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User Manual
EURODESK SX4882
Ultra-Low Noise Design 48/24-Input 8-Bus In-Line
Mixer with XENYX Mic Preamplifiers, British EQs and
Integrated Meterbridge
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2 EURODESK SX4882 User Manual
Table of Contents
Thank you ....................................................................... 2
Important Safety Instructions ...................................... 3
Legal Disclaimer .............................................................3
Limited Warranty ........................................................... 3
1. Introduction ...............................................................5
2. EURODESK Overview ................................................ 6
3. Input/Output Channel ............................................... 6
4. Inserts ......................................................................... 8
5. Subgroup and Direct Outputs .................................. 9
6. Master Panel ............................................................ 10
7. Connections .............................................................. 13
8. The Patcheld .......................................................... 17
9. Equalization ............................................................. 18
10. Gain Optimization ................................................. 19
11. Impedances and Tuning ........................................ 19
12. (Un)balanced Lines ................................................ 19
13. Start-up ...................................................................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 P.A. with 2-Track Recording ...........................24
18. Live Concert with 24-Track Recording .................24
19. Expanding the EURODESK ....................................25
20. Timecode ................................................................ 25
21. Bouncing................................................................. 26
22. Input/Output Conguration................................. 26
23. Modications .........................................................26
24. Specications......................................................... 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
(compressors, enhancers, noise gates, tube processors, headphone ampliers,
digital eects, 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.
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3 EURODESK SX4882 User Manual
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Terminals marked with this symbol carry
electrical current of su cient magnitude to
constitute risk of electric shock. Use only
high-quality commercially-available speaker cables with
¼" TS plugs pre-installed. All other installation or
modi cation should be performed only by
quali ed personnel.
This symbol, wherever it appears, alerts you
to the presence of uninsulated dangerous
voltage inside the enclosure - voltage that
may be su cient 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
quali ed personnel.
Caution
To reduce the risk of re 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 lled with liquids, such
as vases, shall be placed on the apparatus.
Caution
These service instructions are for use
by quali ed 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 quali ed
service personnel.
Read these instructions.1.
Keep these instructions.2.
Heed all warnings.3.
Follow all instructions.4.
Do not use this apparatus near water.5.
Clean only with dry cloth.6.
Do not block any ventilation openings. Install in 7.
accordance with the manufacturer’s instructions.
Do not install near any heat sources such as 8.
radiators, heat registers, stoves, or other apparatus
(including ampli ers) that produce heat.
Do not defeat the safety purpose of the polarized 9.
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 t into your outlet, consult an
electrician for replacement of the obsolete outlet.
Protect the power cord from being walked on or 10.
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
Use only attachments/accessories speci ed by 11.
the manufacturer.
Use only with the 12.
cart, stand, tripod, bracket,
or table speci ed by the
manufacturer, or sold with
the apparatus. When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid
injury from tip-over.
Unplug this apparatus during lightning storms or 13.
when unused for long periods of time.
Refer all servicing to quali ed service personnel. 14.
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.
The apparatus shall be connected to a MAINS socket 15.
outlet with a protective earthing connection.
Where the MAINS plug or an appliance coupler is 16.
used as the disconnect device, the disconnect device shall
remain readily operable.
Technical speci cations 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 su ered by any person
who relies either wholly or in part upon any description, photograph or
statement contained herein. Colors and speci cations may vary slightly from
product. BEHRINGER products are sold through authorized dealers only.
Distributors and dealers are not agents of MUSIC Group 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.O. Box 146,
Road Town, Tortola, British Virgin Islands
Warranty§ 1
This limited warranty is valid only if you purchased [1]
the product from a BEHRINGER authorized dealer in the
country of purchase. A list of authorized dealers can be
found on BEHRINGER’s website behringer. com under
“Where to Buy“, or you can contact the BEHRINGER o ce
closest to you.
MUSIC Group* warrants the mechanical and [2]
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 speci ed 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 Group 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.
Upon validation of the warranty claim, the repaired [3]
or replacement product will be returned to the user freight
prepaid by MUSIC Group.
Warranty claims other than those indicated above [4]
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.
Online registration§ 2
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 e ciently.
Thank you for your cooperation!
Return materials authorization§ 3
To obtain warranty service, please contact the [1]
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 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 (“RMA”) number.
Legal Disclaimer
Limited Warranty
Important Safety Instructions
Legal Disclaimer
Limited Warranty
Page 4
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4 EURODESK SX4882 User Manual
Subsequently, the product must be returned in [2]
its original shipping carton, together with the return
authorization number to the address indicated by
MUSIC Group.
Shipments without freight prepaid will not [3]
be accepted.
Warranty Exclusions§ 4
This limited warranty does not cover consumable [1]
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 [2]
if it has been electronically or mechanically modi ed
in any way. If the product needs to be modi ed 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
modi cation/adaptation shall not be considered a defect
in materials or workmanship. This limited warranty does
not cover any such modi cation/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 such a
modi cation/adaptation.
This limited warranty covers only the product [3]
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-[4]
applied serial number has been altered or removed from
the product.
Free inspections and maintenance/repair work [5]
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.
Damage/defects caused by the following conditions [6]
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;
connection or operation of the unit in any way •
that does not comply with the technical or safety
regulations applicable in the country where the
product is used;
damage/defects caused by acts of God/Nature •
(accident, re, ood, etc) or any other condition that
is beyond the control of MUSIC Group.
Any repair or opening of the unit carried out by [7]
unauthorized personnel (user included) will void the
limited warranty.
If an inspection of the product by MUSIC Group [8]
shows that the defect in question is not covered by the
limited warranty, the inspection costs are payable by
the customer.
Products which do not meet the terms of this [9]
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
noti cation, MUSIC Group will return the unit C.O.D. with
a separate invoice for freight and packing. Such costs will
also be invoiced separately when the buyer has sent in a
written repair order.
Authorized BEHRINGER dealers do not sell new [10]
products directly in online auctions. Purchases made
through an online auction are on a “buyer beware” basis.
Online auction con rmations or sales receipts are not
accepted for warranty veri cation and MUSIC Group will
not repair or replace any product purchased through an
online auction.
Warranty transferability§ 5
This limited warranty is extended exclusively to the
original buyer (customer of authorized retail dealer) and
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.
Claim for damage§ 6
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.
Limitation of liability§ 7
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.
Other warranty rights and § 8
national law
This limited warranty does not exclude or limit the [1]
buyer’s statutory rights as a consumer in any way.
The limited warranty regulations mentioned herein [2]
are applicable unless they constitute an infringement of
applicable mandatory local laws.
This warranty does not detract from the seller’s [3]
obligations in regard to any lack of conformity of the
product and any hidden defect.
Amendment§ 9
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 details online at
behringer. com.
* MUSIC Group Macao Commercial Off shore Limited of
Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau,
including all MUSIC Group companies
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Introduction1.
