputs Subgroup Outputs Tape Sends Direct Outs e Aux Sends e Control Room Output e Main Mix Out Mix BOutput Studio Output e Aux Returns 2 Track Input e Meter Analyzer Out 16 EURODESK SX4882 User Manual EN Ya stereo TRS plugs Insert send return TRS connector amp strain relief clamp sleeve ground shield ring return in g tip send out Connect the insert send with the input and the insert return with the output of the effects device You ll need this kind for e Inserts Subgroup Inserts e Main Inserts Ya TRS headphones connector strain relief clamp 4 sleeve sleeve ground shield ring right signal You ll need this kind for Headphones behringer com You ll need this kind for Balanced 1 4 TRS connector strain relief clamp 4 sleeve lt ring 4 tip sleeve ground shield ring EM cold ve For connection of balanced and unbalanced plugs ring and sleeve have to be bridged at the stereo plug
69. pair does not break the internal connection but it does provide an alternative direct output Where normalizing is not wanted ona patchbay there are a few cases it is possible to remove it by cutting certain PCB tracks Refer to the patchbay instructions for how to do this 8 2 The patchfield If you want to do the only decent thing and construct a patchfield for your studio here s how to do it Note that we have laid it out in order that a minimum number of cables are likely to be needed We have also completely left out the microphone inputs Unlike everything else these operate at a level several orders of magnitude lower than line 4 dBu or 10 dBV It is best to plug microphones directly into the EURODESK X4882 or via special XLR type wall boxes connected to the EURODESK microphone inputs by a good quality balanced 2 core screen multicore See also section 12 Un balanced lines behringer com Break the normalizing on this bay Tie lines usually in a MIDI setup racks and keyboards etc are scattered around the control room Plugging these directly into the front of the patchbay would result in Spaghetti Junction Instead it is better to connect TIE LINE jacks to wall boxes strategically positioned near to where MIDI hardware congregates It s always good to have a few 4 way links around for splitting signals up to 3 ways one in three out E g one tape track has four different instruments on i
70. pairs normalised 123 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 DAT1 DAT2 Cass L Tuner Amp1 2 Tin XTRN HiFi2 Fig 11 1 Resistor buffered parallel wiring for bay 8 see section 8 The patchfield 12 Un balanced Lines Balanced inputs and outputs are offered on most audio connections on the EURODESK SX4882 inserts and direct outs being the major exceptions Why Though all audio cables except speaker cables have earthed screens the shielding they afford from the electromagnetic garbage that permeates the atmosphere is never perfect The balanced line is a simple but effective mechanism to overcome this problem Instead of one insulated audio conductor two usually twisted together are contained within a single screen One conductor wired to pin 2 of an XLR type connector by international convention after decades of total confusion carries a signal variously referred to as hot or positive Pin 3 is wired to the cold or negative conductor What does this mean Consider an unbalanced line Now that s much easier to understand You have one hot or positive core and an earthed screen The hot wire s waveform if looked at on an oscilloscope would be directly correlated to the audio signal waveform If you looked closely at the trace you d see random noise along the X axis What you probably wouldn t see however is any superposition of 50 100 Hz etc c
71. r to be recorded to tape You might have one Minimoog but half a dozen uses for it Put it on an A channel You ll want to record and or sample it in action Channel 24 is of course the MIC input A compressor might be patched into the channel 24 insert Keep this channel free until the mix absolutely demands its services just in case you want to add in any last minute singing or any last minute anything The B channel line inputs tape returns can accomodate even more MIDI expanders and synths etc 14 4 Lining up record sample inputs Set the relevant TAPE OUTPUT and INPUT switches located at the rear of the console to match the operating level of your 8 track consult manual phone manufacturer or simply suck amp see to find which setting works best The sampler s variable input gain range should be more than wide enough to accept either 10 dBV or 4 dBu There is no oscillator in the EURODESK 5 4882 but you can use a simple unmodulated sustained tone from a keyboard Choose one around 1 kHz B above middle C is 997 or 1002 Hz depending on whether you are using the tempered scale or just tuning either way it s close enough for jazz Set the channel EQ to OFF and line up the channel according to the Setting up procedure section 13 1 Route this signal to all subgroups and adjust the SUBGROUP OUTPUT FADERS until the bargraph meters read 0 dB Now put the recorder into INPUT mode on all channels and th
