Behringer SX4882 User Manual
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
behringer.com
behringer.com
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.
3 EURODESK SX4882 User Manual
behringer.com
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
behringer.com
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
5 EURODESK SX4882 User Manual
behringer.com
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.
behringer.com
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
7 EURODESK SX4882 User Manual
behringer.com
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
;
behringer.com
8 EURODESK SX4882 User Manual
An exception to this rule is when laying down voice takes. It is often ◊
convenient to have the mic channel(s) routed to alt potential TAKE
tracks simultaneously, since you are often dropping in quickly between
four or more tracks. It means one less button press each time you
switch tracks.
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.
9 EURODESK SX4882 User Manual
behringer.com
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!)
behringer.com
10 EURODESK SX4882 User Manual
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.
Loading...