Behringer Eurodesk SX4882 Quick Setup Guide

EURODESK SX4882

Quick Start Guide

(EN) 

S

Switch

L

LED

P

Potentiometer

F

Fader

Meaning of the used prefixes

The 1 to 24 channels have signal (-20 dB, 

(L25)

) and 

overload LEDs (PEAK, 

(L24)

).

The built-in meterbridge provides 12 segment bargraph 
meters for all channels and subgroups as well as for the 
main mix. By the DISPLAY MODE switch (

(S100)

, top left 

of the master section) you decide between CHANNEL and 
TAPE MODE. Your choice will be indicated by a LED.
In CHANNEL MODE, which is the best for live mixing 
purposes, the LED meters read the channel’s direct 
OUTPUT, which is post EQ, post mute and post fader.
In TAPE MODE the channel meters will mirror the 
multitrack’s meters, because they read the tape 
return inputs – after the OPERATING LEVEL switch, 
but unaffected by anything else happening in the 
channel. 0 dB is referenced to the selected tape 
operating level (+4 dBu or -10 dBV).

On the EURODESK SX4882 the 24 INPUT + OUTPUT 
(I/O or “normal”) channels cover most of the console. 
Most of each strip is occupied by the main or A-CHANNEL, 
accepting MIC, LINE or TAPE inputs, depending on the 
positions of 

(S1)

 and 

(S3)

. Each channel strip also sports a 

secondary B-CHANNEL. Anything routed to a B-channel is 
directed to a separate MIX-B bus.

First, look at the MIC/LINE switch 

(S1)

. In the UP position 

it selects MIC, in the DOWN position LINE. The next 
switch 

(S3) 

chooses whether A-channel looks at INPUT or 

TAPE. If INPUT is routed to A-channel, TAPE is offered to 
B-channel. If TAPE is routed to A-channel, INPUT is offered 
to B-channel. Depressing the PAD switch (

(S1a)

) lowers an 

incoming mic signal by -20 dB, if necessary.

(S23) 

applies to the B-channel only and replaces the normal 

TAPE or INPUT source with a tap from the main channel, 
taken post mute and pre fader. Now MIX-B acts as an extra 
stereo aux send or extra stereo mix. You should remove 
MIX-B from the main mix (via 

(S48)

, master section) in 

this configuration.

The channel input level is set by the TRIMPOT (

(P2)

). 

Use SOLO/PFL (

(S26)

) to bring the channel’s input onto 

the L/R bargraph meters under the master section of the 
EURODESK SX4882. This also sends the SOLO/PFLed signal 
to the left and right speakers. Channel PFL/SOLO (

(S26)

) 

has an associated LED (

(L26)

).

The main equalizer can be switched (

(S10)

) out of circuit 

for easy A/B comparisons between EQed and straight 
signals, or when you know that you don’t want to use 
desk EQ at all. It is best considered in three sections. 
First, there are two Baxendall shelving frequency controls 
for treble and bass, at 12 kHz and 80 Hz respectively (

(P4) 

and 

(P9)

). Secondly, there are two semi-parametricswept 

mids, Q fixed at 1, which cover the bands 300 Hz to 20 kHz 
and 50 Hz to 3 kHz. An unusually broad frequency range 
is catered for, and there is an enormous 3-plus octave 
overlap between the two mid bands (

(P5)

, 

(P6)

, 

(P7) 

and 

(P8)

).Thirdly, there is a steep high pass (low cut) filter 

(

(S11)

), slope @ 12 dB/octave, -3 dB @ 75 Hz, for reducing 

floor rumble, plosives, woolly bottom end, etc.

All six aux sends are mono and post EQ. They are 
switchable PRE/POST fader in two banks (

(S13) 

and  

(S16)

). 

For aux sends 1 and 2, two dedicated pots (

(P12) 

and  

(P13)

) 

are used. These can be taken from a point before or after 
the channel fader, i.e. PRE or POST (

(S13)

). Aux sends 3 and 

4, and 5 and 6 are serviced by two potentiometers (

(P14) 

and 

(P15)

). The SHIFT button (

(S15)

) determines whether 

buses 3 and 4 or 5 and 6 are addressed. Also, these four 
sends can be derived from the main mix or MIX-B, 
depending on SOURCE (

(S17)

), and, as before, can be pre 

or post (

(S16)

).

ROUTING means selecting which BUS you want a channel 
to address. There are actually six stereo buses in the 
EURODESK SX4882 (plus a stereo SOLO bus). The main mix 
bus is selected by 

(S32)

, while the subgroups are selected 

by switches 

(S28)

 (for groups 1 and 2), 

(S29)

 (3 and 4), 

(S30)

 (5 and 6) and 

(S31)

 (7 and 8). Odd and even numbered 

groups are selected via the main A-channel PAN 

(P24)

, 

as are the left and right mix buses.
The level to the subgroup and main mix buses is 
ultimately determined by the channel faders.
The MUTE button (

(S27)

), like that for SOLO has an LED 

indicator (

(L27)

) and removes the A-channel signal from 

all buses, save any auxes set to pre fader.

The B-channel comprises a secondary channel with its 
own high and low EQ, pan and level (

(P18)

, 

(P19)

, 

(P20) 

and 

(P21)

). The EQ is a replica of the A-channel shelving EQ. 

The B-channel ALWAYS feeds into the MIX-B stereo bus, 
but its source can be switched between TAPE, LINE, MIC 
and A-CHANNEL, depending on how 

(S1)

, 

(S2) 

and 

(S3) 

are 

set. Unusually for an 8-bus console, B-channels also have 
their own MUTE buttons ( 

(S22)

). Aux sends 3/4/5/6 may be 

diverted from the A to the B-channel via 

(S17)

.