The manual1.1
Nomenclature1.1.1
Most specialist subjects are not really all that dicult provided you understand
the language used, and the vocabulary of mixing is pretty straightfor ward.
Nevertheless, it is as well to be clear about what certain terms mean. A “slot”
in a 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 denitions.
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 at conductors called TRACKS.
Hopefully, where terms have dierent meanings the contexts will be
suciently diverse so as to avoid any possible confusion.
An unholistic approach1.1. 2
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 compartmentalized
the EURODESK manual into sections, making it easy to nd problem solving
information and advice. You might nd that several cross-sectional references
have been made, where areas of interest overlap. E.g.: Channel EQ is specied and
described in the “Main equalizer” section 3.4, while EQUALIZATION has its own
section, reecting it’s importance and weight as a subject in its own right.
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.
Make sure that children cannot play unsupervised with the unit or ◊
its packaging.
Please ensure proper disposal of all packing materials.◊
Initial operation1.2.2
Ensure adequate air supply and to avoid overheating do not place the unit near
radiators etc.
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.
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.
Key1.1.3
All DESK functions will be numbered consistently throughout the manual,
whether they be in the tex t or in an illustration. In addition the following prexes
will be used to denote the various types of function control in any illustrations/
text respec tively:
Prex Meaning
S Switch
L LED
P Potentiometer
F Fader
Tab. 1.1: Meaning of the u sed prexes
After every prex you will nd the FUNCTION NUMBER. Numbering starts at the
top of a CHANNEL, works its way through a stereo GROUP, and nally through the
MASTER SECTION. The phantom power and tape operating level switches are not
included in the numbering system.
Before you get started1.2
Shipment1.2.1
Important notes concerning installation
The sound quality may diminish within the range of power ful ◊
broadcasting stations and high-frequency sources. Increase the
distance between the transmitter and the device and use shielded
cables for all connections.
Online Registration1.2.3
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 eciently.
Thank you for your cooperation!
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.
If the 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.
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6 EURODESK SX4882 User Manual
EURODESK Overview2.
Architecture2.1
The EURODESK SX4882 is a hybrid SPLIT/INLINE console. Input channels cover
most of the surface from the lef t, 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 “split” design.
This architecture enables much exibility 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 conguration 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 aord 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.
In SOLO/PFL mode a 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 to +4 dBu, the 2-track operating level. I.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.
Input/Output Channel3.
Channel strip3.1
On the EURODESK SX4882 the 24 INPUT + OUTPUT (I/O or “normal”)
channels cover most of the console. Most of each strip is occupied by the main or
A-CHANNEL, accepting MIC, LINE or TAPE inputs, depending on the positions of
S 1
B-CHANNEL (g. 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”).
First, look at the MIC/LINE switch
DOWN position LINE. The next switch
INPUT or TAPE. If INPUT is routed to A-channel, TAPE is oered to B-channel.
If TAPE is routed to A-channel, INPUT is oered to B-channel. Depressing the
PAD switch (
and
Input switching3.2
S 3
(see g. 3.1 and 3.2). Each channel strip also sports a secondary
S 1
. In the UP position it selects MIC, in the
S 3
chooses whether A-channel looks at
S 1a
) lowers an incoming mic signal by -20 dB, if necessary.
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, a ¼" jack expander 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.
Metering2.2
The 1 to 24 channels have signal (-20 dB,
L 25
) and overload LEDs (PEAK,
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
S 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 modication described
in APPENDIX II.3).
L 24
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, Dl’s, etc. For MIXING
purposes, TAPE tracks are normally “ipped” onto the main channels, leaving the
B-channels free for other applications, such as oering extra line inputs.
These rules are, however, made to be broken.
).
S 23
applies 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
S 48
, master section) in this conguration.
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 unaected by anything else happening in the channel. 0 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.
Fig. 3.2: Chann el input switchi ng architectu re
The B-channels 25 to 48 are only routable EN BLOC to the main mix, ◊
S 48
via
. Therefore, the MIX-B bus can only have one function at any
one time, either as a stereo AUX or secondary mix send (
a set of 24 extra line or tape inputs to the main mix (
S 48
S 48
DOWN).
UP) or as
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Input gain setting3.3
The channel input level is set by the TRIMPOT (
P 2
). Use SOLO/PFL (
to bring the channel’s input onto the L/R bargraph meters under the master
section of the EURODESK SX4882. This also sends the SOLO/PFLed signal to the
left and right speakers. Channel PFL/SOLO (
S 26
) has an associated LED (
(See also 13.1 “A-channel setting up procedure” and 6.5 “PFL/SOLO”.)
For level-setting (as opposed to localized listening) choose to use the ◊
mono PFL rather than the post fader SOLO bus (
S 95
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.
In addition to switchable PFL/SOLO metering, a couple of LEDs (
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
a take or a mix.
DOWN).
L 24
S 26
and
)
L 26
L 25
Main equalizer3.4
Thirdly, there is a steep high pass (low cut) lter (
S 11
), slope @ 12 dB/octave,
-3 dB @ 75 Hz, for reducing oor rumble, plosives, woolly bottom end, etc.
Aux sends3.5
).
All six aux sends are mono and post EQ. They are switchable PRE/POST fader in
and
S 13
P 13
two banks (
P 12
(
channel fader, i.e. PRE or POST (
serviced by two potentiometers (
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 (
and, as before, can be pre or post (
)
S 16
and
). For aux sends 1 and 2, two dedicated pots
) are used. These can be taken from a point before or after the
S 13
). Aux sends 3 and 4, and 5 and 6 are
P 14
S 16
and
).
P 15
). The SHIFT button (
S 15
S 17
)
),
Fig. 3.3: Main equ alizer
The main equalizer can be switched (
S 10
) 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 (
P 19
and
), not merely “SPLIT” o from the main EQ. I.e. you can have a full
P 4
and
P 9
). These are DUPLICATED for the B-channel (
P 18
4-band EQ on the main channel AND a 2-band EQ on B-channel.
Secondly, there are two semi-parametric swept mids, Q xed at 1, which cover
the bands 300 Hz to 20 kHz and 50 Hz to 3 kHz. An unusually broad frequenc y
range is catered for, and there is an enormous 3-plus octave overlap between the
two mid bands (
P 5, P 6, P 7
and
P 8
). No experienced engineer will
complain about that! All four bands oer 15 dB of cut and boost.
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 (
S 13
and
S 16
).
Most reverbs 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”).
There is +15 dB of gain on every aux send. 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.
Routing and muting3.6
ROUTING means selecting which BUS you want a channel to address. There are
actually six stereo buses in the EURODESK SX4882 (plus a stereo SOLO bus).
The main mix bus is selected by
are selected by switches
(5 and 6) and
S 31
(7 and 8). Odd and even numbered groups are selected via
the main A-channel PAN
stereo bus is the MIX-B bus, with it’s own independent pan control
see section 3.7 “B-channel”). Usually, only one of
for a particular channel (See block schematics).
