Professional 24-Track Studio - Behringer EURODESK SX4882 User Manual

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EURODESK SX4882 User Manual
16.

Professional 24-Track Studio

16.1 Recording
Chances are you'll occasionally want to record more than eight tracks at once,
e.g. ou're recording a band playing together live. 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:
Channels Source
1 Kick
2 Snare
3 Hi Hat
4 Tom 1
5 Tom 2
6 Tom 3
7 Tom 4
8 Cymbals (overheads) L
9 Cymbals (overheads) R
10 Bass microphone
11 Bass DI
12 Escaping prisoners
13 Trumpet
14 Trombone
15 Sax
16 BVs 1
17 BVs 2
18 BVs 3
19 Conga L
20 Conga R
21 Guitar 1 microphone
22 Guitar 2 microphone
23 Lead vocal
Tab. 16.1: Channel assignment
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 Very tricky headphones
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 return 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 and
HP 1
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.
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Route Destination
Direct out Track 2
Direct out Track 3
Direct out Track 4
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 Track 7
Direct out Track 8
Subgroup 3 Track 1
Subgroup 3 Track 1
Subgroup 4 Who knows?
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 Track 13
Direct out Track 14
Direct out Track 15
Direct out Track 16
Direct out Track 17
Subgroup 8 => aux return 4 =>
headphones 2
Main mix (and)/or MIX-B =>
headphones 2
Active switches: S69/(S82, S89)/S88
comprise a blend of the main mix,
HP 2
◊
Choose to send to subgroups 7 and 8 from channels which are routed
to tape from their DIRECT OUT. Otherwise CHANNEL PAN, which will
already have been set for recording via another group, is unlikely to be
pointing to where you want the cue signal to go. Aux sends 1 and 2 are
available as two separate mono headphone feeds, or as a single stereo
headphone feed. You'll need an extra stereo amplifier to amplify the
aux 1 and 2 outputs to drive headphones properly.
Overdubbing:
It's all change. Flip the recorded music onto A-channels, in order to feed from
tape into all the headphones buses.
Alternatively:
(and probably much more sensibly): use the headphones routine outlined in
section 15.2 (fig. 15.1).
16.3 Wet monitoring
It is customary with live recording to lay tracks dry. (Not so with MIDI setups:
often a tape track is used to record a complex effect. In a MIDI studio a take is
generally MIDI sequencer driven, and hence reproducible should the recorded
effected track eventually prove to be unsuitable, in live recording, a great take
is irreplaceable! Hence the extra caution when laying live tracks.) With dry
recording you will probably want to audition tape tracks with some reverb and/
or echo, to get a better idea of how the final mix might sound. By pressing the
AUX 3/4/5/6 SOURCE switch ( ), aux buses 3 and 4 are available to the
S 17
B-channels, i.e. tape monitoring. You could send to reverb from input channels,
but the FX would disappear on tape playback. Bring the FX back on aux returns
1, 2, 5 or 6. Remember 3 and 4 have been used for headphones patching.
16.4 Mixdown
All aux sends and subgroups are now available for mixing, as are
A-channels 23 and 24.
◊
If you have two different instruments recorded onto one track,
the mixdown settings for each might be totally different. Set up two
A-channels. One for each instrument, and switch between them.
The B-channels may be used e.g. as FX returns in place of the normal aux returns
(the advantage being that these channels have PAN and EQ) or as an extra stereo
aux send.