Behringer DJ Equipment SX4882 Manual De Usuario

EURODESK SX4882 User Manual

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13.2.3  
When recording to digital, it’s a good idea to keep the recorder’s PEAK READING 

meters below 0 dB. Engage “peak hold” on your recorder if you want to confirm 

that you haven’t inadvertently overstepped the mark during a take or mix. 

Most digital recorders (though not SAMPLERS) read 0 dB with some headroom 

left. This is because, unlike with analog, the onset of digital distortion is as 

sudden as it is horrible, and the manufacturers of digital recorders don’t want you 

to hear this! If you really want to take your recording level to the limit (and fully 

exploit digital’s 96 dB dynamic range), you’ll have some calibrating to do. 

You could run a tone at 0 dB from the mixer, and use that as your DAT or digital 

multitrack recorder reference. But your DAT or digital multitrack recorder may still 

be 10 to 20 dB off its headroom limit. Probably a better way to work out just how 

hard you can drive your recorder is to incrementally increase the record level until 

it well distorts, subtract, say 6 dB, and never ever exceed that level.
When recording to analog, the tape machine’s VU meters should show around 

+3 dB on BASS, but only around −10 dB for HI HAT. Although analog distortion 

is more like compression at modest overload levels (often desirable on bottom 

end), higher frequencies cause saturation even at modest levels (an unpleasant 

“crunchiness”). Also, VU meters tend to progressively under-read above 1 kHz, 

due to their sluggish response time.

13.2.4  
In order to be heard other than when PFL/SOLO-ed, channels must be routed to 

the main mix bus. This can be either from the channel routing matrix directly, 

via one of the subgroups, or from the MIX-B bus (

 DOWN).

Channels going to tape are usually monitored via the tape return channel, 

whether A or B. In this case the main mix button of the channel going to tape 

should be UP, while that coming back should be DOWN (if on an A-channel). 

Tape tracks returning on B-channels will always be heard so long as the 

MIX-B/MAIN MIX switch (

) is depressed.

Some to-tape channels will have no routing other than a direct out patch into the 

recorder, others may be routed through subgroups. When a subgroup is sending 

to tape, the subgroup L/R assignment buttons (

, 

) should be UP. I.e. 

that subgroup should not feed into the main mix bus directly.

8-track MIDI studio with sampler, 8-track recording system, one vocal 

microphone and an array of synthesizers and FX. MIDI sequencer driven. 

A typical dance production suite.

Fig. 14.1: Send routing

In a dance production, effects are often of paramount importance in creating 

interesting/evolving sounds, and aux sends are usually all dedicated to this 

purpose. Also, it is not unusual for a vocalist to be drafted in to add some colour 

to the mix at a late stage. The following set-ups avoid using aux sends for 

headphone monitoring, while enabling both the vocalist and engineer to get a 

comfortable headphone mix.

The vocalist will probably want to hear her-/himself above the normal mix level. 

With the following headphone sources you can do this without tying up any 

aux sends or MIX-B. Passing the DIRECT OUT through any 1 in 2 out delay/reverb 

device enables the vocalist to choose an effect she/he is comfortable singing 

along with.

Fig. 14.2: Simple auxless headphones mix

Here the MIC CHANNEL FADER controls the amount of extra voice blended into 

the main mix. Adjust the FADER level first until the vocalist is happy, then set the 

level to tape with the SUBGROUP FADER(S).

Alternatively:
Split the microphone onto two channels and use one to feed the routing matrix 

while the other drives the EXTERNAL input via its direct out. Now you have totally 

indepedent monitoring and tape send levels for the vocal signal.

Fig. 14.3: Slightly more complicated auxless headphones mix

Alternatively:
If you need to hear the harmonies, but they’re putting the vocalist off key, 

you’ll want to be able to delete channels from the headphone mix. If you still 

don’t want to assign a couple of aux buses to headphones monitoring because 

this would disturb the main mix, the following suggestion might prove useful. 

Set up a separate channel assignment on a spare subgroup pair. Feed the output 

into aux return 3. Route aux return 3 to headphones 1 (

) and de-assign the 

main mix (

). Now you can delete distracting channels from the vocalist’s 

backing track mix (see fig. 14.4).

Fig. 14.4: Subgroup-driven auxless headphones mix

This configuration does not allow for anything coming in on B-channels to be 

sent to headphones. If you need to do this, 

 must also be depressed.