72. r use by qualified service personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions Repairs have to be performed by qualified service personnel EN CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with dry cloth Do not block any ventilation openings Install in accordance with the manufacturer instructions 8 Donot install near any heat sources such as radiators heat registers stoves or other apparatus induding amplifiers that produce heat behringer com 9 defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Use only attachments accessories specified by the manufacturer 12 Use only with the cart stand
73. rces Increase the distance between the transmitter and the device and use shielded cables for all connections 1 2 3 Online Registration Please register your new BEHRINGER equipment right after your purchase by visiting http behringer com and read the terms and conditions of our warranty carefully Should your BEHRINGER product malfunction it is our intention to have it repaired as quickly as possible To arrange for warranty service please contact the BEHRINGER retailer from whom the equipment was purchased Should your BEHRINGER dealer not be located in your vicinity you may directly contact one of our subsidiaries Corresponding contact information is included in the original equipment packaging Global Contact Information European Contact Information Should your country not be listed please contact the distributor nearest you A list of distributors can be found in the support area of our website http behringer com Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently Thank you for your cooperation 6 EURODESK 5 4882 User Manual EN 2 EURODESK Overview 2 1 Architecture The EURODESK SX4882 is a hybrid SPLIT INLINE console Input channels cover most ofthe surface from the left while the outputs to tape are to the right Tape monitor returns however are housed within the channel strips not next to the tape outputs as would be the case in a conventional
74. re EQ This creates a real pressure sound great for high energy music such as dance For a more subtle approach use the desk insert points word for word Using a group insert to effect post EQ processing precludes the use of POSTPROCESSING AUX SENDS without some serious re patching 5 Subgroup and Direct Outputs 5 1 Subgroups The principal routes to the multitrack are via the SUBGROUP OUTPUTS There are four stereo or eight mono subgroups numbered 1 to 8 All main channels can access all of them as can the STEREO AUX RETURNS 1 and 2 For this reason it is usually wise to bring your best two FX processors back on these returns or A channels for that matter so that they can easily be sent to tape See also section 6 1 Aux masters Why are there 16 subgroup output jacks on the EURODESK when there are only 8 subgroups Well each subgroup output is duplicated so that the EURODESK can interface with up to 16 tracks via the group outputs without having to re patch As well as always functioning as subgroups for track laying via the SUBGROUP OUTPUTS groups can be routed directly into the main mix bus for submixing Main mix routing is handled by switches 37 Jand 38 537 routes an odd numbered group to the left bus while 38 sends an even numbered subgroup to the right bus That s fine for stereo submixes If you want a pair of mono submixes instead also press the MONO buttons 35 Jand 36 Now these subgroup
75. re is up to 20 dB of gain available Alternatively a mono center panned signal may be returned by plugging into the left aux return jack only This feature is disabled if all line level 1 05 from the EURODESK are wired permanently to a patchbay see section 8 STEREO AUX RETURN 1 lt 2 2 ra ER AN 20 0 20 Sie LEVEL LEVEL LS 3 3 4 ER j 51 Tas IN A 551 E BAL a BAL R A A sq b 7 8 mA A LA SOLO MAIN MIX S53 SOLO 3 0 4 ale AN B I VA S 68 profes 1 PHONES 1 0 20 0 20 35 LEVEL LEVEL P68 Zs S56 PHnNES 2 PHONES 2 Bs N A ER 52 S57 SES MAIN MIX mS MAIN MIX 5 4 6 2 AR Al G Ws PHONES 1 M PHONES 1 0 20 0 20 LEVEL LEVEL A LAN PHONES 2 PHONES 2 ZI Za BA MAIN MIX MAIN MIX SOLO SOLO SOLO SOLO CH AUX RETURNS AUX RETURNS 1 3 5 2 4 6 M Fig 6 2 Stereo aux returns behringer com a Auxreturns 1 and 2 Aux returns 1 and 2 have full subgroup routing matrices to enable returning FX to be sent to tape plus main mix bus assignment The functions for aux return 1 mirrored by aux return 2 are ROUTING 49 550 51 552 553 LEVE
