Behringer Eurodesk SX4882 사용자 설명서
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EURODESK SX4882 User Manual
4. Inserts
Insert points are useful for adding dynamic processing or equalization to a
channel, subgroup or the mix. Unlike reverbs, etc., which are usually added to
the dry signal, dynamic processing is normally applied across an entire signal.
Here, an aux send would be inappropriate. Instead the signal is intercepted
somewhere along the channel/subgroup/mix, fed through the dynamics
processor and/or EQ and then returned to the console at the same point where it
left. The insert point is invisible or normalized, until a jack is plugged into it.
All subgroups and channels have got insert points, as does the main stereo
All subgroups and channels have got insert points, as does the main stereo
output. Both SEND and RETURN are accommodated on a single stereo 1/4" jack
socket wired tip=send, ring=return. Inserts are always pre fader and also pre
EQ / aux sends for channels.
Insert points may also be used as pre EQ direct outputs without interrupting
Insert points may also be used as pre EQ direct outputs without interrupting
the signal flow. This is obvious when looking at the patchbay wiring (section 8,
fig. 8.1). If you want to insert a dynamics processor post EQ, the insert point must
either be taken from a subgroup, or via a second channel / aux return as follows:
1) Insert a compressor/gate/EQ across a subgroup, and route the channel to be
1) Insert a compressor/gate/EQ across a subgroup, and route the channel to be
processed (and only that channel) to that subgroup.
2) Alternatively, patch a channel’s direct out into a compressor/gate/EQ.
Take the output from that compressor/gate/EQ and feed it back into the
desk via a secondary input (channel, aux return, etc.).
Figure 4.1 illustrates how you might insert into a channel post EQ for mixdown or
track-laying (their requirements are different). Mixdown requires one A and one
B-channel. Recording requires two A-channels.
Fig. 4.1: Post EQ channel insert
◊
In this arrangement you might find that compression tends to soften
the perceived amount of EQ applied. The solution? Apply more EQ.
This creates a real “pressure” sound, great for high energy music such
as dance. (For a more subtle approach, use the desk insert points word
for word.)
the perceived amount of EQ applied. The solution? Apply more EQ.
This creates a real “pressure” sound, great for high energy music such
as dance. (For a more subtle approach, use the desk insert points word
for word.)
◊
Using a group insert to effect post EQ processing precludes the use of
POSTPROCESSING AUX SENDS without some serious re-patching.
POSTPROCESSING AUX SENDS without some serious re-patching.
5. Subgroup and Direct Outputs
5.1 Subgroups
The principal routes to the multitrack are via the SUBGROUP OUTPUTS. There are
four stereo (or eight mono) subgroups, numbered 1 to 8. All main channels
can access all of them, as can the STEREO AUX RETURNS 1 and 2. (For this
reason it is usually wise to bring your best two FX processors back on these
returns (or A-channels, for that matter), so that they can easily be sent to tape.
(See also section 6.1 “Aux masters”.)
Why are there 16 subgroup output jacks on the EURODESK when there are only
Why are there 16 subgroup output jacks on the EURODESK when there are only
8 subgroups? Well, each subgroup output is duplicated, so that the EURODESK can
interface with up to 16 tracks via the group outputs without having to re-patch.
As well as always functioning as subgroups for track laying via the SUBGROUP
OUTPUTS, groups can be routed directly into the main mix bus for submixing.
Main mix routing is handled by switches (S37) and (S38). (S37) routes an odd
numbered group to the left bus, while (S38) sends an even numbered subgroup to
the right bus. That’s fine for stereo submixes. If you want a pair of mono submixes
instead, also press the MONO buttons ((S35) and (S36)). Now these subgroups feed
into the center of the main mix stereo image, i.e. equally to L and R. You could have
the first subgroup feeding into the left hand side, while the second one appears in
mono, but we can’t think of many real situations where you’d want to do this.
Subgroup SOLO ((S33) + (S34)) follows the mix assignment. E.g.: If the main mix is
Subgroup SOLO ((S33) + (S34)) follows the mix assignment. E.g.: If the main mix is
selected, then that stereo subgroup will be monitored in stereo. If mono is also
selected, monitoring is in mono.
◊
Try inserting compression / de-essing / an exciter / a gate across
grouped signals (e.g. backing vocals, drums, layered synths).
grouped signals (e.g. backing vocals, drums, layered synths).
Fig. 5.1: Stereo subgroup channel schematic
STEREO GROUP CHANNE
L
(S33)
(S34)
(S36)
(S37)
(S38)
(GrF39)
(GrF40)
(S35)