Behringer Eurodesk SX4882 User Manual

EURODESK SX4882 User Manual

Channels 1 to 8: When you’ve only got eight tape returns, you can afford to bring 

them back on main channels to enable e.g. chorus vocal comps. or recorded 

real-time mixing effects such as frequency sweeping to be quickly bounced or 

sampled off via subgroups.
Channels 9 to 23: The most important SYNTH/SAMPLER outputs. Those most 

likely to need full EQ or to be recorded to tape. You might have one Minimoog, 

but half-a-dozen uses for it. Put it on an A-channel. You’ll want to record and/or 

sample it in action.
Channel 24 is of course the MIC input. A compressor might be patched into the 

channel 24 insert. Keep this channel free until the mix absolutely demands its 

services, just in case you want to add in any last minute singing, or any last 

minute anything!
The B-channel line inputs (tape returns) can accomodate even more 

MIDI expanders and synths, etc.

Set the relevant TAPE OUTPUT and INPUT switches (located at the rear of 

the console) to match the operating level of your 8-track (consult manual, 

“phone manufacturer”, or simply “suck & see” to find which setting works best). 

The sampler’s variable input gain range should be more than wide enough to 

accept either -10 dBV or +4 dBu. There is no oscillator in the EURODESK SX4882, 

but you can use a simple unmodulated sustained tone from a keyboard. 

Choose one around 1 kHz (B above middle C is 997 or 1002 Hz depending on 

whether you are using the tempered scale or “just” tuning: either way it’s close 

enough for jazz). Set the channel EQ to OFF, and line up the channel according 

to the “Setting up procedure” (section 13.1). Route this signal to all subgroups 

and adjust the SUBGROUP OUTPUT FADERS until the bargraph meters read 0 dB. 

Now put the recorder into INPUT mode on all channels, and the sampler into 

SAMPLE mode. If the tape operating level switches are correctly set, then 0 dB on 

the subgroup output meters should also show 0 dB on the tape recorder’s input 

meters. A discrepancy of +/-14 dB indicates a wrong operating level selection. 

Small discrepancies may be taken up by the SUBGROUP FADERs, though a better 

solution would be to get the multitrack, properly aligned. (Refer to multitrack 

manual and/or qualified personnel.) Adjust the sampler’s input level until it 

also reads 0 dB.

(For more info on digital metering and associated problems see section 13.2.3.)

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(S38)) 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.

Subgroup outputs/tape sends 1 to 16 should be wired to the multitrack 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.

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 (HP2) 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)/(P68) (minus infinity to +15 dB).

Fig. 15.1: Headphones

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 access 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).