Behringer EURODESK SX4882 User Manual download pdf (Page 11)

11 EURODESK SX4882 User Manual

There is no SOLO provision for MIX-B. However, you can audition it by selecting

only MIX-B ((S83)) in the monitor sourcing matrix.

◊ If MIX-B is assigned to the main mix ((S48) DOWN), do not listen to MIX-B

((S83)) and the main mix ((S82)) simultaneously. That way you’ll be

monitoring MIX-B twice over, and what you hear won’t correspond with

what’s going down to tape.

6.3 Monitoring

(P82)

(P86)

(S82)

Fig. 6.4: 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), see g.6.5) 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 meters won’t make much sense

if more than one source is selected!

◊ EXTERNAL could be “normalled” to a HiFi pre-amp, allowing you to

monitor extra sources such as vinyl, cassette, CD, etc.

◊ Altering what goes into the control room’s monitors does not affect the

signal from the main recording outputs. Just as well, or every time you

wanted to do a quick SOLO during a mix, you’d have to start again!

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)).

◊ Owners of MIDI production suites might like to drive a second pair

of control room speakers from the studio output, but take care

when using the TALKBACK mic: no -20 dB offset is applied to the

studio output!

We would like to recommend you to use half-a-dozen sets of speakers on an

external switching matrix, including studio monitors, ghettoblaster, club system,

car stereo and overblown 2" speakers loosely screwed into a less-than-airtight

cardboard box.

◊ If you are using the STUDIO output to drive a pair of monitors actually

in the studio, do not ever leave (P82) turned up during a take. Howls and

howlround may well be the result.

Lastly, there is a MONO button ((S86)), useful for checking the phase

correlationand/or coherence of a stereo signal. Again, this does not aect

themain mix output.

6.4 Headphones

Both HEADPHONES 1 & 2 masters are identical.

(P75)

(S77)

(S+L81)

(S80)

(S79)

(S78)

(S76)

Fig. 6.5: Phones

A SOURCING matrix picks up any or all of MIX-B ((S76)), CONTROL ROOM

(aschosenin monitor section, (S77)), AUX 3/4 (( S 78)), 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 sucient to drive headphones directly. This is ne for a MIDI suite

with overdub booth, but for the bigger studio’s headphone network we’d

recommend using a separate headphones distribution amplier like our

BEHRINGERPOWERPLAYPROHA4400. This can oer the added advantage

ofindependent headphones level control for every performer.

A SOLO button ((S81)), with its own LED, enables monitoring of the headphones

amplier’s output signal.

This way the engineer can monitor what’s going on in the cans on the control

room monitors, though in our experience this does not give as true a picture as

auditioning the cue feed from a set of headphones identical to those worn by

theperformer(s).

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