Behringer MX1604A User Manual download pdf (Page 14)

EURORACK MX1604A

5.5 Multitrack initialization

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.

5.6 Recording levels

When recording to digital, its a good idea to keep the recorders peak meters below 0 dB. Most (not all, esp.

samplers) read 0 dB with some headroom left. This is because, unlike with analogue, the onset of digital

distortion is as sudden as it is horrible. If you really want to take your recording level to the limit (and fully

exploit for instance 16-bit digitals 96 dB dynamic range), youll have to do some calibrating. How to do it?

Well, 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 multitrack recorder may be way under its maximum input limit. Probably a better

way to work out just how hard you can drive your recorder is to incrementally increase the record level until

the onset of digital distortion, subtract, say, 5 or 10 dB, and never exceed that level. Engage peak hold on

your recorder before recording if you want to confirm that you havent.

When recording to analogue, the tape machines VU meters should show around +3 dB on bass, but only

around -10 dB for hi hat. Although analogue distortion is more like compression at modest overload levels

(often desirable on bottom end), higher frequencies cause saturation even at modest levels (resulting in an

unpleasant crunchiness). Also, VU meters tend to progressively under-read above 1 kHz, due to their

sluggish response time. Hi-hats should read about -10 dB on a VU meter, as against 0 dB for a typical snare

drum, and +3 dB or more for a kick drum.

Peak meters read more-or-less independent of frequency. Aim for 0 dB recording level for all signals.

5.7 Track sheet

When laying out channels for recording or mixing, try to be sensible. Keep tom-toms together, etc. Work out

a scheme that suits you and stick to it. A common order is: kick drum, snare, hi-hat, tom-toms (as the

audience sees the kit), cymbals (ditto), bass, guitars, keyboards, other instruments, vocals. From session to

session and gig to gig you will soon know where you are without hardly ever having to look at your track-

sheet.

6. APPLICATIONS

Experience tells us that the cables in a studio environment get tangled very quickly (inviting mistakes). A

patchfield will facilitate patching and repatching considerably. The BEHRINGER ULTRAPATCH PRO PX2000

makes patching easier and trouble free, increasing both ergonomics and productivity.

6.1 Keyboard mixing, live or in the studio

This is relatively simple to achieve. Simply use the Line inputs to mix stereo or mono outputs from your

keyboards. It may be useful to use the Alt 3-4 outs e.g. to control the level of drums versus music. Aux Sends

may be used either to feed on-stage monitors, artists headphones or effects units. The Main Mix output

should feed the FOH or studio mixer. A typical comprehensive live setup is shown below.

6. APPLICATIONS

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Behringer MX1604A User Manual Page 14