Behringer UB1204FX-PRO User Manual - Page 8

EURORACK UB1204-PRO/UB1204FX-PRO 2.3.4 Stereo aux return + If you connect a compressor or a noise gate after the 2-track output, the faders will probably not be able to create a satisfactory fade-out effect. 2.3.6 Level meter and monitoring Fig. 2.9: Stereo aux return controls STEREO AUX RETURN 1 STEREO AUX RETURN 1 is a stereo control which determines the level of the signal in the main mix. If STEREO AUX RETURN 1 is used as effects return, you can add the effects signal to any “dry” channel signal. + In this instance, the effects device should be set at 100% effect. STEREO AUX RETURN MON The STEREO AUX RETURN MON control has a special function: it can be used to add an effect to a monitor mix. For example: Monitor mix with effect In this instance, the effects device should be set up as follows: AUX SEND 2 is connected to the L/Mono input of your effects device, while its outputs are connected to STEREO AUX RETURN 1. Connect the amplifier of your monitor system to AUX SEND 1. The AUX SEND 1 master control determines the volume of the monitor mix. You can now use the STEREO AUX RETURN MON control to adjust the level of the effects signal routed to the monitor mix. You can easily use the headphones distribution amplifier BEHRINGER POWERPLAY PRO HA4600/HA4700/HA8000 to provide you with four (or eight with the HA8000) stereo headphone mixes for your studio. STEREO AUX RETURN 2 (FX) The STEREO AUX RETURN 2 control determines the level of signals fed into the AUX RETURN 2 connectors which are routed to the main mix. MAIN MIX/ALT 3-4 The MAIN MIX/ALT 3-4 switch routes the signal connected to STEREO AUX RETURN 2 to either main mix (not pressed) or submix (Alt 3-4, pressed). 2.3.5 Tape input / tape output Fig. 2.10: 2-track connectors TAPE INPUT The TAPE INPUT RCA connectors are provided for connecting a 2 track machine (e.g. DAT recorder). They can also be used as stereo line input. Alternatively, the output signal of a second EURORACK or BEHRINGER ULTRALINK PRO MX882 can also be connected. If you connect a hi-fi amplifier with a source selection switch to the TAPE INPUT, you can easily switch between additional sources (e.g. cassette recorder, CD player, etc.). TAPE OUTPUT These connectors are wired in parallel with the MAIN OUT and carry the main mix signal (unbalanced). Connect the TAPE OUTPUT to the inputs of your recording device. The final output level can be adjusted via the high-precision MAIN MIX fader. Fig. 2.11: Control room/phones section, level meter TAPE The TAPE switch routes the signal from the TAPE IN connectors to the level meter, the CONTROL ROOM OUT outputs and the PHONES connector—this is a simple way to check recorded signals via monitor speakers or headphones. ALT 3-4 Similarly, the ALT 3-4 switch routes the signal from the Alt 3-4 bus to the same path for monitoring purposes. MAIN MIX The MAIN MIX switch sends the main mix signal to the above- mentioned outputs and to the level meter. CTRL R & PHONES Use this control to set control room output level and head- phones volume respectively. TAPE TO MAIN When the TAPE TO MAIN switch is depressed, the 2-track input is routed to the main mix and thus serves as an additional input for tape machines. You can also connect MIDI instruments or other signal sources here that do not require any further processing. At the same time, this switch disables the main mix to tape output link. POWER The blue POWER LED indicates that the device is switched on. +48 V The red “+48 V” LED lights up when the phantom power supply is switched on. The phantom power supply is necessary for condenser microphones and is activated using the switch on the rear of the device. + Please do not connect microphones to the mixer (or the stagebox/wallbox) while the phantom power supply is switched on. Connect microphones before you switch on the power supply. In addition, the monitor/PA loudspeakers should be muted before you activate the phantom power supply. After switching on, wait approx. one minute to allow for system stabilization. LEVEL METER The high-precision level meter accurately displays the appropriate signal level. LEVEL SETTING: When recording to a digital device, the recorder’s peak meter should not exceed 0 dB. This is because, unlike analog recordings, slightly excessive levels can create unpleasant digital distortion. When recording to an analog device, the VU meters of the recording machine should reach approx. +3 dB with lowfrequency signals (e.g. kick drum). Due to their inertia VU meters tend to display too low a signal level at frequencies above 1 kHz. This is why, for example, a Hi-Hat should only be driven as far as -10 dB. Snare drums should be driven to approx. 0 dB. 8 2. CONTROL ELEMENTS AND CONNECTORS