Behringer DJ Equipment SX4882 Manual De Usuario

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EURODESK SX4882 User Manual

The EURODESK SX4882 is a hybrid SPLIT/INLINE console. Input channels cover 

most of the surface from the left, while the outputs to tape are to the right. 

Tape monitor returns, however, are housed within the channel strips, not next 

to the tape outputs, as would be the case in a conventional “split” design. 

This architecture enables much flexibility to be bestowed onto the tape monitor 

signal path, not least being its ability to pick up functions easily from the main 

channel. Also, during mixdown, when tape tracks are no longer monitored 

but MIXED, the signal path between tape input and main channel is kept 

to a minimum.
The configuration is 24 into 8 into 24. This means that there are 24 channels, 

eight subgroups or “submixes” (or four stereo subgroups) and 24 tape 

monitor returns, one for each channel. There are 24 100 mm channel faders, 

eight subgroup faders, and a stereo pair of faders driving the L/R main mix.
In remix mode 48 channels are available, all with EQ and access to the aux buses. 

There are six additional stereo FX returns, giving a grand total of 60 separate 

line-level inputs: and that’s before you even consider using the subgroup insert 

points to provide eight more!
There are six aux buses accessed by four potentiometers, two headphone mixes 

and professional recording, monitoring and talkback facilities. If you can afford to 

lose the extra 24 line inputs, the MIX-B bus can also act as a separate stereo aux 

send, giving eight aux buses in all.
A comprehensive set of inputs and outputs include MIC (+48 V), line, 

tape (+4 dBu or -10 dBV), inserts all round, direct channel outs and all master 

recorder and monitoring options. Just about everything you’d expect from a 

massive console.
In addition, a 1/4" jack expander bay (INPUT ONLY) allows direct patching into 

all buses within the EURODESK (except PFL and SOLO). Hence two EURODESK 

consoles may be linked, or the EURODESK coupled to ANY OTHER CONSOLE, 

large or small, provided that the other console has (or can be MADE to have) 

similar access (see section 19 “Expanding the EURODESK”).
Last, and probably least, two BNC connectors on top of the built-in meterbridge 

await optional gooseneck desk lights, available from all good gooseneck desk 

light stores. A must for those darkened auditoria, or when you’re into your third 

consecutive night in the studio.

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

) and overload LEDs (PEAK, 

).

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 

(

, 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 

(you may alter that to pre mute and pre fader by the modification described 

in APPENDIX II.3).
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).
The main mix meters double up as mono PFL or stereo SOLO meters, or 2-track 

return meters, or EXTERNAL return meters (in general, what you HEAR is what 

you SEE). During PFL/SOLO only the main mix bargraph meters illuminate.

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 

 and 

 (see fig. 3.1 and 3.2). Each channel strip also sports a secondary 

B-CHANNEL (fig. 3.6) Anything routed to a B-channel is directed to a separate 

MIX-B bus. (See section 3.7 “B-channel” and also section 6.2 “MIX-B master”).

First, look at the MIC/LINE switch 

. In the UP position it selects MIC, in the 

DOWN position LINE. The next switch 

 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 (

) lowers an incoming mic signal by -20 dB, if necessary.

Fig. 3.1: Input

When laying tracks, it is usual to use the MIX-B inputs for monitoring the signal 

from TAPE, while the A-channels take care of microphones, Dl’s, etc. For MIXING 

purposes, TAPE tracks are normally “flipped” onto the main channels, leaving the 

B-channels free for other applications, such as offering extra line inputs. 

These rules are, however, made to be broken.

 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 

, master section) in this configuration.

Fig. 3.2: Channel input switching architecture