S 32
(see gure 3.5), while the subgroups
S 28
(for groups 1 and 2),
P 24
, as are the left and right mix buses. (The sixth
S 28
S 29
to
(3 and 4),
S 31
will be selected
P 20
S 30
;
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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.
B-channel3.7
The B-channel (g. 3.6) comprises a secondary channel with its own high and
low EQ, pan and level (
P 18, P 19, P 20
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
S 1, S 3
and
S 23
Unusually for an 8-bus console, B-channels also have their own MUTE buttons
S 22
(
). Aux sends 3/4/5/6 may be diverted from the A to the B-channel via
Therefore, if the B-channel is being used to monitor o-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 (
◊
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 > post fader”.)
P 21
and
). The EQ is a replica of
are set (see g. 3.2 and section 3.2).
S 17
S 23
DOWN), the signal comes
.
Fig. 3.5: Routin g
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 (
S 27
), like that for SOLO has an LED indicator (
L 27
) 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 innity.
Fig. 3.6: B-c hannel
Inserts4.
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 inser t points, as does the main stereo
output. Both SEND and RETURN are accommodated on a single stereo ¼" jack
socket wired tip=send, ring=return. Inserts are always pre fader and also pre
EQ / aux sends for channels.
Insert points may also be used as pre EQ direc t outputs without interrupting
the signal ow. This is obvious when looking at the patchbay wiring (section 8,
g. 8.1). If you want to inser t a dynamics processor post EQ, the insert point must
either be taken from a subgroup, or via a second channel / aux return as follows:
Insert a compressor/gate/EQ across a subgroup, and route the channel to be 1)
processed (and only that channel) to that subgroup.
Alternatively, patch a channel’s direct out into a compressor/gate/EQ. 2)
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 dierent). Mixdown requires one A and one
B-channel. Recording requires two A-channels.
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Fig. 4.1: Post EQ channel in sert
In this arrangement you might find that compression tends to soften ◊
the perceived amount of EQ applied. The solution? Apply more 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.
Subgroup and Direct Outputs5.
Subgroups5.1
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
routes an odd numbered group to the left bus, while
S 37
S 38
numbered subgroup to the right bus. That’s ne for stereo submixes. If you want
a pair of mono s
ubmixes instead, also press the MONO buttons (
Now these subgroups feed into the center of the main mix stereo image, i.e.
equally to L and R. You could have the rst 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.
S 33
Subgroup SOLO (
S 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).
S 38. S 37
and
sends an even
S 35
and
S 36
).
Fig. 5.1: Stereo subgroup c hannel schematic
Try 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 acoustic!)
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.
Fig. 5.2: Using i nsert to add chann el EQ to subgroup out put (while keeping th e number of line
inputs u nchanged!)
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Direct outputs5.2
Each of the 24 main channels on the EURODESK SX4882 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 resor t to the subgroups, enabling more than eight dierent
tracks to be recorded simultaneously. Almost alone among the EUROjacks,
these are on unbalanced mono sockets at +4 dB. (See sec tion 22 “Input/output
conguration”, also section 16.1 “Recording”.)
Master Panel6.
Aux masters6.1
Aux sends6.1 .1
Much of the master section is taken up by master aux sends and returns.
We’ll start with the sends (see g. 6.1).
Stacked in a vertical column are six master aux send levels, one for each of
P 41
buses 1 to 6 (
+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 (
and, as with other areas of mixer, a LOCAL SOLO LIGHT (
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 nd
out why the main solo light was on, and the control room monitors silent!
P 46
to
). Each one has a gain structure of minus innity to
L 47
S 41
S 46
to
),
), which illuminates
Fig. 6.1: Aux sends.
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Aux returns6.1.2
Next to the aux sends are the stereo aux returns (see g. 6.3). These can be
thought of as a dozen extra line inputs congured as six stereo pairs. On these
inputs there 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 I/Os from the EURODESK are ◊
wired permanently to a patchbay (see section 8).
Aux returns 1 and 2a)
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 (
LEVEL (
P 49
), BALANCE (
P 51
) and SOLO (
S 49/S 50/S 51/S 52/S 53
S 54
). 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 of ten 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 shif t upwards
will seem louder than one that goes down. In both cases use the
BALANCE control (
P 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.
Aux returns 3 to 6b)
And so to aux returns 3 through 6. These too have a routing matrix (
S 58
for aux return 3), but this time it is designed to facilitate monitoring rather
S 55
to
than recording. The options are MAIN (L/ R) MIX, and PHONES 1/2. Gain pots and
solo switches complete the picture.
SOLOc)
L 61
Below each column of aux returns lies a local solo LED (
&
L 74
).
These illuminate whenever a SOLO button in the column above is pressed.
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.
MIX-B master6.2
Fig. 6.2: Ster eo aux returns
Fig. 6.3: Mix-B
Only two controls occupy the MIX-B master (g. 6.4).
EURODESK gain of up to +15 dB.
S 48
is crucial: it routes the MIX-B bus output
P 48
oers the standard
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 (
S 48
UP,
S 23
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 (
S 48
It can provide 24 extra B-inputs to the mix (
UP,
S 23
DOWN).
S 48
DOWN,
S 23
UP).
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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
If MIX-B is assigned to the main mix (◊
MIX-B (
S 83
) in the monitor sourcing matrix.
S 83
) and the main mix (
S 48
DOWN), do not listen to
S 82
) simultaneously. That way
only MIX-B (
you’ll be monitoring MIX-B twice over, and what you hear won’t
correspond with what’s going down to tape.
Monitoring6.3
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.
If you are using the STUDIO output to drive a pair of monitors actually in ◊
the studio, do not ever leave
P 82
turned up during a take. Howls and
howlround may well be the result.
Lastly, there is a MONO button (
S 86
), useful for checking the phase
correlation and/or coherence of a stereo signal. Again, this does not aect
the main mix output.
Headphones6.4
Both HEADPHONES 1 & 2 masters are identical.
Fig. 6.4: Monito ring
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
S 82
matrix (
S 85
to
, see g. 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 could 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 affec t 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
P 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
P 82
pot (
).
Fig. 6.5: Phone s
A SOURCING matrix picks up any or all of MIX-B (
(as chosen in monitor section,
EXTERNAL (
S 80
). In addition to the sources which are directly selectable from
S 77
), AUX 3/4 (
the headphones masters, aux returns 3 to 6 may be “force-fed” into
HP 2
from the aux returns masters (
S 55, S 56
The headphone mix level is controlled by a master volume pot (
S 76
), CONTROL ROOM
S 78
), AUX 5/6 (
, etc.).
P 75
S 79
HP 1
),
) and
&
and the gain is sucient to drive headphones directly. This is ne for a MIDI
suite with overdub booth, but for the bigger studio’s headphone network
we’d recommend using a separate headphones distribution amplier like our
BEHRINGER POWERPLAY PRO HA4400. This can oer the added advantage
of independent headphones level control for every performer.
