Behringer Eurodesk SX4882 User Manual

EURODESK SX4882 User Manual

1

Kick

MIX-B

-

-

Subgroups 1/2, 3/4 

and 7/8

2

Snare

MIX-B

Aux send 4

Aux send 1 

and 2

Subgroups 1/2 

and 3/4

3

Hi Hat

MIX-B

-

-

Subgroups 1/2 

and 3/4

4

Tom 1

MIX-B

Aux send 4

-

-

5

Tom 2

MIX-B

Aux send 4

-

-

6

Tom 3

MIX-B

Aux send 4

-

-

7

Tom 4

MIX-B

Aux send 4

-

-

8

Cymbals 

(overheads)

MIX-B

-

-

-

9

Keyboards L MIX-B

-

-

Subgroup 12

10

Keyboards R MIX-B

-

-

Subgroup 12

11

Bass DI

MIX-B

-

-

Subgroups 1/2,  

3/4 and 7/8

12

Trumpet

MIX-B

Aux send 5

-

-

13

Trombone

MIX-B

Aux send 5

-

-

14

Sax

MIX-B

Aux send 5

-

-

15

BVs 1

MIX-B

Aux send 5 

and 6

Aux send 1 

and 2

-

16

BVs 2

MIX-B

Aux send 5 

and 6

Aux send 1 

and 2

-

17

BVs 3

MIX-B

Aux send 5 

and 6

Aux send 1 

and 2

-

18

Conga L

MIX-B

-

-

Subgroups 1/2,  

3/4 and 7/8

19

Conga R

MIX-B

-

-

Subgroups 1/2, 

 3/4 and 7/8

20

Guitar 1 

microphone MIX-B

-

-

Subgroups 3 and 4

21

Guitar 2 

microphone MIX-B

-

-

Subgroups 3 and 4

22

Lead vocal

MIX-B

Aux send 5 

and 6

Aux send 1

-

23

FX 1 L

MIX-B

-

Aux send 1

-

24

FX 1 R

MIX-B

-

Aux send 1

-

Tab. 8.2: 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.

Infill sends use up one group pair each as a consequence 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)

In a quadrophonic setup MIX-B should be kept separate from the main 
mix ((S48) UP).

OK: This example has been extreme. Chances are if you were touring with the 

sort of PA / multitrack described above you’d also have a massive FOH console, 

separate foldback mixer, and a rider that would make Bill Graham blanche. 

None of the applications examples are designed to be used as a BLUEPRINT. 

Rather, they should give you some idea of the scope and flexibility of your 

EURODESK SX4882. Use your imagination to find novel ways of solving problems 

and creating extra facilities.

The EXPANDER PORT is input only, and provides access to all but the PFL/SOLO 

buses. Since the nominal internal operating level of your EURODESK SX4882 is 

0 dB, and that at the jack outputs +4 dB, the sends from the outputs of console 

2 must be attenuated by +4 dB if unity gain between it and the primary console 

is to be maintained. Wiring is as follows:

Subgroup outputs 1 to 8

EXPANDER PORT subgroup inputs 1 to 8

Aux outputs 1 to 6

EXPANDER PORT aux inputs 1 to 6

Main mix output

EXPANDER PORT main mix inputs

MIX-B output

EXPANDER PORT MIX-B input

Subgroup outputs 1 to 8

EXPANDER PORT subgroup inputs 1 to 8

Aux outputs 1 to 6

EXPANDER PORT aux inputs 1 to 6

Main mix output

EXPANDER PORT main mix inputs

MIX-B output

EXPANDER PORT MIX-B input

To find out the value of “X” align the consoles in the following way. Patch a 1 kHz 

sine tone (or play a sustained B above middle C on a keyboard) into a channel 

on each console. Set up each console so that the signal produces unity gain 

(0 dB) at every output (use each console’s PFL or equivalent function to do this). 

Now, connect the outputs of the second console into the EURODESK EXPANDER 

PORT. Mute the channel on the EURODESK carrying the signal, and look at the 

EURODESK outputs. Systematically adjust the reading on each bus until they all 

read 0 dB by adjusting the master send levels of console 2 (i.e.: master aux send 

controls, main mix master faders, subgroup faders, etc.).

In analog multitrack recording timecode usually goes down on the edge of the 

tape: track 8, 16 or 24, with the adjacent track left clear (GUARD BAND) to stop 

bleeding between recorded tracks and code. Digital formats do not waste any 

audio tracks on timecode: a separate sync is provided.
Ideally, timecode should be patched from the multitrack out directly into the 

synchronizer input. Normally, a 24 track tape is striped with timecode before a 

session commences. Any sequenced music, click track, mix automation is then 

referenced to it.
Always check sync before laying down any sequenced music: record a click 

track, then check to see that a “live” playback doesn’t drift. Timecode comes 

in various formats. The general rule is: format (and make/model) of timecode 

generator must be matched to the reader. This shouldn’t be a problem if 

recording and mixing take place in-house and under one roof. It’s when tapes 

move around that problems arise (be sure to include every conceivable technical 

detail on a tracksheet accompanying the master tape). Fortunately, there are 

ways to generate fresh in-sync timecode even where none existed in the 

first place, otherwise most remixes would never happen. You would rather 

not have to, though, since it takes time, effort, and an intelligent “learning” 

synchronizer to do it. 
If the gain from the recorder is too low to drive the sync unit, 

re-stripe at a higher level or 

amplify the recorded timecode somehow, possibly via a desk channel not 

routed to any of the main buses. In this case use the channel’s direct out to 

drive the synchronizer’s input, in order to keep the timecode as remote as 

possible from the audio (timecode crosses over like nothing else we know).