Behringer EURODESK MX9000 Manual De Usuario

46

Stereo (quadraphonic) P.A. with sidefills, three infills, two wedge mixes, four FX and simultaneous 24-track
recording.

Channels

Source

Tape route

Destination

1

Kick

Direct out

Track 1

2

Snare

Direct out

Track 2

3

Hi Hat

Direct out

Track 3

4

Tom 1

Subgroups 5 and 6 Tracks 5 and 6

5

Tom 2

Subgroups 5 and 6 Tracks 5 and 6

6

Tom 3

Subgroups 5 and 6 Tracks 5 and 6

7

Tom 4

Subgroups 5 and 6 Tracks 5 and 6

8

Cymbals (overheads)

Direct out

Track 4

9

Keyboards L

Direct out

Track 7

10

Keyboards R

Direct out

Track 8

11

Bass DI

Direct out

Track 9

12

Trumpet

Direct out

Track 10

13

Trombone

Direct out

Track 11

14

Sax

Direct out

Track 12

15

BVs 1

Direct out

Track 13

16

BVs 2

Direct out

Track 14

17

BVs 3

Direct out

Track 15

18

Conga L

Direct out

Track 16

19

Conga R

Direct out

Track 17

20

Guitar 1 microphone

Direct out

Track 18

21

Guitar 2 microphone

Direct out

Track 19

22

Lead vocal

Direct out

Track 20

23

Main echo / reverb return

(Send = aux 3)

Track 21

24

Main echo / reverb return

(Send = aux 3)

Track 22

Tab. 18.1: Channel assignments 24-track (track 24 pre-striped with SMPTE)

None of the tape tracks can be auditioned in this configuration. The channel fader controls the level to tape,
MIX-B adjusts the P.A. level.

The channel inserts (which are pre fader), may be used as virtual direct outs. Hopefully you will be able to set
the input gains (P2) to suit the multitrack on any channel that does not have a massive EQ (i.e. energy) swing
away from 0 dB. The consequent lack of any desk EQ on your tape tracks might even be an advantage when
it comes to remixing the concert back in the studio.

Using this setup, you can even change the P.A. to a quadrophonic system. Positioning takes place by balancing
the main mix (channel fader, PANpot P24) against MIX-B (P20, P21).