Behringer EURODESK SX4882 Quick Start Guide - Page 9

16 EURODESK SX4882 EURODESK SX4882 Controls (EN) Controls EURODESK Overview Prefix S L P F Meaning of the used prefixes Meaning Switch LED Potentiometer Fader Metering The 1 to 24 channels have signal (-20 dB, (L25)) and overload LEDs (PEAK, (L24)). 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 ((S100), 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. In TAPE MODE the channel meters will mirror the multitrack's meters, because they read the tape return inputs - after the OPERATING LEVEL switch, but unaffected by anything else happening in the channel. 0 dB is referenced to the selected tape operating level (+4 dBu or -10 dBV). Channel strip 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 (S1) and (S3). Each channel strip also sports a secondary B-CHANNEL. Anything routed to a B-channel is directed to a separate MIX-B bus. Input switching First, look at the MIC/LINE switch (S1). In the UP position it selects MIC, in the DOWN position LINE. The next switch (S3) chooses whether A-channel looks at INPUT or TAPE. If INPUT is routed to A-channel, TAPE is offered to B-channel. If TAPE is routed to A-channel, INPUT is offered to B-channel. Depressing the PAD switch ((S1a)) lowers an incoming mic signal by -20 dB, if necessary. (S23) 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 (S48), master section) in this configuration. Input gain setting The channel input level is set by the TRIMPOT ((P2)). Use SOLO/PFL ((S26)) 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 ((S26)) has an associated LED ((L26)). Main equalizer The main equalizer can be switched ((S10)) out of circuit for easy A/B comparisons between EQed and straight signals, or when you know that you don't want to use desk EQ at all. It is best considered in three sections. First, there are two Baxendall shelving frequency controls for treble and bass, at 12 kHz and 80 Hz respectively ((P4) and (P9)). Secondly, there are two semi-parametricswept mids, Q fixed at 1, which cover the bands 300 Hz to 20 kHz and 50 Hz to 3 kHz. An unusually broad frequency range is catered for, and there is an enormous 3-plus octave overlap between the two mid bands ((P5), (P6), (P7) and (P8)).Thirdly, there is a steep high pass (low cut) filter ((S11)), slope @ 12 dB/octave, -3 dB @ 75 Hz, for reducing floor rumble, plosives, woolly bottom end, etc. Aux sends All six aux sends are mono and post EQ. They are switchable PRE/POST fader in two banks ((S13) and (S16)). For aux sends 1 and 2, two dedicated pots ((P12) and (P13)) are used. These can be taken from a point before or after the channel fader, i.e. PRE or POST ((S13)). Aux sends 3 and 4, and 5 and 6 are serviced by two potentiometers ((P14) and (P15)). The SHIFT button ((S15)) 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 ((S17)), and, as before, can be pre or post ((S16)). Routing and muting 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 (S32), while the subgroups are selected by switches (S28) (for groups 1 and 2), (S29) (3 and 4), (S30) (5 and 6) and (S31) (7 and 8). Odd and even numbered groups are selected via the main A-channel PAN (P24), as are the left and right mix buses. The level to the subgroup and main mix buses is ultimately determined by the channel faders. The MUTE button ((S27)), like that for SOLO has an LED indicator ((L27)) and removes the A-channel signal from all buses, save any auxes set to pre fader. 17 Quick Start Guide B-channel The B-channel comprises a secondary channel with its own high and low EQ, pan and level ((P18), (P19), (P20) and (P21)). The EQ is a replica of the A-channel shelving EQ. The B-channel ALWAYS feeds into the MIX-B stereo bus, but its source can be switched between TAPE, LINE, MIC and A-CHANNEL, depending on how (S1), (S2) and (S3) are set. Unusually for an 8-bus console, B-channels also have their own MUTE buttons ( (S22)). Aux sends 3/4/5/6 may be diverted from the A to the B-channel via (S17). Subgroups The principal routes to the multitrack are via the SUBGROUP OUTPUTS. There are four stereo (or eight mono) subgroups, numbered 1 to 8. All main channels can access all of them, as can the STEREO AUX RETURNS 1 and 2. 