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EURORACK MX2004A
For level-setting (as opposed to localized listening) select the mono PFL bus rather than the post-fader (post-
channel pan) stereo solo bus (CHANNEL MODE global switch up).
PFL/solo never interrupts the mix at the main recording outputs. It follows that aux sends must also be
unaffected, since they contribute directly to the main mix.
In addition to switchable PFL/solo metering, a channel LED illuminates when a channel is going into
overload. You do not want the overload light to come on except very intermittently during a take or a mix. If it
does light persistently, reduce input gain (see also chapter 5 “SETTING UP”).
There is a steep low-cut (high pass) filter , slope at 18 dB/oct., -3 dB at 75 Hz, for reducing floor rumble,
explosives, woolly bottom end etc.
2.2 Equalizer
All mono input channels are fitted with 3-band EQ and the above mentioned switchable low-cut filter for elimi-
nating unwanted subsonics. All three bands have up to 15 dB of cut and boost, with a centre detent for “off”.
The upper and lower shelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively.
The midrange control is semi-parametric with a peaking response, Q fixed at 1 octave. The gain is set with
control , the center frequency can be adjusted with control ranging from 100 Hz to 8 kHz.
2.3 Aux sends
Both aux sends are mono and post-EQ. Aux send 1 can be taken from a point before or after the channel
fader, i.e. pre or post by . Aux send 2 is always wired post-fader.
For almost all FX send purposes, you will want aux sends to be post-fader, so that when a fader level is
adjusted, any reverb send from that channel follows the fader. Otherwise, when the fader is pulled down, the
reverb from that channel would still be audible. For cueing purposes, aux sends will usually be set pre-fader,
i.e. independent of the channel fader and mute.
Most reverbs etc. sum internally the left and right inputs. The very few that don’t may be driven in true stereo by
using 2 aux sends.
There is +15 dB of gain on every aux send. Such a high boost is usually only appropriate where the channel
fader is set around -15 dB or lower. Here, an almost exclusively “wet” signal will be heard. In most consoles,
such a wet mix requires the use of a pre-fader setting for the channel aux send, losing fader control. With the
EURORACK you can have a virtually wet mix with fader control.
2.4 Routing, fading and muting
Level to the main mix and Alt 3-4 buses is ultimately determined by the channel faders . These are
specially manufactured for BEHRINGER mixing consoles, and are designed to give a smooth logarithmic taper
of a type more usually associated with very expensive consoles. The performance, at low levels particularly, is
far smoother than that of a normal “budget” fader.
Channel pan positions the output of the channel in the stereo field. Its constant-power design ensures
there are no level discrepancies whether a signal is hard-panned, center-stage, or somewhere in-between.
Such pinpoint accuracy will be a revelation if you have been working on consoles with lower quality circuits.
Channel pan also determines the stereo position of any signal routed to the Alt 3-4 bus ( depressed).
PFL/solo were encountered in chapter 3.1. Solo also follows channel pan.
The MUTE/ALT 3-4 button is ergonomically placed immediately above the channel fader. Engaging mute,
indicated by , is equivalent to setting a fader level of minus infinity.
On the MX2004A the MUTE/ALT 3-4 button serves two functions. When mixing directly to stereo, it acts as a
normal mute. However, this button also acts as a routing button to the Alt 3-4 outputs. In other words, you
select between the main mix and Alt 3-4 stereo buses via . This is very useful when submixing live or
recording to multitrack, as we shall see later.
2. MONO INPUT CHANNEL