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.
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. 
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.

Much of the master section is taken up by master aux 
sends and returns. We’ll start with the sends.
Stacked in a vertical column are six master aux send 
levels, one for each of buses 1 to 6 (

(P41) 

to  

(P46)

). 

Each one has a gain structure of minus infinity to +15 
dB. The extra 15 dB of gain comes in once a knob passes 
a center detente (representing the “normal” unity 
gain position), enabling insensitive outboard FX to be 
properly driven. Each aux send has a SOLO button (

(S41) 

to 

(S46)

), and, as with other areas of mixer, a LOCAL SOLO 

LIGHT (

(L47)

), which illuminates when any of the AUX 

master sends are solo-ed.

Next to the aux sends are the stereo aux returns. 
These can be thought of as a dozen extra line inputs 
configured as six stereo pairs. On these inputs there is up 
to 20 dB of gain available.

Aux returns 1 and 2 have full subgroup routing matrices 
to enable returning FX to be sent to tape, plus main mix 
bus assignment. The functions for aux return 1 (mirrored 
by aux return 2) are: ROUTING (

(S49) 

/ 

(S50) 

/ 

(S51) 

/ 

(S52) 

/ 

(S53)

) LEVEL (

(P49)

), BALANCE (

(P51)

) and SOLO (

(S54)

). 

LEVEL controls the amount of signal being blended 
into the mix or a subgroup, while BALANCE controls the 
relative amounts of L and R processed signal.

And so to aux returns 3 through 6. These too have a 
routing matrix (

(S55)

 to 

(S58)

 for aux return 3), but this 

time it is designed to facilitate monitoring rather than 
recording. The options are MAIN (L/ R) MIX, and PHONES 
1/2. Gain pots and solo switches complete the picture.

Below each column of aux returns lies a local solo LED 
(

(L61)

 & 

(L74)

). These illuminate whenever a SOLO button 

in the column above is pressed.

Only two controls occupy the MIX-B master. 

(P48) 

offers 

the standard EURODESK gain of up to +15 dB. 

(S48) 

is 

crucial, it routes the MIX-B bus output into the main mix 
bus. MIX-B can have three basic functions. It can act as 
an entirely separate mixer-within-a-mixer to provide a 
completely separate mix (

(S48) 

UP, 

(S23) 

DOWN). It can 

act as an additional stereo aux feed to FX as well as a 
pre fader monitoring aid during mixdown (

(S48) 

UP, 

(S23) 

DOWN). It can provide 24 extra B-inputs to the mix (

(S48) 

DOWN, 

(S23) 

UP).

Though most of you will want to audition the main mix 
most of the time there are exceptions. These include 
PFL/SOLO, and 2-TRACK PLAYBACK. The SOURCING matrix 
(

(S82) 

to 

(S85)

) allows you to monitor the main mix, 

the MIX-B and two external sources marked 2-track and 
EXTERNAL. The master meters follow whatever source is 
being auditioned.
The CONTROL ROOM LEVEL pot 

(P86) 

sets the level to the 

control room monitors. This is sourced post the main 
main mix stereo fader setting: otherwise you wouldn’t 
be able to hear your fades. There is also a similar STUDIO 
volume pot (

(P82)

).

Lastly, there is a MONO button (

(S86)

), useful for checking 

the phase correlation and/or coherence of a stereo signal. 
Again, this does not affect the main mix output.

A SOURCING matrix picks up any or all of MIX-B (

(S76)

), 

CONTROL ROOM (as chosen in monitor section, 

(S77)

), 

AUX 3/4 (

(S78)

), AUX 5/6 (

(S79)

) and EXTERNAL (

(S80)

). 

In addition to the sources which are directly selectable 
from the headphones masters, aux returns 3 to 6 may 
be “force-fed” into 

(HP1) 

& 

(HP2) 

from the aux returns 

masters (

(S55)

, 

(S56)

, etc.).

The headphone mix level is controlled by a master 
volume pot (

(P75)

), and the gain is sufficient to drive 

headphones directly.
A SOLO button (

(S81)

), with its own LED, enables 

monitoring of the headphones amplifier’s output signal.

Pressing 

(S95) 

disengages the stereo SOLO bus, 

and replaces it with a separate mono PFL (Pre-Fader-
Listen) bus.

SOLO is short for SOLO IN PLACE, and is the preferred 
method for auditioning an isolated signal or a group 
of signals. Whenever a SOLO button is pressed, 
all unselected channels are muted in the monitors. 
Stereo panning is maintained. The SOLO bus is derived 
from the output of the channel PANs, aux send/return 
pots, etc., and is always post fader. In addition to any 
local solo LEDs which might be activated, the ultra-
bright MAIN SOLO LED (

(L95)

) illuminates whenever 

anything is SOLO/PFLed. 

(P94) 

controls the master SOLO/

PFL level. Set to unity gain (center detente), this will 
match the mix level.

The built in mic (above the main mix faders) allows you 
to converse with artists remotely. The most important 
controls are the VOLUME (

(P99)

) and PHONES & STUDIO 

button (

(S99)

). It is possible to route the talkback mic to 

any of the following: aux 1, aux 2, subgroups, and phones 
and studio (

(S96) 

to 

(S99)

).

Complex headphone or stage monitoring networks 
could be constructed where 

(HP1)

, 

(HP2)

, aux 1 (pre), 

aux 2 (pre) and one or more subgroups all feed separate 
monitor mixes.
Engaging TALKBACK (

(S99)

) dims the control room 

(monitors, not lights) by -20 dB to restrict the possibility 
of feedback. All other talkback routes are unaffected.