Mixdown; Track Recording With 2 Samplers; Recording; Headphones - Behringer EURODESK SX4882 User Manual

EURODESK SX4882
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
(S35 to 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 mul-
titrack 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 HP1 from a combination of aux
return 3 (S55) and MIX-B (S76), while HP2 picked up its signal
from aux return 4 (S69) and MIX-B (S88). 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 P55/68 (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 ac-
cess 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.
16.

Professional 24-track studio

16.1 Recording
Chances are you'll occasionally want to record more than eight
tracks at once, e.g. you're recording a band playing together live.
20
The following example covers a rock band with drums, bass, two
guitars, percussionist, brass section, lead and backing vocals.
In the real world, you'll hardly ever be taking all these artists at
once, but if you are:
Chan-
Source
nels
1 Kick
2 Snare
3 Hi Hat
4 Tom 1
5 Tom 2
6 Tom 3
7 Tom 4
Cymbals (over-
8
heads) L
Cymbals (over-
9
heads) R
Bass
10
microphone
11 Bass DI
Escaping
12
prisoners
13 Trumpet
14 Trombone
15 Sax
16 BVs 1
17 BVs 2
18 BVs 3
19 Conga L
20 Conga R
Guitar 1
21
microphone
Guitar 2
22
microphone
23 Lead vocal
Tape Monitoring will be via MIX-B in tape return mode. Once tracks
are layed, they will be flipped onto the A-channels (1 to 17), and
overdubbing can commence via tracks 18 to 24. Also "bouncing",
reducing several tracks onto one or a stereo pair, requires access
to the full routing matrix. This is available to the A-channels, but
not the B-channels.
16.2
In a multi-musician scenario you'll probably want as many different
headphones mixes as you can muster. With the current channel/
group/track assignments it is possible to set up four independent,
or semi-independent, headphone feeds while still keeping back
auxes 3/4/5/6 for "wet" monitoring (see 16.3).
Subgroup 7 => aux re-
turn 3 => headphones 1
Main mix (and)/or MIX-B
=> headphones 1
Active switches: S55/
(S82, S77)/S76
See also fig. 14.4 "Subgroup-driven auxless headphones mix"
and associated text.
In the above configuration HP1 and HP2 comprise a blend of the
main mix, MIX-B and an additional feed from a subgroup. The
subgroup feed can be used to select which channel(s) should be
boosted in the cans relative to the main mixes.
Professional 24-track studio
Route
Direct out
Direct out
Direct out
Subgroups 5 and 6 Tracks 5 and 6
Subgroups 5 and 6 Tracks 5 and 6
Subgroups 5 and 6 Tracks 5 and 6
Subgroups 5 and 6 Tracks 5 and 6
Direct out
Direct out
Subgroup 3
Subgroup 3
Subgroup 4
Subgroups 1 and 2 Tracks 9 and 10
Subgroups 1 and 2 Tracks 9 and 10
Subgroups 1 and 2 Tracks 9 and 10
Subgroups 7 and 8 Tracks 11 and 12
Subgroups 7 and 8 Tracks 11 and 12
Subgroups 7 and 8 Tracks 11 and 12
Direct out
Direct out
Direct out
Direct out
Direct out
Tab. 16.1: Channel assignment

Very tricky headphones

Subgroup 8 => aux return 4
=> headphones 2
Main mix (and)/or MIX-B =>
headphones 2
Active switches: S69/(S82,
S89)/S88
Destination
Track 2
Track 3
Track 4
Track 7
Track 8
Track 1
Track 1
Who knows?
Track 13
Track 14
Track 15
Track 16
Track 17