Live Concert With 24-Track Recording - Behringer EURODESK SX4882 User Manual

EURODESK SX4882
18.

Live concert with 24-track recording

Stereo (quadraphonic) P.A. with sidefills, three infills, two wedge
mixes, four FX and simultaneous 24-track recording.
Chan-
Source
nels
1 Kick
2 Snare
3 Hi Hat
Subgroups 5
4 Tom 1
Subgroups 5
5 Tom 2
Subgroups 5
6 Tom 3
Subgroups 5
7 Tom 4
Cymbals
8
(overheads)
9 Keyboards L
10 Keyboards R
11 Bass DI
12 Trumpet
13 Trombone
14 Sax
15 BVs 1
16 BVs 2
17 BVs 3
18 Conga L
19 Conga R
Guitar 1
20
microphone
Guitar 2
21
microphone
22 Lead vocal
Main echo /
23 (Send = aux 3)
reverb return
Main echo /
24 (Send = aux 3)
reverb return
Tab. 18.1: Channel assignments 24-track
(track 24 pre-striped with SMPTE)
None of the tape tracks can be auditioned in this configuration.
The channel fader controls the level to tape, MIX-B adjusts the
P.A. level.
The channel inserts (which are pre fader), may be used as virtual
direct outs. Hopefully you will be able to set the input gains (P2)
to suit the multitrack on any channel that does not have a massive
EQ (i.e. energy) swing away from 0 dB. The consequent lack of
any desk EQ on your tape tracks might even be an advantage
when it comes to remixing the concert back in the studio.
Using this setup, you can even change the P.A. to a quadrophonic
system. Positioning takes place by balancing the main mix (chan-
nel fader, PANpot P24) against MIX-B (P20, P21).
22
Tape route Destination
Direct out Track 1
Direct out Track 2
Direct out Track 3
Tracks 5 and 6
and 6
Tracks 5 and 6
and 6
Tracks 5 and 6
and 6
Tracks 5 and 6
and 6
Direct out Track 4
Direct out Track 7
Direct out Track 8
Direct out Track 9
Direct out Track 10
Direct out Track 11
Direct out Track 12
Direct out Track 13
Direct out Track 14
Direct out Track 15
Direct out Track 16
Direct out Track 17
Direct out Track 18
Direct out Track 19
Direct out Track 20
Track 21
Track 22
Live concert with 24-track recording
Chan-
Source F.O.H. FX
nels
1 Kick MIX-B -
Aux send
2 Snare MIX-B
4
3 Hi Hat MIX-B -
Aux send
4 Tom 1 MIX-B
4
Aux send
5 Tom 2 MIX-B
4
Aux send
6 Tom 3 MIX-B
4
Aux send
7 Tom 4 MIX-B
4
Cymbals
8 (over- MIX-B -
heads)
Key-
9 MIX-B -
boards L
Key-
10 MIX-B -
boards R
11 Bass DI MIX-B -
Aux send
12 Trumpet MIX-B
5
Trom- Aux send
13 MIX-B
bone 5
Aux send
14 Sax MIX-B
5
Aux send
15 BVs 1 MIX-B
5 and 6
Aux send
16 BVs 2 MIX-B
5 and 6
Aux send
17 BVs 3 MIX-B
5 and 6
18 Conga L MIX-B -
19 Conga R MIX-B -
Guitar 1
20 micro- MIX-B -
phone
Guitar 2
21 micro- MIX-B -
phone
Lead Aux send
22 MIX-B
vocal 5 and 6
23 FX 1 L MIX-B -
24 FX 1 R MIX-B -
Tab. 18.2: 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 conse-
quence of the routing matrix being dependent on the
channel PANpot (P24).
All channels should be set for: aux 1/2: PRE (S13 DOWN)
+
> WEDGES; aux 3/4/5/6: POST (S16 UP) > FX; MIX-B
SOURCE = CHANNEL (S23 DOWN); FLIP = Mic/Line
SIGNAL (S3 UP)
Wedges Infills
Subgroups 1/2,
-
3/4 and 7/8
Aux send Subgroups 1/2
1 and 2 and 3/4
Subgroups 1/2
-
and 3/4
- -
- -
- -
- -
- -
- Subgroup 12
- Subgroup 12
Subgroups 1/2,
-
3/4 and 7/8
- -
- -
- -
Aux send
-
1 and 2
Aux send
-
1 and 2
Aux send
-
1 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
-
1
Aux send
-
1
Aux send
-
1