Behringer Eurodesk SX4882 사용자 설명서

EURODESK SX4882 User Manual

Fig. 6.2: Stereo aux returns

a) Aux returns 1 and 2
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 ((S49)/(S50)/(S51)/(S52)/(S53)) LEVEL

((P49)), BALANCE ((P51)) and SOLO ((S54)). 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 ((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
(S58)

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.

6.2 MIX-B master

(P48)

(S48)

Fig. 6.3: Mix-B

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.

(P49)

(S49)

(S50)

(P51)

(S51)

(S52)

(S54)

(S53)

(S55)

(S56)
(S58)

(L61)

(L74)

(S71)

(S70)

(S57)

(S69)

(S68)

(P68)