76. ring because this would disturb the main mix the following suggestion might prove useful Set up a separate channel assignment on a spare subgroup pair Feed the output into aux return 3 Route aux return 3 to headphones 1 555 and de assign the main mix 1577 Now you can delete distracting channels from the vocalist s backing track mix see fig 14 4 MIC CHANNEL RECORDING BUSES lt DIRECT OUT gt EXTERNAL INPUT L REVERB ECHO EXTERNAL INPUT R GROUP gt AUX 3 RETURN HEADPHONES 1 S 55 Backing track EXTERNAL HEADPHONES 1 S 80 Extra vocal Fig 14 4 Subgroup driven auxless headphones mix This configuration does not allow for anything coming in on B channels to be sent to headphones If you need to do this 576 must also be depressed Inall cases the WET DRY balance of the extra vocal signal takes place within the FX processor The above example refers to aux 3 return gt headphones 1 An analogous situation is possible for aux 4 5 6 return gt headphones 1or2 22 EURODESK 5 4882 User Manual 14 3 Returns Channels 1 to 8 When you ve only got eight tape returns you can afford to bring them back on main channels to enable e g chorus vocal comps or recorded real time mixing effects such as frequency sweeping to be quickly bounced or sampled off via subgroups Channels 9 to 23 The most important SYNTH SAMPLER outputs Those most likely to need full EQ o
77. roup decides to replace the entire product this limited warranty shall apply to the replacement product for the remaining initial warranty period i e one 1 year or otherwise applicable minimum warranty period from the date of purchase of the original product lt Upon validation of the warranty claim the repaired r replacement product will be returned to the user freight prepaid by MUSIC Group 4 Warranty claims other than those indicated above are expressly excluded PLEASE RETAIN YOUR SALES RECEIPT IT IS YOUR PROOF OF PURCHASE COVERING YOUR LIMITED WARRANTY THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF OF PURCHASE 2 Online registration Please do remember to register your new BEHRINGER equipment right after your purchase at behringer com under Support and kindly read the terms and conditions of our limited warranty carefully Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently Thank you for your cooperation 3 Return materials authorization To obtain warranty service please contact the retailer from whom the equipment was purchased Should your BEHRINGER dealer not be located in your vicinity you may contact the BEHRINGER distributor for your country listed under Support at behringer com If your country is not listed please check if your problem can be dealt with by our Online Support which may also be
78. s enhancers noise gates tube processors headphone amplifiers digital effects DI boxes etc monitor and P A speakers as well as professional live and recording mixers Our entire technical know how has gone into your EURODESK mixing console behringer com 3 EURODESK SX4882 User Manual Important Safety Instructions A A Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock Use only high quality commercially available speaker cables with Ya TS plugs pre installed All other installation or modification should be performed only by qualified personnel This symbol wherever it appears alerts you to the presence of uninsulated dangerous voltage inside the enclosure voltage that may be sufficient to constitute a risk of shock This symbol wherever it appears alerts you to important operating and maintenance instructions in the accompanying literature Please read the manual Caution To reduce the risk of electric shock do not remove the top cover or the rear section No user serviceable parts inside Refer servicing to qualified personnel Caution To reduce the risk of fire or electric shock do not expose this appliance to rain and moisture The apparatus shall not be exposed to dripping or splashing liquids and no objects filled with liquids such as vases shall be placed on the apparatus Caution These service instructions are fo