A SOLO button (
S 81
), with its own LED, enables monitoring of the headphones
amplier’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 give as true a picture as
auditioning the cue feed from a set of headphones identical to those worn by
the performer(s).
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PFL/SOLO6.5
Fig. 6.6: Solo s ection
PFL6.5.1
Pressing
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”.)
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.
S 95
disengages the stereo SOLO bus, and replaces it with a separate
SOLO6.5.2
Complex headphone or stage monitoring networks could be constructed where
HP 1, HP 2
, 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 nd it easier to patch a separate
microphone for talkback straight into a channel, where it can be routed pretty
much anywhere.
Engaging TALKBACK (S99) dims the control room (monitors, not lights) by -20 dB
to restrict the possibility of feedback. All other talkback routes are unaected.
Connections7.
Rear panel7.1
Expander port bus inputs
If you want to add another console to your EURODESK SX4882, the expander
port bus inputs give access to all subgroups, auxes and mix busses via an array of
¼" jacks, situated top left on the rear panel.
In addition to any local solo LEDs which might be activated, the ultra-bright MAIN
SOLO LED (
L 95
) 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.
Talkback6.6
Fig. 6.7: Talkback
Fig. 7.1: Expande r port bus input s
Auxiliary sends
Unbalanced ¼" jacks, wired tip = signal (+ve) and sleeve = ground/screen.
They operate at +4 dBu.
The built in mic (above the main mix faders) allows you to converse with
artists remotely. The most important controls are the VOLUME (
PHONES & STUDIO button (
S 99
, see g. 6.7). It is possible to route the talkback
P 99
) and
mic to any of the following: aux 1, aux 2, subgroups, and phones and studio
S 96
to
S 99
).
(
Fig. 7.2: Auxiliar y sends
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Auxiliary returns
All six stereo pairs, to be located immediately below the aux sends,
are on unbalanced ¼" jacks and operate at 0 dBu.
Fig. 7.3: Auxiliary re turns
Subgroup inserts
Unbalanced send and return from a single stereo jack socket, wired tip = out,
ring = in and sleeve = ground/screen.
Fig. 7.4: Subgroup inser ts
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 ¼" jacks, nominal output level +4 dBu. The main mix is also
available as a fully balanced pair.
Phones 1/2
These are on stereo jacks, wired tip = lef t 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.
2-track in/out
RCA sockets for use with tape recorders, etc., signal = main mix, wired center
post = signal (+ve) and sleeve = ground/screen.
Fig. 7.5: 2-track in/out
2-track/external inputs
Two additional stereo inputs, this time on unbalanced ¼" jacks,
wired tip = signal (+ve) and sleeve = ground/screen.
Fig. 7.7: Main balanced out puts
Fig. 7.6: Additional co nnectors
Fig. 7.8: A and B-chan nel input sect ion
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Strain relief clamp
Sleeve
Tip
Sleeve
(ground/shield)
Unbalanced ¼" TS connector
Tip
(signal)
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 oset to charge the plates, phantom power
is provided and can be switched on or o 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 speaker 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 ¼" jacks.
B-channel inputs/tape returns
They also accept balanced or unbalanced ¼" 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
congurations respectively. Consult your multitrack manual to nd out which
one applies.
Connector pinout7.2
You will need a lot of cables for a lot of purposes. Here’s how they should look:
¼" mono (TS) plugs
You’ll need this kind for:
Expander Port Bus Inputs•
Subgroup Outputs / Tape Sends•
Direct Outs•
Aux Sends•
Fig. 7.9: MIX-B operatin g level switch and ph antom 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.
Fig. 7.10: Subgrou p outputs/ta pe sends and operat ing level switch
Control Room Output•
Main Mix Out•
Mix-B Output•
Studio Output•
Aux Returns•
2-Track Input•
Meter/Analyzer Out•
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strain relief clamp
sleeve
ring
tip
sleeve
ground/shield
Connect the insert send with the input and the
insert return with the output of the effects device.
Insert send return ¼" TRS connector
ring
return (in)
tip
send (out)
strain relief clamp
sleeve
ring
tip
sleeve
ground/shield
¼" TRS headphones connector
ring
right signal
tip
left signal
strain relief clamp
sleeve
ring
tip
sleeve
ground/shield
For connection of balanced and unbalanced plugs,
ring and sleeve have to be bridged at the stereo plug.
Balanced ¼" TRS connector
ring
cold (-ve)
tip
hot (+ve)
Tip = Out
Ring = In
Sleeve =
Ground/Screen
To
processor
input
From
processor
output
To mixer
channel
insert
¼" stereo (TRS) plugs
You’ll need this kind for:
You’ll need this kind for:
Line In•
Inserts•
Subgroup Inserts•
Main Inserts•
You’ll need this kind for:
Headphones•
Inputs-B / Tape Returns•
Maybe you will need this ´Y´-shaped thing for Insert purposes:
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output
For unbalanced use, pin 1 and pin 3 have to be bridged
1 = ground/shield
2 = hot (+ve)
3 = cold (-ve)
input
12
3
1
2
3
Balanced use with XLR connectors
Bay 1
Bay 2
Bay 3
Bay 4
Bay 5
Bay 6
Bay 7
Bay 8
XLR plugs
You’ll need this kind for:
Main balanced outputs•
Mic inputs•
Be sure to read also the sections 8 and 12!◊
*
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 connec t 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 dierent instruments on
it. 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 nd some suitable extra space somewhere else in the
patcheld. 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.
The Patcheld8.
Nomenclature clarication:
FIELD= entire patching area•
BAY= a 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 patcheld.
We know that you will often put o doing a complex patch if there is no patcheld:
because it’s so much bother and1)
in case you inadvertently damage or pull out a lead.2)
The normalized bay8.1
Most decent jackbays oer 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 pair does not break the internal connection, but it does
provide an alternative direct output. Where normalizing is not wanted on a
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.
The patcheld8.2
If you want to do the only decent thing and construct a patcheld 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 SX4882, 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”.)
Fig. 8.3: Exa mple of patchbay con gurations
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18 EURODESK SX4882 User Manual
All output / input pairs normalised!
Bay 8:
L7 & 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 at response signal).
Fig. 8.4: Wirin g for bay 8 (for advanced w iring scheme ref er to section 11)
Looming problems8.3
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. (A looped 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 o 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 ear th 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 care to ensure that using the patchbay does not disturb the studio’s earth
architecture. Always use short as possible patch leads with the screen connected
at both ends.
Equalization9.
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 in a
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 nd for each
instrument a charac teristic frequency not shared by the other instruments in the
mix. Then 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 aected.
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-specic the eect.
Applying boost over a narrow bandwidth will sound “Honky”. The two semiparametric bands of the EURODESK EQ have had their Q xed 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 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 I 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
eect on the listener. It seems that one reason why high- quality (½" at 30 IPS)
analog tape sounds better than DAT to many discerning ears is because,
although its frequency response begins to roll o at 12 dB/octave somewhere
around 15 to 20 kHz, it is not abruptly cut o at 20!
