Behringer EURODESK SX4882 User Manual page 12

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EURODESK SX4882 User Manual
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For live applications try using MIX-B to feed a secondary set of speakers.
These could be sidefills, or even more spectacular, the rearward portion
of a quadraphonic sound system.
There is no SOLO provision for MIX-B. However, you can audition it by selecting
only MIX-B ( ) in the monitor sourcing matrix.
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If MIX-B is assigned to the main mix (
MIX-B ( S 83 ) and the main mix (
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
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 ( to , see fig. 6.5) allows you to monitor the main mix,
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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!
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EXTERNAL could be "normalled" to a HiFi pre-amp, allowing you to
monitor extra sources such as vinyl, cassette, CD, etc.
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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
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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 ( ).
P 82
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S 48 DOWN), do not listen to
S 82 ) simultaneously. That way
sets the level to the control room monitors.
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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.
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If you are using the STUDIO output to drive a pair of monitors actually in
the studio, do not ever leave
howlround may well be the result.
Lastly, there is a MONO button (
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correlation and/or coherence of a stereo signal. Again, this does not affect
the main mix output.
6.4 Headphones
Both HEADPHONES 1 & 2 masters are identical.
Fig. 6.5: Phones
A SOURCING matrix picks up any or all of MIX-B (
(as chosen in monitor section,
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EXTERNAL ( ). In addition to the sources which are directly selectable from
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the headphones masters, aux returns 3 to 6 may be "force-fed" into
from the aux returns masters (
HP 2
The headphone mix level is controlled by a master volume pot (
and the gain is sufficient to drive headphones directly. This is fine for a MIDI
suite with overdub booth, but for the bigger studio's headphone network
we'd recommend using a separate headphones distribution amplifier like our
BEHRINGER POWERPLAY PRO HA4400. This can offer the added advantage
of independent headphones level control for every performer.
A SOLO button ( ), with its own LED, enables monitoring of the headphones
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amplifier'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).
P 82 turned up during a take. Howls and
), useful for checking the phase
), CONTROL ROOM
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), AUX 3/4 ( ), AUX 5/6 ( ) and
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HP 1
, , etc.).
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),
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