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 (S37) and (S38). (S37) routes an odd numbered group to the left bus, while (S38) sends an even numbered subgroup to the right bus. That's fine for stereo submixes. If you want a pair of mono submixes instead, also press the MONO buttons ((S35) and (S36)). Now these subgroups feed into the center of the main mix stereo image, i.e. equally to L and R. Subgroup SOLO ((S33) + (S34)) 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. Aux sends Much of the master section is taken up by master aux sends and returns. We'll start with the sends. Stacked in a vertical column are six master aux send levels, one for each of buses 1 to 6 ((P41) to (P46)). Each one has a gain structure of minus infinity to +15 dB. The extra 15 dB of gain comes in once a knob passes a center detente (representing the "normal" unity gain position), enabling insensitive outboard FX to be properly driven. Each aux send has a SOLO button ((S41) to (S46)), and, as with other areas of mixer, a LOCAL SOLO LIGHT ((L47)), which illuminates when any of the AUX master sends are solo-ed. Aux returns Next to the aux sends are the stereo aux returns. These can be thought of as a dozen extra line inputs configured as six stereo pairs. On these inputs there is up to 20 dB of gain available. Aux returns 1 and 2 Aux returns 1 and 2 have full subgroup routing matrices to enable returning FX to be sent to tape, plus main mix bus assignment. The functions for aux return 1 (mirrored by aux return 2) are: ROUTING ((S49) / (S50) / (S51) / (S52) / (S53)) LEVEL ((P49)), BALANCE ((P51)) and SOLO ((S54)). 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. Aux returns 3 to 6 And so to aux returns 3 through 6. These too have a routing matrix ((S55) to (S58) for aux return 3), but this time it is designed to facilitate monitoring rather than recording. The options are MAIN (L/ R) MIX, and PHONES 1/2. Gain pots and solo switches complete the picture. SOLO Below each column of aux returns lies a local solo LED ((L61) & (L74)). These illuminate whenever a SOLO button in the column above is pressed. MIX-B master Only two controls occupy the MIX-B master. (P48) offers the standard EURODESK gain of up to +15 dB. (S48) is crucial, it routes the MIX-B bus output into the main mix bus. MIX-B can have three basic functions. It can act as an entirely separate mixer-within-a-mixer to provide a completely separate mix ((S48) UP, (S23) DOWN). It can act as an additional stereo aux feed to FX as well as a pre fader monitoring aid during mixdown ((S48) UP, (S23) DOWN). It can provide 24 extra B-inputs to the mix ((S48) DOWN, (S23) UP). Monitoring Though most of you will want to audition the main mix most of the time there are exceptions. These include PFL/SOLO, and 2-TRACK PLAYBACK. The SOURCING matrix ((S82) to (S85)) 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 CONTROL ROOM LEVEL pot (P86) sets the level to the control room monitors. This is sourced post the main main mix stereo fader setting: otherwise you wouldn't be able to hear your fades. There is also a similar STUDIO volume pot ((P82)). Lastly, there is a MONO button ((S86)), useful for checking the phase correlation and/or coherence of a stereo signal. Again, this does not affect the main mix output. Headphones A SOURCING matrix picks up any or all of MIX-B ((S76)), CONTROL ROOM (as chosen in monitor section, (S77)), AUX 3/4 ((S78)), AUX 5/6 ((S79)) and EXTERNAL ((S80)). In addition to the sources which are directly selectable from the headphones masters, aux returns 3 to 6 may be "force-fed" into (HP1) & (HP2) from the aux returns masters ((S55), (S56), etc.). The headphone mix level is controlled by a master volume pot ((P75)), and the gain is sufficient to drive headphones directly. A SOLO button ((S81)), with its own LED, enables monitoring of the headphones amplifier's output signal. PFL Pressing (S95) disengages the stereo SOLO bus, and replaces it with a separate mono PFL (Pre-Fader-Listen) bus. SOLO SOLO is short for SOLO IN PLACE, and is the preferred method for auditioning an isolated signal or a group of signals. Whenever a SOLO button is pressed, all unselected channels are muted in the monitors. Stereo panning is maintained. The SOLO bus is derived from the output of the channel PANs, aux send/return pots, etc., and is always post fader. In addition to any local solo LEDs which might be activated, the ultra-bright MAIN SOLO LED ((L95)) illuminates whenever anything is SOLO/PFLed. (P94) controls the master SOLO/PFL level. Set to unity gain (center detente), this will match the mix level. Talkback The built in mic (above the main mix faders) allows you to converse with artists remotely. The most important controls are the VOLUME ((P99)) and PHONES & STUDIO button ((S99)). It is possible to route the talkback mic to any of the following: aux 1, aux 2, subgroups, and phones and studio ((S96) to (S99)). Complex headphone or stage monitoring networks could be constructed where (HP1), (HP2), aux 1 (pre), aux 2 (pre) and one or more subgroups all feed separate monitor mixes. Engaging TALKBACK ((S99)) dims the control room (monitors, not lights) by -20 dB to restrict the possibility of feedback. All other talkback routes are unaffected.