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EURORACK MX2004A
muddy FOH sound, as well as causing a reduction in feedback thresholds. Don’t forget to notch out trouble-
some frequencies using a graphic or parametric equalizer, or feedback destroyer (see the BEHRINGER
ULTRA-CURVE PRO DSP8024 or the FEEDBACK DESTROYER PRO DSP1124P, which do all of these and
more). Use the low-cut filters to eliminate floor rumble, mics popping etc.
Switching logic for this setup is:
and up, and down, down for channels 1 to 8 except 6.
6.3 Project studio—laying vocals to tape
8-track MIDI project studio with sampler, 8-track recording system, one vocal mic and two effects units:
Projekt Studio, laying vocal tracks
Source Routing Mic/Line Mono/Stereo Input
Vocals Alt 3-4 M Mono 1
Band Main Mix L Mono 2
Band Main Mix L Mono 3
Band Main Mix L Mono 4
Band Main Mix L Mono 5
Band Main Mix L Mono 6
Band Main Mix L Mono 7
Band Main Mix L Mono 8
Sampler #1 Main Mix L Stereo 9/10
Sampler #2 Main Mix L Stereo 11/12
Sampler #3 Main Mix L Stereo 13/14
Sampler #4 Main Mix L Stereo 14/15
Effect #1 Stereo Aux 1
Effect #2 Stereo Aux 2
MX 882 Mix out > 2-Track input
Alt 3-4 out > Available
Aux out 1 > Effect 1
Aux out 2 > Effect 2
Main Mix out L > Recording (DAT L)
Main Mix out R > Recording (DAT R)
Monitor out L > Monitor system
Monitor out R > Monitor system
Tab. 6.3: MX2004A example "Project studio, laying vocals to tape"
With largely computer-generated music you will want to have plenty of Line inputs, and an ability to take vocals
quickly, efficiently, and with minimal desk disturbance. Often a vocal line is added after the music is almost
complete. For this we try not to use a valuable aux send as a cue feed. In general, the mix in the artist’s
headphones can be the same as that going into the control room monitors: basically a stereo mix with 1) the
vocal channel raised above the “mix” level in volume and 2) any off-putting channels muted.
If you intend to take several tracks in quick succession, you can route the channel via the Alt 3-4 bus simulta-
neously into all tape tracks via a simple junction box, splitter lead, line mixer like our MX882, or patchbay.
Note: When using Alt 3-4 to send to tape, you can either audition the signal via the tape recorder track, or by
assigning Alt 3-4 to the control room monitors , or both. If you are auditioning the vocalist via both routes,
the voice should appear louder to you (and the singer) during a take, but be set properly in the mix during
playback. By a benign twist of fate, this is usually exactly what you (and they) want.
Note that there are two aux sends and two stereo aux returns. If you want to use more than two effects units,
these can either be 1) patched across insert points, 2) inserted between the sampler’s outputs and desk
inputs, or 3) driven from the channel insert. If you have invested in the 8-channel BEHRINGER ULTRALINK PRO
MX882 for tape monitoring purposes, you can turn the 2-track input into eight line inputs for accepting stereo or
mono effects or synths etc. during mixdown.
6. APPLICATIONS