Behringer Eurodesk SX4882 ユーザーズマニュアル
23
EURODESK SX4882 User Manual
17. Live P.A. with 2-Track Recording
In this example we’ll use the aux sends 1 and 2 for stage foldback, and 3/4/5/6 for
front-of-house effects. The P.A. is driven from the main mix. MIX-B will be used to
set up the mix to DAT.
Channels
Source
FOH
FX
Wedges /
monitoring
1
Kick
Subgroups 1
and 2 / MIX-B
-
Aux send 1 and 2
2
Snare
Subgroups 1
and 2 / MIX-B
Aux send 4
Aux send 1 and 2
3
Hi Hat
Subgroups 1
and 2 / MIX-B
-
Aux send 1 and 2
4
Tom 1
Subgroups 1
and 2 / MIX-B
Aux send 4
-
5
Tom 2
Subgroups 1
and 2 / MIX-B
Aux send 4
-
6
Tom 3
Subgroups 1
and 2 / MIX-B
Aux send 4
-
7
Tom 4
Subgroups 1
and 2 / MIX-B
Aux send 4
-
8
Cymbals
(overheads)
Subgroups 1
and 2 / MIX-B
-
-
9
Keyboards L
Subgroups 3
and 4 / MIX-B
-
Aux send 1 and 2
10
Keyboards R
Subgroups 3
and 4 / MIX-B
-
Aux send 1 and 2
11
Bass DI
Main mix /
MIX-B
-
Aux send 1 and 2
12
Trumpet
Subgroups 5
and 6 / MIX-B
Aux send 5
Aux send 2
13
Trombone
Subgroups 5
and 6 / MIX-B
Aux send 5
Aux send 2
14
Sax
Subgroups 5
and 6 / MIX-B
Aux send 5
Aux send 2
15
BVs 1
Subgroups 7
and 8 / MIX-B
Aux send 5
and 6
Aux send 1 and 2
16
BVs 2
Subgroups 7
and 8 / MIX-B
Aux send 5
and 6
Aux send 1 and 2
17
BVs 3
Subgroups 7
and 8 / MIX-B
Aux send 5
and 6
Aux send 1 and 2
18
Conga L
Main mix /
MIX-B
-
Aux send 2
19
Conga R
Main mix /
MIX-B
-
Aux send 2
20
Guitar 1
microphone
Main mix /
MIX-B
-
Aux send 1 and 2
21
Guitar 2
microphone
Main mix /
MIX-B
-
Aux send 1 and 2
22
Lead vocal
Main mix /
MIX-B
Aux send 5
and 6
Aux send 1 and 2
23
FX 1 L
Main mix /
MIX-B
-
-
24
FX 1 R
Main mix /
MIX-B
-
-
Tab. 17.1: Channel assignments 2-track
Every B-channel has its own LEVEL, PAN and HIGH and LOW EQ. MIX-B in fact is
acting here like a totally independent separate mixer, albeit with fewer facilities
than the main mix. The primary stereo reverb/echo unit’s outputs have been
patched into A-channels rather than an aux return, to enable them to be sent to
the MAIN MIX and MIX-B independently.
◊
S48 is UP, i.e. MIX-B is NOT blended into the main mix.
◊
Bringing the DAT back on aux 1 return P49 (as opposed to the 2-track or
external inputs) enables not only auditioning of DAT playback, but also
balancing playback level against the main mix, in case you also want
to use it to play a pre-recorded intro tape to set the scene for the
coming performance.
external inputs) enables not only auditioning of DAT playback, but also
balancing playback level against the main mix, in case you also want
to use it to play a pre-recorded intro tape to set the scene for the
coming performance.
◊
Be sure to have aux return 1 turned all the way down or de-assigned
when recording to DAT. Otherwise expect massive and terminal
(as far as the P.A. and gig are concerned) howlround.
when recording to DAT. Otherwise expect massive and terminal
(as far as the P.A. and gig are concerned) howlround.
18. Live Concert with
24-Track Recording
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.
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.
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)).