Behringer Eurodesk SX4882 사용자 설명서

EURODESK SX4882

Master panel

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 (P51) 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.

b) Aux returns 3 to 6
And so to aux returns 3 through 6. These too have a routing matrix

(S55 to 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.
c) SOLO
Below each column of aux returns lies a local solo LED (L61 &

L74). 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

Mix-B

Fig. 6.3:

Only two controls occupy the MIX-B master (fig. 6.4). P48 offers

the standard EURODESK gain of up to +15 dB. S48 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 (S48 UP, S23 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 (S48 UP, S23 DOWN).
It can provide 24 extra B-inputs to the mix (S48 DOWN, S23

UP).

For live applications try using MIX-B to feed a secondary

set of speakers. These could be sidefills, or even more

spectacular, the rearward portion of a quadraphonic

sound system.

There is no SOLO provision for MIX-B. However, you can audition

it by selecting only MIX-B (S83) in the monitor sourcing matrix.

If MIX-B is assigned to the main mix (S48 DOWN), do not

listen to MIX-B (S83) and the main mix (S82) simultane-

ously. That way you’ll be monitoring MIX-B twice over,

and what you hear won’t correspond with what’s going

down to tape.

Monitoring

6.3

Monitoring

Fig. 6.4:

Though most of you will want to audition the main mix most of

the time there are exceptions. These include PFL/SOLO, and

2-TRACK PLAYBACK. The SOURCING matrix (S82 to S85, see

fig. 6.5) allows you to monitor the main mix, the MIX-B and two

external sources marked 2-track and EXTERNAL. The master

meters follow whatever source is being auditioned. The meters

won’t make much sense if more than one source is selected!

EXTERNAL could be “normalled” to a HiFi pre-amp,

allowing you to monitor extra sources such as vinyl,

cassette, CD, etc.

Altering what goes into the control room’s monitors

does not affect the signal from the main recording out-

puts. Just as well, or every time you wanted to do a quick

SOLO during a mix, you’d have to start again!

The CONTROL ROOM LEVEL pot P86 sets the level to the control

room monitors. This is sourced post the main main mix stereo

fader setting: otherwise you wouldn’t be able to hear your fades.

There is also a similar STUDIO volume pot (P82).

Owners of MIDI production suites might like to drive a

second pair of control room speakers from the studio

output, but take care when using the TALKBACK mic:

no -20 dB offset is applied to the studio output!

We would like to recommend you to use half-a-dozen sets

of speakers on an external switching matrix, including studio

monitors, ghettoblaster, club system, car stereo and overblown

2" speakers loosely screwed into a less-than-airtight cardboard

box.