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Behringer DJ Equipment SX4882 Manuale Utente

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EURODESK SX4882 User Manual
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Aux returns
6.1.2  
Next to the aux sends are the stereo aux returns (see fig. 6.3). 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. Alternatively, a mono (center-panned) 
signal may be returned by plugging into the left aux return jack only.
This feature is disabled if all line-level I/Os from the EURODESK are 
◊ 
wired permanently to a patchbay (see section 8).
Fig. 6.2: Stereo aux returns
Aux returns 1 and 2
a) 
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 (
S 49
/
S 50
/
S 51
/
S 52
/
S 53
) 
LEVEL (
P 49
), BALANCE (
P 51
) and SOLO (
S 54
). 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. We doubt if you’ll often want to 
adjust BALANCE away from center.
As always, there are exceptions to the above rule. Some short stereo 
◊ 
delay effects (say 30 ms to L, 50 ms to right) cause a psychoacoustic 
effect where the earlier delay seems louder. A similar effect is 
noticeable when harmonizing in stereo: a slight pitch shift upwards 
will seem louder than one that goes down. In both cases use the 
BALANCE control (
P 51
) to compensate.
When carrying out the above mentioned information, or any other 
◊ 
stereo imaging exercise, don’t just rely on the control room monitors. 
Get a pair of headphones and listen in stereo and in reverse stereo, 
to allow for any hearing discrepancy between your ears.
Aux returns 3 to 6
b) 
And so to aux returns 3 through 6. These too have a routing matrix (
S 55
 to 
S 58
 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.
SOLO
c) 
Below each column of aux returns lies a local solo LED (
L 61
 & 
L 74
). 
These illuminate whenever a SOLO button in the column above is pressed.
There is no absolute reason why the send from aux 1 should feed into a processor 
whose outputs are sent to the aux return 1. The processor could just as easily 
be patched into the aux return 3, or even a pair of channels. For many purposes, 
however, it is sensible to set up a default patch where the aux outputs and inputs 
correspond. It is logical to put your premier FX units into the aux 1 and aux 2 
loops, since these returns enable you to record to tape without re-patching.
An exception to the above is when recording a group of performers live 
◊ 
to multitrack. (See section 16.3 “Wet monitoring”).
Sometimes an engineer wants to narrow the stereo width of a reverb 
◊ 
field. To do this you will have to come back on either A or B-channels, 
which have full PAN facilities.
MIX-B master
6.2  
Fig. 6.3: Mix-B
Only two controls occupy the MIX-B master (fig. 6.4). 
P 48
 offers the standard 
EURODESK gain of up to +15 dB. 
S 48
 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 (
S 48
 UP, 
S 23
 DOWN). (See also section 17.)
It can act as an additional stereo aux feed to FX as well as a pre fader monitoring 
aid during mixdown (
S 48
 UP, 
S 23
 DOWN).
It can provide 24 extra B-inputs to the mix (
S 48
 DOWN, 
S 23
 UP).