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 shor ting
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, exible 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!
We have heard, or “detected”, a 20+ kHz low pass lter 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 signicant 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 at 20 kHz, the amount of boost at 10 kHz
will be 3 dB. The resulting EQ cur ve will bear no relation to one where 3 dB of
boost is applied at 10 kHz.
A good 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).
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All output / input pairs normalised!
With an LF cut at 100 Hz and a 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.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).
Gain Optimization10.
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 eects via the aux buses, and it’s best to
PFL all sends (aux, subgroup, MIX-B) just before setting up for the nal mix.
Impedances and Tuning11.
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 nd that 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 buer 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.
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 ickering.
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 dierent outboard processors calibrate their
meters dierently, and their dynamic range is not sucient 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 unit. 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 > FX > 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 reduc tion 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!
Fig. 11.1: Resistor-b uered paralle l wiring for bay 8 (see s ection 8 “The p atcheld”)
(Un)balanced Lines12.
Balanced inputs and outputs are oered 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 aord from the electromagnetic garbage that permeates
the atmosphere is never per fect. The balanced line is a simple but eec tive
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. corresponding 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 eect of mains radiation to vanishingly small even with no screen.
(In fact, at these voltages another eect comes into play: capacitive resistance.
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It is positively undesirable to use screened cable to wire an amp to a speaker.
Speaker leads should be as thick and shor t 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 ow 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 diaphragm 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
eect 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 amplied, 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
so, it also subtracts all the radiation picked up along the line. Random noise
is unaected, but you’ll hear no 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 or output.
Initializing channel for gain-setting13.1.2
Set GAIN (1)
P 2
) and all aux sends (
P 12, P 13, P 14
and
P 15
) to OFF
(fully counterclockwise).
EQ switch (2)
LOW CUT switch (3)
S 10
) UP (o).
S 11
) ON for microphones, OFF for signals with desired
low frequency content.
S 26
S 95
UP).
) switch UP (
L 95
S 26
) DOWN (
L 26
o).
) is not lit.
L 26
and
L 95
should light).
CHANNEL MODE set to PFL (4)
Channel PFL/SOLO (5)
Check that main PFL/SOLO LED (6)
Channel PFL/SOLO switch (7)
Auditioning a signal13.1.3
Make a typical noise, or roll the tape. The -20 dB light should icker, 1)
showing that a signal is present. There should also be some activity at the
MAIN MIX bargraph meters, indicating the SOLOed level.
For LINE INPUTS: Adjust GAIN control (2)
P 2
) until transient peaks are
regularly hitting 0 dB.
For MIC INPUTS: If your meters are reading 0 dB although the GAIN control is 3)
completely turned counterclockwise, push the PAD switch (
S 1a
) to lower
the input signal by 20 dB before you continue the gain adjustment.
TAPE inputs do not pass through the GAIN pot (4)
P 2
). 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.
lf EQ is used, repeat steps 13.1.1 & 13.1.2.5)
Fig. 12.1: A balanced microph one line
Start-up13.
A-channel setting up procedure13.1
Selecting inputs13 .1.1
MICROPHONE:• MIC/LINE switch (
FLIP switch (
LINE:• MIC/LINE switch DOWN, FLIP switch UP
TAPE :• FLIP switch DOWN
S 3
) UP
S 1
) UP, PAD switch (
S 1a
) UP,
If an insert is used to patch in a compressor, gate, EQ, etc., use any 6)
outboard processor’s BYPASS or EFFECT OFF switch to A/B monitor the eect.
Adjust the processor’s output level so that eected and bypassed signals
are level matched.
Channel PFL/SOLO switch (7)
S 26
) UP. Move onto next channel.
Desk/tape setting up procedures13.2
Desk normalization13.2.1
All board settings should be set to the normal default condition before or after
every session. Usually faders are set to zero (minus innity), EQs set at and
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 selec ting PRE or POST for channel aux sends
and whether TAPE or MIC/LINE is ipped 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:
Multitrack initialization13.2.2
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.
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Recording levels13.2.3
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 conrm
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 distor tion 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 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 o 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 distor tion
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.
Auditioning a mix13.2.4
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 (
S 48
DOWN).
Auxless headphones mix14.2
The vocalist will probably want to hear her-/himself above the normal mix level.
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 eect she/he is comfor table singing
along with.
Fig. 14.2: Simpl e auxless headpho nes mix
Here the MIC CHANNEL FADER controls the amount of extra voice blended into
the main mix. Adjust the FADER level rst 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
while the other drives the EXTERNAL input via its direct out. Now you have totally
indepedent monitoring and tape send levels for the vocal signal.
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 be heard so long as the
MIX-B/MAIN MIX switch (
S 48
) 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 (
S 37, S 38
) should be UP. I.e.
that subgroup should not feed into the main mix bus directly.
8-track MIDI Suite/Dance 14.
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.
Sends14.1
Fig. 14.3: Slightly m ore complicated a uxless headphon es mix
Alternatively:
If you need to hear the harmonies, but they’re putting the vocalist o 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 monitoring 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 (
main mix (
S 77
). Now you can delete distracting channels from the vocalist’s
S 55
) and de-assign the
backing track mix (see g. 14.4).
Fig. 14.1: Send routing
In a dance production, eects 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 a late 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.
Fig. 14.4: Subgroup -driven auxle ss headphones mi x
This conguration does not allow for anything coming in on B-channels to be
sent to headphones. If you need to do this,
S 76
must also be depressed.
In all cases the WET/DRY balance of the extra vocal signal takes place ◊
within the FX processor.
The above example refers to aux 3 return > headphones 1. ◊
An analogous situation is possible for aux 4/5/6 return > headphones
1 or 2.
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Returns14.3
Channels 1 to 8: When you’ve only got eight tape returns, you can aord to bring
them back on main channels to enable e.g. chorus vocal comps. or recorded
real-time mixing eects such as frequency sweeping to be quickly bounced or
sampled o via subgroups.
Channels 9 to 23: The most important SYNTH/SAMPLER outputs. Those most
likely to need full EQ or 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.
Lining up record/sample inputs14.4
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 & see” to nd 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 SX4882,
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 the 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 qualied personnel.) Adjust the sampler’s input level until it
also reads 0 dB.
16-Track Recording with 2 Samplers15.
Recording15.1
Subgroup outputs/tape sends 1 to 16 should be wired to the multitrack record
inputs 1 to 16. Sampler inputs 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 “ying in” (a sampler can
pick up e.g. chorus vocal and drop it into all choruses, or sample a particularly
nifty bit of anging on a drum loop etc.; then lay the eected 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.
Headphones15.2
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.
A good idea would be to drive
and MIX-B (
and MIX-B (
S 76
), while
S 88
). Channel auxes 3 and 4 would be routed to A-channels.
