Expanding The Eurodesk; Timecode - Behringer EURODESK SX4882 User Manual

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EURODESK SX4882 User Manual
Using this setup, you can even change the P.A. to a quadrophonic system.
Positioning takes place by balancing the main mix (channel fader, PANpot
against MIX-B ( , ).
P 20 P 21
Channels Source F.O.H.
1 Kick MIX-B
2 Snare MIX-B
3 Hi Hat MIX-B
4 Tom 1 MIX-B
5 Tom 2 MIX-B
6 Tom 3 MIX-B
7 Tom 4 MIX-B
Cymbals
8 MIX-B
(overheads)
9 Keyboards L MIX-B
10 Keyboards R MIX-B
11 Bass DI MIX-B
12 Trumpet MIX-B
13 Trombone MIX-B
14 Sax MIX-B
15 BVs 1 MIX-B
16 BVs 2 MIX-B
17 BVs 3 MIX-B
18 Conga L MIX-B
19 Conga R MIX-B
Guitar 1
20 MIX-B
microphone
Guitar 2
21 MIX-B
microphone
22 Lead vocal MIX-B
23 FX 1 L MIX-B
24 FX 1 R MIX-B
Tab. 8.2: Front/rear/stage monitors routing
For front of house route all channels to the MIX-B bus > main mix. For live P.A.
effects use auxes 3/4/5/6. For wedge monitors use aux 1 and 2 in pre mode > aux
1and 2 output. For sidefills use phones 1 output. For infill for guitarist, keyboard
player and drummer use subgroups 1/2, 3/4 and 7/8.
◊
No subgrouping is used as a mixing aid to the FOH mix.
◊
Infill sends use up one group pair each as a consequence of the routing
matrix being dependent on the channel PANpot (
◊
All channels should be set for: aux 1/2: PRE (
aux 3/4/5/6: POST ( S 16 UP) > FX; MIX-B SOURCE = CHANNEL (
DOWN); FLIP = Mic/Line SIGNAL (
◊
In a quadrophonic setup MIX-B should be kept separate from the main
mix ( S 48 UP).
OK: This example has been extreme. Chances are if you were touring with the
sort of PA / multitrack described above you'd also have a massive FOH console,
separate foldback mixer, and a rider that would make Bill Graham blanche.
None of the applications examples are designed to be used as a BLUEPRINT.
Rather, they should give you some idea of the scope and flexibility of your
EURODESK SX4882. Use your imagination to find novel ways of solving problems
and creating extra facilities.
behringer.com
FX Wedges Infills
Subgroups 1/2, 3/4
- -
and 7/8
Aux send 1 Subgroups 1/2
Aux send 4
and 2 and 3/4
Subgroups 1/2
- -
and 3/4
Aux send 4 - -
Aux send 4 - -
Aux send 4 - -
Aux send 4 - -
- - -
- - Subgroup 12
- - Subgroup 12
Subgroups 1/2,
- -
3/4 and 7/8
Aux send 5 - -
Aux send 5 - -
Aux send 5 - -
Aux send 5 Aux send 1
-
and 6 and 2
Aux send 5 Aux send 1
-
and 6 and 2
Aux send 5 Aux send 1
-
and 6 and 2
Subgroups 1/2,
- -
3/4 and 7/8
Subgroups 1/2,
- -
3/4 and 7/8
- - Subgroups 3 and 4
- - Subgroups 3 and 4
Aux send 5
Aux send 1 -
and 6
- Aux send 1 -
- Aux send 1 -
P 24 ).
S 13 DOWN) > WEDGES;
S 23
S 3 UP)
19.

Expanding the EURODESK

)
P 24
19.1 Connections
The EXPANDER PORT is input only, and provides access to all but the PFL/SOLO
buses. Since the nominal internal operating level of your EURODESK SX4882 is
0 dB, and that at the jack outputs +4 dB, the sends from the outputs of console
2 must be attenuated by +4 dB if unity gain between it and the primary console
is to be maintained. Wiring is as follows:
EURODESK 2
Subgroup outputs 1 to 8
Aux outputs 1 to 6
Main mix output
MIX-B output
Another manufacturer's
desk
Subgroup outputs 1 to 8
Aux outputs 1 to 6
Main mix output
MIX-B output
19.2 Alignment
To find out the value of "X" align the consoles in the following way. Patch a 1 kHz
sine tone (or play a sustained B above middle C on a keyboard) into a channel
on each console. Set up each console so that the signal produces unity gain
(0 dB) at every output (use each console's PFL or equivalent function to do this).
Now, connect the outputs of the second console into the EURODESK EXPANDER
PORT. Mute the channel on the EURODESK carrying the signal, and look at the
EURODESK outputs. Systematically adjust the reading on each bus until they all
read 0 dB by adjusting the master send levels of console 2 (i.e.: master aux send
controls, main mix master faders, subgroup faders, etc.).
20.

Timecode

In analog multitrack recording timecode usually goes down on the edge of the
tape: track 8, 16 or 24, with the adjacent track left clear (GUARD BAND) to stop
bleeding between recorded tracks and code. Digital formats do not waste any
audio tracks on timecode: a separate sync is provided.
Ideally, timecode should be patched from the multitrack out directly into the
synchronizer input. Normally, a 24 track tape is striped with timecode before a
session commences. Any sequenced music, click track, mix automation is then
referenced to it.
Always check sync before laying down any sequenced music: record a click
track, then check to see that a "live" playback doesn't drift. Timecode comes
in various formats. The general rule is: format (and make/model) of timecode
generator must be matched to the reader. This shouldn't be a problem if
recording and mixing take place in-house and under one roof. It's when tapes
move around that problems arise (be sure to include every conceivable technical
detail on a tracksheet accompanying the master tape). Fortunately, there are
ways to generate fresh in-sync timecode even where none existed in the
first place, otherwise most remixes would never happen. You would rather
not have to, though, since it takes time, effort, and an intelligent "learning"
synchronizer to do it.
If the gain from the recorder is too low to drive the sync unit,
• re-stripe at a higher level or
•
amplify the recorded timecode somehow, possibly via a desk channel not
routed to any of the main buses. In this case use the channel's direct out to
drive the synchronizer's input, in order to keep the timecode as remote as
possible from the audio (timecode crosses over like nothing else we know).
> -4 dB > EURODESK 1
EXPANDER PORT subgroup inputs 1 to 8
EXPANDER PORT aux inputs 1 to 6
EXPANDER PORT main mix inputs
EXPANDER PORT MIX-B input
> -X dB > EURODESK 1
EXPANDER PORT subgroup inputs 1 to 8
EXPANDER PORT aux inputs 1 to 6
EXPANDER PORT main mix inputs
EXPANDER PORT MIX-B input