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enables much flexibility to be bestowed onto the tape monitor signal path, not least being its ability to pick up
functions easily from the main channel. Also, during mixdown, when tape tracks are no longer monitored but
MIXED, the signal path between tape input and main channel is kept to a minimum.
The configuration is 24 into 8 into 24. This means that there are 24 channels, eight subgroups or submixes (or
four stereo subgroups) and 24 tape monitor returns, one for each channel. There are 24 100 mm channel
faders, eightsubgroup faders, and a stereo pair of faders driving the L/R main mix.
In remix mode 48 channels are available, all with EQ and access to the aux buses. There are six additional
stereo FX returns, giving a grand total of 60 separate line-level inputs: and thats before you even consider
using the subgroup insert points to provide eight more!
There are six aux buses accessed by four potentiometers, two headphone mixes and professional recording,
monitoring and talkback facilities. If you can afford to lose the extra 24 line inputs, the MIX-B bus can also act
as a separate stereo aux send, giving eight aux buses in all.
A comprehensive set of inputs and outputs include MIC (+48 V), line, tape (+4 dBu or -10 dBV), inserts all
round, direct channel outs and all master recorder and monitoring options. Just about everything youd
expect from a massive console.
In addition, a 1/4" jack expander bay (INPUT ONLY) allows direct patching into all buses within the EURODESK
(except PFL and SOLO). Hence two EURODESKs may be linked, or the EURODESK coupled to ANY OTHER
CONSOLE, large or small, provided that the other console has (or can be MADE to have) similar access (see
section 19 EXPANDING THE EURODESK).
Last, and probably least, two BNC connectors on top of the built-in meterbridge await optional gooseneck
desk lights, available from all good gooseneck desk light stores. A must for those darkened auditoria, or when
youre into your third consecutive night in the studio.
2.2 Metering
The 1 to 24 channels have signal (-20 dB, L25) and overload LEDs (PEAK, L24).
The bulit-in meterbridge provides 12 segment bargraph meters for all channels and subgroups as well as for
the main mix. By the DISPLAY MODE switch (S100, top left of the master section) you decide between
CHANNEL and TAPE MODE. Your choice will be indicated by a LED.
In CHANNEL MODE, which is the best for live mixing purposes, the LED meters read the channels direct
OUTPUT, which is post EQ, post mute and post fader (you may alter that to pre mute and pre fader by the
modification described in APPENDIX II.3).
In TAPE MODE the channel meters will mirror the multitracks meters, because they read the tape reutrn
inputs after the OPERATING LEVEL switch, but unaffected by anything else happening in the channel. 0 dB
is referenced to the selected tape operating level (+4 dBu or -10 dBV).
The main mix meters double up as mono PFL or stereo SOLO meters, or 2-track return meters, or EXTERNAL
return meters (in general, what you HEAR is what you SEE). During PFL/SOLO only the main mix bargraph
meters illuminate.
+ In SOLO/PFL mode a 0 dB meter reading matches an internal operating level of 0 dBu (0.775 V).
However, when looking at the mix, 0 dB is referenced to +4 dBu, the 2-track operating level. I.e.
if only ONE signal is present in the main mix bus, SOLOing that signal will cause the meter
reading to increase by +4 dB.
2.3 PSU (Power Supply Unit)
Not an infection of the urinary tract, in fact PSU stands for the least glamorous, most frequently underestimated
feature of any electronic device: the POWER SUPPLY UNIT. The EURODESK remote PSU connects to the
desk at the rear of the console via a multiway connector. 2 1/2 U high, nevertheless it is designed to slot into
a 3U rack space. The extra 1/2 U is to allow air to circulate around the heatsinks employed for heat dissipation.
If your control room is small, forget heating. The EURODESK PSU chucks out a massive 400 Watts.