HP 2
from a combination of aux return 3 (
HP 2
picked up its signal from aux return 4 (
In this conguration a reasonable degree of balancing between the MIX-B and
aux 3/4 level into the cans is possible by adjusting
P 55/P 68
(minus innity
to +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.
S 69
S 55
)
)
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.)
Mixdown14.5
The situation here is no dierent from record, really, save that the subgroups
S 35
may now be routed directly to the main mix (L/R) bus (
easier mixing. Remember, you started o with the tape returns coming up on
A-channels 1 to 8, therefore there is no need to “ip” them. You will probably
(denitely) be running lots of MIDI sequencer tracks live. Take care not to
encourage MIDI delays.
to
S 38
) for
Fig. 15.1: Headphones
Mixdown15.3
With 24 A-channels and up to 36 signicant 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
S17
.
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Professional 24-Track Studio16.
Recording16.1
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 artists at
once, but if you are:
Channels Source Route Destination
1 Kick Direc t out Track 2
2 Snare Direc t out Track 3
3 Hi Hat Direc t out Track 4
4 Tom 1 Subgroup s 5 and 6 Tracks 5 and 6
5 Tom 2 Subgroup s 5 and 6 Tracks 5 and 6
6 Tom 3 Subgroup s 5 and 6 Tracks 5 and 6
7 Tom 4 Subgroup s 5 and 6 Tracks 5 and 6
8 Cymbals (overhead s) L Direc t out Track 7
9 Cymbals (overhead s) R Dire ct out Track 8
10 Bass microphone Subgrou p 3 Track 1
11 Bass DI Subgrou p 3 Track 1
12 Escaping pr isoners Subgrou p 4 Who knows?
13 Trumpet Subgrou ps 1 and 2 Tracks 9 and 10
14 Trombone Subgroups 1 and 2 Tracks 9 and 10
15 Sax Subgrou ps 1 and 2 Tracks 9 and 10
16 BVs 1 Subg roups 7 and 8 Track s 11 and 12
17 BVs 2 Sub groups 7 and 8 Trac ks 11 and 12
18 BVs 3 Subg roups 7 and 8 Track s 11 and 12
19 Conga L Direct out Track 13
20 Conga R Direct out Track 14
21 Guit ar 1 microphone Direc t out Track 15
22 Guitar 2 mic rophone Direct out Track 16
23 Lead vocal Direct out Track 17
Tab. 16.1: Channel assi gnment
Tape Monitoring will be via MIX-B in tape return mode. Once tracks are layed,
they will be ipped 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.
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 to feed from
tape into all the headphones buses.
Alternatively:
(and probably much more sensibly): use the headphones routine outlined in
section 15.2 (g. 15.1).
Wet monitoring16.3
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 eect. In a MIDI studio a take is
generally MIDI sequencer driven, and hence reproducible should the recorded
eected 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 nal mix might sound. By pressing the
AUX 3/4/5/6 SOURCE switch (
S 17
), 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.
Mixdown16.4
All aux sends and subgroups are now available for mixing, as are
A-channels 23 and 24.
If you 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 these channels have PAN and EQ) or as an extra stereo
aux send.
Very tricky headphones16.2
In a multi-musician scenario you’ll probably want as many dierent 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).
Subgrou p 7 => a ux return 3 =>
headphon es 1
Main mix (and)/or MIX-B =>
headphon es 1
Active s witches: S55/(S82, S77)/S76 Act ive switches: S69/(S82, S8 9)/S88
See also g. 14.4 “Subgroup-driven auxless headphones mix” and
associated text.
In the above conguration
HP 1
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.
Subgrou p 8 => a ux return 4 =>
headphon es 2
Main mix (and)/or MIX-B =>
headphon es 2
HP 2
and
comprise a blend of the main mix,
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Live P.A. with 2-Track Recording17.
In this example we’ll use the aux sends 1 and 2 for stage foldback, and 3/4/5/6 for
front-of-house eects. The P.A. is driven from the main mix. MIX-B will be used to
set up the mix to DAT.
Channels Source FOH FX
1 Kick
2 Snare
3 Hi Hat
4 Tom 1
5 Tom 2
6 Tom 3
7 Tom 4
8
9 Keybo ards L
10 Keyboards R
11 Bass DI
12 Trumpet
13 Trombone
14 Sax
15 BVs 1
16 BVs 2
17 BVs 3
18 Conga L
19 Conga R
20
21
22 Lead v ocal
23 FX 1 L
24 FX 1 R
Tab. 17.1: Channel ass ignments 2-track
Cymbals
(overheads)
Guitar 1
microphone
Guitar 2
microphone
Subgrou ps 1
and 2 / MIX-B
Subgrou ps 1
and 2 / MIX-B
Subgrou ps 1
and 2 / MIX-B
Subgrou ps 1
and 2 / MIX-B
Subgrou ps 1
and 2 / MIX-B
Subgrou ps 1
and 2 / MIX-B
Subgrou ps 1
and 2 / MIX-B
Subgrou ps 1
and 2 / MIX-B
Subgrou ps 3
and 4 / MIX-B
Subgrou ps 3
and 4 / MIX-B
Main mix /
MIX-B
Subgrou ps 5
and 6 / MIX-B
Subgrou ps 5
and 6 / MIX-B
Subgrou ps 5
and 6 / MIX-B
Subgrou ps 7
and 8 / MIX-B
Subgrou ps 7
and 8 / MIX-B
Subgrou ps 7
and 8 / MIX-B
Main mix /
MIX-B
Main mix /
MIX-B
Main mix /
MIX-B
Main mix /
MIX-B
Main mix /
MIX-B
Main mix /
MIX-B
Main mix /
MIX-B
- Aux send 1 and 2
Aux send 4 Aux se nd 1 and 2
- Aux send 1 and 2
Aux send 4 -
Aux send 4 -
Aux send 4 -
Aux send 4 -
- -
- Aux send 1 and 2
- Aux send 1 and 2
- Aux send 1 and 2
Aux send 5 Aux se nd 2
Aux send 5 Aux se nd 2
Aux send 5 Aux se nd 2
Aux send 5
and 6
Aux send 5
and 6
Aux send 5
and 6
- Aux send 2
- Aux send 2
- Aux send 1 and 2
- Aux send 1 and 2
Aux send 5
and 6
- -
- -
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.
Wedges /
monitoring
Aux send 1 and 2
Aux send 1 and 2
Aux send 1 and 2
Aux send 1 and 2
S48 is UP, i.e. MIX-B is NOT blended into the main mix.◊
Bringing the DAT back on aux 1 return P49 (as opposed to the 2-track or ◊
external inputs) enables not only auditioning of DAT playback, but also
balancing playback level against the main mix, in case you also want
to use it to play a pre-recorded intro tape to set the scene for the
coming performance.
Be sure to have aux return 1 turned all the way down or de-assigned ◊
when recording to DAT. Otherwise expect massive and terminal
(as far as the P.A. and gig are concerned) howlround.
