Behringer Eurodesk SX4882 User Manual
EURODESK SX4882
Professional 24-track studio
20
Mixdown
14.5
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.
16-track recording with 2 samplers
15.
Recording
15.1
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.
Headphones
15.2
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/
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.
Headphones
Fig. 15.1:
Mixdown
15.3
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.
Professional 24-track studio
16.
Recording
16.1
Chances are you’ll occasionally want to record more than eight
tracks at once, e.g. you’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:
Chan-
nels
Source
Route
Destination
1
Kick
Direct out
Track 2
2
Snare
Direct out
Track 3
3
Hi Hat
Direct out
Track 4
4
Tom 1
Subgroups 5 and 6
Tracks 5 and 6
5
Tom 2
Subgroups 5 and 6
Tracks 5 and 6
6
Tom 3
Subgroups 5 and 6
Tracks 5 and 6
7
Tom 4
Subgroups 5 and 6
Tracks 5 and 6
8
Cymbals (over-
heads) L
Direct out
Track 7
9
Cymbals (over-
heads) R
Direct out
Track 8
10
Bass
microphone
Subgroup 3
Track 1
11
Bass DI
Subgroup 3
Track 1
12
Escaping
prisoners
Subgroup 4
Who knows?
13
Trumpet
Subgroups 1 and 2 Tracks 9 and 10
14
Trombone
Subgroups 1 and 2 Tracks 9 and 10
15
Sax
Subgroups 1 and 2 Tracks 9 and 10
16
BVs 1
Subgroups 7 and 8 Tracks 11 and 12
17
BVs 2
Subgroups 7 and 8 Tracks 11 and 12
18
BVs 3
Subgroups 7 and 8 Tracks 11 and 12
19
Conga L
Direct out
Track 13
20
Conga R
Direct out
Track 14
21
Guitar 1
microphone
Direct out
Track 15
22
Guitar 2
microphone
Direct out
Track 16
23
Lead vocal
Direct out
Track 17
Channel assignment
Tab. 16.1:
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.
Very tricky headphones
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
Subgroup 8 => aux return 4
=> headphones 2
Main mix (and)/or MIX-B
=> headphones 1
Main mix (and)/or MIX-B =>
headphones 2
Active switches: S55/
(S82, S77)/S76
Active switches: S69/(S82,
S89)/S88
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
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.