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Fig. 3.4: Aux sends
+ For almost all FX SEND purposes, you will want auxes 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 (S13 and S16).
+ Most reverbs etc. sum up the left and right inputs internally. The very few that dont may be
driven in true stereo either by 1) 2 aux sends or 2) the MIX-B bus (see section 3.7 MIX-B).
+ There is +15 dB of gain on every aux send. Such a high boost is only appropriate where the
channel fader is set around -15 dB or lower. Here, an almost exclusively WET signal will be
heard. Previously, in most consoles, such a wet mix required the use of a PRE setting for the
channel auxiliary send. This meant losing fader control over the signal.
3.6 Routing and muting
ROUTING means selecting which BUS you want a channel to address. There are actually six stereo buses in
the EURODESK MX9000 (plus a stereo SOLO bus). The main mix bus is selected by S32 (see figure 3.5),
while the subgroups are selected by switches S28 (for groups 1 and 2), S29 (3 and 4), S30 (5 and 6) and
S31 (7 and 8). Odd and even numbered groups are selected via the main A-channel PAN P24, as are the left
and right mix buses. (The sixth stereo bus is the MIX-B bus, with its own independent pan control P20; see
section 3.7 B-channel). Usually, only one of S28 to S31 will be selected for a particular channel (See block
schematics).
+ An exception to this rule is when laying down voice takes. It is often convenient to have the mic
channel(s) routed to alt potential TAKE tracks simultaneously, since you are often dropping in
quickly between four or more tracks. It means one less button press each time you switch
tracks.