79. s feed into the center of the main mix stereo image i e equally to Land You could have the first subgroup feeding into the left hand side while the second one appears in mono but we can t think of many real situations where you d want to do this Subgroup SOLO 33 34 follows the mix assignment E g If the main mix is selected then that stereo subgroup will be monitored in stereo If mono is also selected monitoring is in mono Try inserting compression de essing an exciter a gate across grouped signals e g backing vocals drums layered synths behringer com GROUP 1 amp 2 5 33 gt A IN SOLO SCLO FN 835 A gt de S 36 AHIA HT S T E R E G R U N KIN P B Sy he ed A N eos eh is N 20 ll e L EIE s Fig 5 1 Stereo subgroup channel schematic merging a dry signal with a little wet then compressing the sum heavily Though the reverb proportion will be low when a signal is present the resultant reverb tail pumped up by the compressor at the start of each silence will give the illusion that the reverb was massive alt the time The listener will be left wondering how the singer could sound so clear in such a wet a
80. t If PFL on the aux send reveals nothing amiss turn down the input on the FX unit and turn up the desk s aux return 99 times out of 100 distortion in the aux send gt FX gt aux return loop will come from the FX unit FX GAIN TOO HIGH and the same goes for a high noise level FX GAIN TOO LOW Noisy FX or synth returns can be greatly improved by the addition of single ended noise reduction between FX output and aux or channel returns We found out that using analog single ended noise reduction can help warm the sound of certain digital reverbs which sound too cold metallic and also give that Echoplex sound to digital delay decays Analog multitrack tape should be driven quite hard since its dynamic range without noise reduction is likely to be 20 to 30 dB worse than other elements in the recording chain Try to record bright You can always mix back duller Brightening up an off tape signal will bring up the level of tape noise When mixing or recording keep the channel FADER levels around or below 0 dB If you do find the faders creeping up or down apply a suitable offset over all channel faders and try to control your bad habit in future behringer com 11 Impedances and Tuning Electronic inputs tend to have impedances measured in tens of kiloOhms Outputs on the other hand are generally two or three orders of magnitude less This is just as well otherwise a signal at an output might find that
81. t Patch the DIRECT out of its CHANNEL into a 4 way split returning to a further 3 channels via LINE INPUT Set up each of the paralleled 4 channels for one instrument and use mutes preferably MIDI controlled to mute the 3 unwanted channels at any one time Break the NORMALIZING LINKS on positions 21 24 Note also that the MIX B outputs are adjacent to the aux sends This is because one of the two functions of MIX B source switches set to CHANNEL is to provide an extra stereo aux send You can treat MIX B as two mono sends using GAIN for level and PAN for blending Setting pan to the center will give a 50 50 ratio of the aux 7 and aux 8 effect hard left 100 aux 7 etc Break NORMALIZING LINKS here If you ve got more than 5 or 6 stereo dynamics EQ processors you might spill over onto another dedicated bay or alternatively have to find some suitable extra space somewhere else in the patchfield Remember most dynamics processors also have sidechain KEY inputs and therefore require 3 holes per channel Enhancers are usually applied across INSERTS like compression and EQ etc but most BEHRINGER enhancers have a SOLO mode in which they can be addressed via an aux send and blended back into the main mix like any other reverb out 123 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 channel direct outs see 1 neutral 123456 7 8 9 10
82. t of house route all channels to the MIX B bus gt main mix For live P A effects use auxes 3 4 5 6 For wedge monitors use aux 1 and 2 in pre mode gt aux land 2 output For sidefills use phones 1 output For infill for guitarist keyboard player and drummer use subgroups 1 2 3 4 and 7 8 No subgrouping is used as a mixing aid to the FOH mix Infill sends use up one group pair each as a consequence of the routing matrix being dependent on the channel PANpot LP 24 Ml channels should be set for aux 1 2 PRE 13 DOWN gt WEDGES aux 3 4 5 6 POST 16 UP gt FX MIX B SOURCE CHANNEL 23 DOWN FLIP Mic Line SIGNAL 53 10 quadrophonic setup MIX B should be kept separate from the main mix 548 UP OK This example has been extreme Chances are if you were touring with the sort of PA multitrack described above you d also have a massive console separate foldback mixer and a rider that would make Bill Graham blanche None ofthe applications examples are designed to be used as a BLUEPRINT Rather they should give you some idea of the scope and flexibility of your EURODESK 5 4882 Use your imagination to find novel ways of solving problems and creating extra facilities behringer com Ideally timecode should be patched from the multitrack out directly into the synchronizer input Normally a 24 track tape is striped with timecode before a sessio
