Behringer MX9000 Music Mixer User Manual


 
40
Fig. 14.3: Slightly more complicated auxless headphones mix
Alternatively:
If you need to hear the harmonies, but theyre putting the vocalist off key, youll want to be able to delete
channels from the headphone mix. If you still dont want to assign a couple of aux buses to headphones
monitoring because this would disturb the main mix, the following suggestion might prove useful. Set up a
separate channel assignment on a spare subgroup pair. Feed the output into aux return 3. Route aux return 3
to headphones 1 (S 55) and de-assign the main mix (S77). Now you can delete distracting channels from the
vocalists backing track mix (see fig. 14.4).
Fig. 14.4: Subgroup-driven auxless headphones mix
This configuration does not allow for anything coming in on B-channels to be sent to headphones. If you need
to do this, S76 must also be depressed.
+ In all cases the WET/DRY balance of the extra vocal signal takes place within the FX processor.
+ The above example refers to aux 3 return > headphones 1. An analogous situation is possible
for aux 4/5/6 return > headphones 1 or 2.
14.3 Returns
Channels 1 to 8: When youve only got eight tape returns, you can afford to bring them back on main
channels to enable e.g. chorus vocal comps. or recorded real-time mixing effects such as frequency sweeping
to be quickly bounced or sampled off via subgroups.
Channels 9 to 23: The most important SYNTH/SAMPLER outputs. Those most likely to need full EQ or to be
recorded to tape. You might have one Minimoog, but half-a-dozen uses for it. Put it on an A-channel.
Youll want to record and/or sample it in action.