Live Concert with 18.
24-Track Recording
Stereo (quadraphonic) P.A. with sidells, three inlls, two wedge mixes,
four FX and simultaneous 24-track recording.
Channels Source Tape rou te Destination
1 Kick Direc t out Trac k 1
2 Snare Direct out Track 2
3 Hi Hat D irect out Track 3
4 Tom 1 Su bgroups 5 and 6 Tracks 5 and 6
5 Tom 2 Su bgroups 5 and 6 Tracks 5 and 6
6 Tom 3 Su bgroups 5 and 6 Tracks 5 and 6
7 Tom 4 Su bgroups 5 and 6 Tracks 5 and 6
8 Cymbals (overhead s) Direc t out Trac k 4
9 Keyboard s L Direc t out Track 7
10 Keybo ards R Direct o ut Track 8
11 Bass DI Direc t out Trac k 9
12 Trumpet Direc t out Trac k 10
13 Trombone Dire ct out Track 11
14 Sax Direc t out Trac k 12
15 BVs 1 Direc t out Trac k 13
16 BVs 2 Direct o ut Track 14
17 BVs 3 Direc t out Trac k 15
18 Cong a L Direct out Track 16
19 Con ga R Di rect out Track 17
20 Guitar 1 mi crophone Dire ct out Track 18
21 Guit ar 2 microphone Di rect out Track 19
22 Lead vocal Direct o ut Track 20
23
24
Tab. 18.1: Channel assi gnments 24-track (t rack 24 pre-strip ed with SMPTE)
None of the tape tracks can be auditioned in this conguration. The channel fader
controls the level to tape, MIX-B adjusts the P.A. level.
The channel inserts (which are pre fader), may be used as virtual direct outs.
Hopefully you will be able to set the input gains (
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.
Main echo /
reverb re turn
Main echo /
reverb re turn
(Send = aux 3) Track 21
(Send = aux 3) Track 22
P 2
) to suit the multitrack
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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
against MIX-B (
Channels Source F. O. H. FX Wedges Inlls
1 Kick MIX-B - -
2 Snare MIX-B Aux se nd 4
3 Hi Hat MIX-B - -
4 Tom 1 MIX-B Aux send 4 - -
5 Tom 2 MIX-B Aux send 4 - -
6 Tom 3 MIX-B Aux send 4 - -
7 Tom 4 MIX-B Aux send 4 - -
8
9 Keyboard s L MIX-B - - Subgroup 12
10 Keybo ards R MIX-B - - Subg roup 12
11 Bass DI MIX-B - -
12 Trumpet MIX-B Aux se nd 5 - -
13 Trombone MIX-B Aux se nd 5 - -
14 Sax MIX-B Aux se nd 5 - -
15 BVs 1 MIX-B
16 BVs 2 MIX-B
17 BVs 3 MIX-B
18 Cong a L MIX-B - -
19 Con ga R MIX-B - -
20
21
22 Lead vocal MIX-B
23 FX 1 L MIX-B - Aux send 1 -
24 FX 1 R MIX-B - Aux send 1 -
Tab. 8.2: Front/r ear/stage monitors r outing
P 20, P 21
Cymbals
(overheads)
Guitar 1
microphone
Guitar 2
microphone
).
Subgrou ps 1/2, 3/4
and 7/8
Aux send 1
and 2
MIX-B - - -
Aux send 5
and 6
Aux send 5
and 6
Aux send 5
and 6
MIX-B - - Subgroup s 3 and 4
MIX-B - - Subgroup s 3 and 4
Aux send 5
and 6
Aux send 1
and 2
Aux send 1
and 2
Aux send 1
and 2
Aux send 1 -
Subgrou ps 1/2
and 3/4
Subgrou ps 1/2
and 3/4
Subgrou ps 1/2,
3/4 and 7/8
-
-
-
Subgrou ps 1/2,
3/4 and 7/8
Subgrou ps 1/2,
3/4 and 7/8
P 24
For front of house route all channels to the MIX-B bus > main mix. For live P.A.
eects use auxes 3/4/5/6. For wedge monitors use aux 1 and 2 in pre mode > aux
1and 2 output. For sidells use phones 1 output. For inll 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 (
All channels should be set for: aux 1/2: PRE (◊
aux 3/4/5/6: POST (
DOWN); FLIP = Mic/Line SIGNAL (
S 16
UP) > FX; MIX-B SOURCE = CHANNEL (
S 3
UP)
P 24
).
S 13
DOWN) > WEDGES;
S 23
In a quadrophonic setup MIX-B should be kept separate from the main ◊
S 48
mix (
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 FOH console,
separate foldback mixer, and a rider that would make Bill Graham blanche.
None of the applications examples are designed to be used as a BLUEPRINT.
Rather, they should give you some idea of the scope and exibility of your
EURODESK SX4882. Use your imagination to nd novel ways of solving problems
and creating extra facilities.
Expanding the EURODESK19.
)
Connections19.1
The EXPANDER PORT is input only, and provides access to all but the PFL/SOLO
buses. Since the nominal internal operating level of your EURODESK SX4882 is
0 dB, and that at the jack outputs +4 dB, the sends from the outputs of console
2 must be attenuated by +4 dB if unity gain between it and the primar y console
is to be maintained. Wiring is as follows:
EURODESK 2 > -4 dB > EURODESK 1
Subgrou p outputs 1 to 8 EXPANDER PORT s ubgroup input s 1 to 8
Aux outpu ts 1 to 6 EXPANDER PORT a ux inputs 1 to 6
Main mix ou tput EXPANDER PO RT main mix inputs
MIX-B outpu t EXPANDER PORT M IX-B input
Another m anufactur er’s
desk
Subgrou p outputs 1 to 8 EXPANDER PORT s ubgroup input s 1 to 8
Aux outpu ts 1 to 6 EXPANDER PORT a ux inputs 1 to 6
Main mix ou tput EXPANDER PO RT main mix inputs
MIX-B outpu t EXPANDER PORT M IX-B input
> -X dB > EURODESK 1
Alignment19.2
To nd out the value of “X” align the consoles in the following way. Patch a 1 kHz
sine tone (or play a sustained B above middle C on a keyboard) into a channel
on each console. Set up each console so that the signal produces unity gain
(0 dB) at every output (use each console’s PFL or equivalent function to do this).
Now, connect the outputs of the second console into the EURODESK EXPANDER
PORT. Mute the channel on the EURODESK carrying the signal, and look at the
EURODESK outputs. Systematically adjust the reading on each bus until they all
read 0 dB by adjusting the master send levels of console 2 (i.e.: master aux send
controls, main mix master faders, subgroup faders, etc.).
Timecode20.
In analog multitrack recording timecode usually goes down on the edge of the
tape: track 8, 16 or 24, with the adjacent track left clear (GUARD BAND) to stop
bleeding between recorded tracks and code. Digital formats do not waste any
audio tracks on timecode: a separate sync is provided.