83. tart with the sends see fig 6 1 Stacked in a vertical column are six master aux send levels one for each of buses 1 to 6 to P46 Each one has a gain structure of minus infinity to 15 dB The extra 15 dB of gain comes in once a knob passes a center detente representing the normal unity gain position enabling insensitive outboard FX to be properly driven Each aux send has a SOLO button 541 to 546 and as with other areas of mixer a LOCAL SOLO LIGHT LL47 J which illuminates when any of the AUX master sends are solo ed This is to help you see exactly what has been solo ed Any experienced engineer will have had occasion to search painstakingly through every solo button on his her console trying to find out why the main solo light was on and the control room monitors silent behringer com AUX SENDS 1 0 41 Vu AES 2 AR 42 4 542 0 3 a Be ER FR m6 A LEVEL 5 0 P 45 H s RS ey x ar SEN AH 6 0 UA AUX SENDS 1 6 Vu a SOLO L47 X Fig 6 1 Aux sends 11 EURODESK SX4882 User Manual 6 1 2 Aux returns Next to the aux sends are the stereo aux returns see fig 6 3 These can be thought of as a dozen extra line inputs configured as six stereo pairs On these inputs the
84. the line of least resistance is the limit of the preceding unit In the patchbay section we recommended that you parallel the MAIN MIX output of the EURODESK SX4882 into all 2 track recording inputs It would not do any harm to buffer each output from the primary one i e that feeding into your most expensive DAT recorder or 1 2 mastering machine with a 470 Ohm resistor Cassette DAT and reel to reel recorders input impedances should be similar but just in case they aren t it is better to add a fraction of a dB of thermal noise to the inputs of the secondary recorders in the shape of a resistor rather than having an unusually low impedance input grabbing most of the signal Another neat idea is to parallel the Monitor L R output via a 47 kOhm resistor pair Now you can safely connect e g a tuner to either extra hole without shifting the stereo image this would happen if a low impedance tuner input was connected directly across one side of the monitor output Now whenever you monitor an instrument s input level with the PFL SOLO function you can check its tuning also That should impress the customers Especially those using old unstable but very desirable analog synths 470 470 47k OUT 12345 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 L RL RL R Rec Mon Mon HiFi DAT2 Cass CD Disc 470 zu 470 All output input
85. u No Pot Studio out 4 dBu No Pot Meter analyzer out 4 dBu No No Tab 22 1 Input output configuration The EXPANDER PORT inputs have a nominal level of 2 dBu subgroup mix and 2 dBu aux All variable gain circuits offer 15 dB except aux returns which offer 20 dB All balanced jack sockets are automatically unbalanced when using an unbalanced jack patch lead 23 Modifications These modifications require you to do some soldering Attempt only if you are experienced in using an iron on PCBs Otherwise refer to qualified personnel After modification the warranty becomes discretionary Excuse us for repeating ourselves once again BEHRINGER is not responsible for anything what happens after you start disassembling your EURODESK SX4882 Don t even think of it if you make much of your warranty privileges behringer com Links should not be threaded into holes on the PCB They should be soldered to the tinned areas around the holes and bowed slightly upwards in between 23 1 Aux sends gt post EQ All channel aux sends are post mute and pre fader If you want to convert these to post EQ carry out the following modification to each channel You will find a corresponding printing on the PCB see fig 23 1 1 Disconnect power supply Cut the post mute track Add in a post EQ link Repeat for all channels you want to be modified POST MUTE CUT Post Mute track _
86. ve as true a picture as auditioning the cue feed from a set of headphones identical to those worn by the performer s 13 _ EURODESK 5 4882 User Manual 6 5 PFL SOLO SOLO SECTION 657 94 0 15 LEVEL MAIN SOLO LIGHT 595 N 35 L SOLO PFL Fig 6 6 Solo section 6 5 1 PFL Pressing 595 disengages the stereo SOLO bus and replaces it with a separate mono PFL Pre Fader Listen bus Now anything at all which is SOLOed isn t It is PFLed instead PFL should be used for gain setting See also the essential section 13 Start up 6 5 2 SOLO SOLO is short for SOLO IN PLACE and is the preferred method for auditioning an isolated signal or a group of signals Whenever a SOLO button is pressed all unselected channels are muted in the monitors Stereo panning is maintained The SOLO bus is derived from the output of the channel PANs aux send return pots etc and is always post fader In addition to any local solo LEDs which might be activated the ultra bright MAIN SOLO LED LL95 illuminates whenever anything is SOLO PFLed P 94 controls the master SOLO PFL level Set to unity gain center detente this will match the mix level 6 6 Talkback TALKBACK 4B AUX 1 AUX 2 1838 GROUPS Pi E rs 5 20 MX STUDIO amp LEVEL PHONES Fig 6 7 Talkback
