Behringer EURODESK SX4882 Manual - Page 22

22 EURODESK SX4882 User Manual 14.3 Returns Channels 1 to 8: When you've only got eight tape returns, you can afford to bring them back on main channels to enable e.g. chorus vocal comps. or recorded real-time mixing effects such as frequency sweeping to be quickly bounced or sampled off via subgroups. Channels 9 to 23: The most important SYNTH/SAMPLER outputs. Those most likely to need full EQ 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. 14.4 Lining up record/sample inputs Set the relevant TAPE OUTPUT and INPUT switches (located at the rear of the console) to match the operating level of your 8-track (consult manual, "phone manufacturer", or simply "suck & see" to find which setting works best). The sampler's variable input gain range should be more than wide enough to accept either -10 dBV or +4 dBu. There is no oscillator in the EURODESK 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 qualified personnel.) Adjust the sampler's input level until it also reads 0 dB. ◊ Beware of inaccurate/uncalibrated sampler input meters. Work out how hard you can safely drive the sampler's input, reference this to 0 dB on a EURODESK subgroup meter, then take note of the sampler's input gain pot setting. (Or use soft adhesive tape etc. to hold it in one position.) (For more info on digital metering and associated problems see section 13.2.3.) 14.5 Mixdown The situation here is no different from record, really, save that the subgroups may now be routed directly to the main mix (L/R) bus ( S 35 to S 38 ) for easier mixing. Remember, you started off with the tape returns coming up on A-channels 1 to 8, therefore there is no need to "flip" them. You will probably (definitely) be running lots of MIDI sequencer tracks live. Take care not to encourage MIDI delays. 15. 16-Track Recording with 2 Samplers 15.1 Recording Subgroup outputs/tape sends 1 to 16 should be wired to the multitrack record inputs 1 to 16. Sampler inputs should be connected to subgroup outs 5, 6, 7 and 8 via custom-made Y-adaptors. Lining up is as per the previous example (see section 14.3). When choosing which outputs where to assign, you have to consider that you have got maybe 16 tape and 16 or 20 sampler outputs to accommodate onto 24 A-channels (and 24 B-channels)! We'd suggest all audio tape tracks be returned on A-Channels, while at least one stereo output from a sampler is also brought back on a pair of A-channels for "flying in" (a sampler can pick up e.g. chorus vocal and drop it into all choruses, or sample a particularly nifty bit of flanging on a drum loop etc.; then lay the effected loop back to tape, without re-patching). Most other sampler outputs and MIDI keyboards which need to be heard but not recorded can be assigned to B-channels. The remaining six or so A-channels may then be used for overdubs. 15.2 Headphones While auxless headphone monitoring (see section 14.2) is still an option (and a pretty good one), a small general purpose studio might require a more straightforward way of working using one or two discrete headphone mixes. Here, it would be best to keep aux sends 1 and 2 free for monitoring purposes until mixdown time. Aux returns 3/4/5//6 can be routed directly to headphones 1 and/or 2. A good idea would be to drive HP 2 from a combination of aux return 3 ( S 55 ) and MIX-B ( S 76 ), while HP 2 picked up its signal from aux return 4 ( S 69 ) and MIX-B ( S 88 ). Channel auxes 3 and 4 would be routed to A-channels. In this configuration a reasonable degree of balancing between the MIX-B and aux 3/4 level into the cans is possible by adjusting P 55 / P 68 (minus infinity 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. Fig. 15.1: Headphones 15.3 Mixdown With 24 A-channels and up to 36 significant tape and sampler tracks to accommodate, some thought will need to be given to mixdown assignments. Tracks which need little EQ and no access to the main track reverbs/echoes on auxes 1 and 2 may be parked on B-channels. Lead tracks and prominent rhythm/ melodic voices should be placed onto A-channels. Remember that auxes 3/4/5/6 can be dedicated either to A or B-channels by SOURCE switch S17 . behringer.com