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
session commences. Any sequenced music, click 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
rst place, otherwise most remixes would never happen. You would rather
not have to, though, since it takes time, eort, 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 •
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).
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Bouncing21.
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 referred 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 eect 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.
Input/Output Conguration22.
Nomina l level Balanced Attenuation
EURODESK in ternal +4 dBu - -
XLR micro phone input - Yes
Line A inpu t +4 dBu Yes Trimpot
Line B / tape i nput +4 dBu / -10 dBV Yes Gain swit ch
Aux sends +4 d Bu No Pot
Aux retur ns 0 dBu No Pot
MIX-B outpu t +4 dBu No Po t
Subgrou p output + 4 dBu / -10 dBV Ye s Gain switc h
Main mix 1/4" jack + 4 dBu No Fader
Main mix XLR
2-track out R CA +4 dBu No Fader
2-track in 1/4" jack / RC A +4 dBu No No
Exter nal input +4 d Bu No No
Channel in sert out +4 dBu No No
Channel in sert in +4 dBu No No
Channel di rect out +4 dBu No Fader
Subgrou p insert out 0 d Bu No No
Subgrou p insert in 0 dBu No No
Main mix ins ert out 0 dBu No No
Main mix ins ert in 0 dBu No No
Control r oom out + 4 dBu No Pot
Studio out +4 dBu No Pot
Meter / anal yzer out +4 dBu No No
Tab. 22.1: Input/ou tput congurat ion
+4 dBu (max. +28
dBu)
Yes Fader
The EXPANDER PORT inputs have a nominal level of -2 dBu (subgroup/mix)
and +2 dBu (aux).
Trimpot / PAD
switch
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.
Aux sends > post EQ23.1
All channel aux sends are post mute and pre fader. If you want to convert these
to post EQ, carr y out the following modication to each channel. You will nd a
corresponding printing on the PCB (see g. 23.1).
Disconnect power supply.1)
Cut the “post mute” track.2)
Add in a “post EQ” link.3)
Repeat for all channels you want to be modied.4)
Fig. 23.5: Modi cations aux sen d > post EQ
MIX-B source > post fader23.2
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.1)
Cut the “pre” track.2)
Add in a “post” link.3)
Repeat for all channels you want to be modied.4)
Fig. 23.5: Modi cations MIX-B sou rce > post fader
LED meters > pre fader23.3
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:
Disconnect power supply.1)
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!
Modications23.
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.
Cut the “line out” track.2)
Add in a “pre fade” link.3)
Repeat for all channels you want to be modied.4)
Fig. 23.5: Modi cations LED meter s > pre fader
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Specications24.
Main Channel Strip
Mic input
Type electronically balanced, discrete input circuit
Mic E.I.N.1 (22 Hz - 22 kHz)
@ 150 Ω source -129.0 dBu / -117.3 dBqp
input shortened -132.0 dBu / -122.0 dBqp
Distortion (THD + N) 0.007 % @ +4 dBu, 1 kHz, bandwidth 80 kHz
Gain range +10 dB to +50 dB
Max. input level +12 dBu (+32 dBu @ PAD)
Line input
Type electronically balanced
Gain range 0 dB to +40 dB (-20 dB to +20 dB @ PAD)
Max. input level +22 dBu
Channel fader range +10 dB to -85 dB / o
Aux send gain range 0 dB to +15 dB / o
Equalizer
Hi shelving 12 kHz, ±15 dB
Subgroup Section
2
Noise
bus noise @ fader 0 dB -102.5 dBr
24 chs. assigned
(input B) & set @ 0 dB gain -92.5 dBr
16 chs. assigned
(input B) & set @ 0 dB gain -94.5 dBr
Submaster output
max. output level +22 dBu, balanced / unbalanced
Submaster insert
max. output level +22 dBu
Submaster insert
max. input level +22 dBu
Fader range +10 dB to -85 dB / o
Main Mix Section
2
Noise
bus noise @ fader 0 dB -101.0 dBr
24 chs. assigned
(input B) & set @ 0 dB gain -92.5 dBr
Hi mid sweep 300 Hz to 20 kHz, ±15 dB
Lo mid sweep 50 Hz to 3 kHz, ±15 dB
Lo shelving 80 Hz, ±15 dB
Lo cut (HPF) 75 Hz, 12 dB/oct.
Channel Direct O ut
Max. output level +22 dBu
Noise @ 0 dB gain -94 dBu
Output impedance 120 Ω
Tape returns ¼" jacks, balanced / unbalanced,
globally switchable from +4 dBu to -10 dBV
Channel Inserts
Max. in/out +22 dBu
Channel to channel crosstalk -95 dB @ 1 kHz
Mix B Channel Strip
Gain range 0 dB to +15 dB / o
Hi shelving 12 kHz, ±15 dB
Lo shelving 80 Hz, ±15 dB
16 chs. assigned
(input B) & set @ 0 dB gain -94.5 dBr
Max. output level +28 dBu, XLR connector,
balanced / +22 dBu, ¼" jacks, unbalanced
Aux returns gain range 0 dB to +20 dB / o
Aux sends
max. output level +22 dBu
System Data
Distortion (THD + N) 0.007 % @ +4 dBu, 1 kHz, bandwidth 80 kHz
< 0.02 %, 22 Hz to 22 kHz at normal
operating levels, any input to any output,
bandwidth 80 kHz
Frequency response
20 Hz to 40 kHz ±1 dB (any input to any output)
10 Hz to 120 kHz ±3 dB
2
Noise
@ fader 0 dB -102.5 dBr
24 chs. assigned
(input B) & set @ 0 dB gain -92.5 dBr
16 chs. assigned
(input B) & set @ 0 dB gain -94.5 dBr
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Power Supply
Power consumption 250 W
Mains voltage 100 - 240 V~ (50/60 Hz)
Fuse T 3.15 A H 250 V
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 lbs / approx. 27.72 kg
1
Equivalent In put Noise
2
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 m ay differ from thos e listed or illustr ated.
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31 EURODESK SX4882 User Manual
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FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION
EURODESK SX4882
Responsible par ty name: MUSIC Group Services USA, Inc.
Address: 18912 North Creek Parkway,
Suite 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, pur suant 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 inter ference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful inter ference to radio or television reception, which can be determined
by turning the equipment o and on, the user is encouraged to tr y to correct the
interference by one or more of the following measures:
Reorient or relocate the receiving antenna.•
Increase the separation bet ween the equipment and receiver.•
Connect the equipment into an outlet on a circuit dierent from that to which the •
receiver is connec ted.
Consult the dealer or an experienced radio/TV technician for help.•
This device complies with Part 15 of the 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 inter ference received, including inter ference that may
cause undesired operation.
Important information:
Changes or modications to the equipment not expressly approved by MUSIC Group
can void the user ’s authority to use the equipment.
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