87. xpander bay INPUT ONLY allows direct patching into all buses within the EURODESK except PFL and SOLO Hence two EURODESK consoles may be linked or the EURODESK coupled to ANY OTHER CONSOLE large or small provided that the other console has or can be MADE to have similar access see section 19 Expanding the EURODESK Last and probably least two BNC connectors on top of the built in meterbridge await optional gooseneck desk lights available from all good gooseneck desk light stores A must for those darkened auditoria or when you re into your third consecutive night in the studio 2 2 Metering The 1 to 24 channels have signal 20 dB 12 and overload LEDs PEAK 124 The built in meterbridge provides 12 segment bargraph meters for all channels and subgroups as well as for the main mix By the DISPLAY MODE switch 15 100 top left of the master section you decide between CHANNEL and TAPE MODE Your choice will be indicated by a LED In CHANNEL MODE which is the best for live mixing purposes the LED meters read the channel s direct OUTPUT which is post EQ post mute and post fader you may alter that to pre mute and pre fader by the modification described in APPENDIX 11 3 In TAPE MODE the channel meters will mirror the multitrack s meters because they read the tape return inputs after the OPERATING LEVEL switch but unaffected by anything else happening in the channel 0
88. you whack up its gain This makes individual voices punch through a mix in a slightly unnatural but exciting way In general corrective EQ usually involves broadband slope contouring together with narrowband notching of unwanted resonances The narrower the notch or Q the less the total signal will be affected Finding bad resonances is made easier by first frequency sweeping in boost mode Motown EQ is achieved by applying boost in a fairly broadband way The broader the band the more musical but less instrument specific the effect Applying boost over a narrow bandwidth will sound Honky The two semi parametric bands of the EURODESK EQ have had their Q fixed at 1 a typical and sensible value For sounds which require drastic corrective EQ remember no MIDI instrument should need it it is advisable to have a couple of channels of fully comprehensive equalization in your rack You can always bounce tracks though the outboard EQ freeing up the unit for the next task Check out our BEHRINGER ULTRACURVE PRO DEQ2496 which promises to be another price performance buster The EURODESK EQ might be applied to a signal as follows First trim the LF and HF shelves to achieve the required slope or LOUDNESS These controls mirror the tone controls of a typical HiFi amp Now use one parametric band to boost the nicest frequency and another to cut the nastiest Over all channels in the mix if too many of the nicest
89. your recording level to the limit and fully exploit digital s 96 dB dynamic range you ll have some calibrating to do You could run a tone at 0 dB from the mixer and use that as your DAT or digital multitrack recorder reference But your DAT or digital multitrack recorder may still be 10 to 20 dB off its headroom limit Probably a better way to work out just how hard you can drive your recorder is to incrementally increase the record level until it well distorts subtract say 6 dB and never ever exceed that level When recording to analog the tape machine s VU meters should show around 3 dB on BASS but only around 10 dB for HI HAT Although analog distortion is more like compression at modest overload levels often desirable on bottom end higher frequencies cause saturation even at modest levels an unpleasant crunchiness Also VU meters tend to progressively under read above 1 kHz due to their sluggish response time 13 2 4 Auditioning a mix In order to be heard other than when PFL SOLO ed channels must be routed to the main mix bus This can be either from the channel routing matrix directly via one of the subgroups or from the MIX B bus 548 DOWN Channels going to tape are usually monitored via the tape return channel whether A or B In this case the main mix button of the channel going to tape should be UP while that coming back should be DOWN if on an A channel Tape tracks returning on B channels will always

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