Filter
Top Products
11 EURODESK SX4882 User Manual
behringer.com
Aux returns6.1.2
Next to the aux sends are the stereo aux returns (see g. 6.3). These can be
thought of as a dozen extra line inputs congured as six stereo pairs. On these
inputs there is up to 20 dB of gain available. Alternatively, a mono (center-panned)
signal may be returned by plugging into the left aux return jack only.
This feature is disabled if all line-level I/Os from the EURODESK are ◊
wired permanently to a patchbay (see section 8).
Fig. 6.2: Stereo aux returns
Aux returns 1 and 2a)
Aux returns 1 and 2 have full subgroup routing matrices to enable returning
FX to be sent to tape, plus main mix bus assignment. The functions for aux return
1 (mirrored by aux return 2) are: ROUTING (
S 49
/
S 50
/
S 51
/
S 52
/
S 53
)
LEVEL (
P 49
), BALANCE (
P 51
) and SOLO (
S 54
). LEVEL controls the amount
of signal being blended into the mix or a subgroup, while BALANCE controls the
relative amounts of L and R processed signal. We doubt if you’ll often want to
adjust BALANCE away from center.
As always, there are exceptions to the above rule. Some short stereo ◊
delay effects (say 30 ms to L, 50 ms to right) cause a psychoacoustic
effect where the earlier delay seems louder. A similar effect is
noticeable when harmonizing in stereo: a slight pitch shift upwards
will seem louder than one that goes down. In both cases use the
BALANCE control (
P 51
) to compensate.
When carrying out the above mentioned information, or any other ◊
stereo imaging exercise, don’t just rely on the control room monitors.
Get a pair of headphones and listen in stereo and in reverse stereo,
to allow for any hearing discrepancy between your ears.
Aux returns 3 to 6b)
And so to aux returns 3 through 6. These too have a routing matrix (
S 55
to
S 58
for aux return 3), but this time it is designed to facilitate monitoring rather
than recording. The options are MAIN (L/ R) MIX, and PHONES 1/2. Gain pots and
solo switches complete the picture.
SOLOc)
Below each column of aux returns lies a local solo LED (
L 61
&
L 74
).
These illuminate whenever a SOLO button in the column above is pressed.
There is no absolute reason why the send from aux 1 should feed into a processor
whose outputs are sent to the aux return 1. The processor could just as easily
be patched into the aux return 3, or even a pair of channels. For many purposes,
however, it is sensible to set up a default patch where the aux outputs and inputs
correspond. It is logical to put your premier FX units into the aux 1 and aux 2
loops, since these returns enable you to record to tape without re-patching.
An exception to the above is when recording a group of performers live ◊
to multitrack. (See section 16.3 “Wet monitoring”).
Sometimes an engineer wants to narrow the stereo width of a reverb ◊
field. To do this you will have to come back on either A or B-channels,
which have full PAN facilities.
MIX-B master6.2
Fig. 6.3: Mix-B
Only two controls occupy the MIX-B master (g. 6.4).
P 48
oers the standard
EURODESK gain of up to +15 dB.
S 48
is crucial: it routes the MIX-B bus output
into the main mix bus. MIX-B can have three basic functions:
It can act as an entirely separate mixer-within-a-mixer to provide a completely
separate mix (
S 48
UP,
S 23
DOWN). (See also section 17.)
It can act as an additional stereo aux feed to FX as well as a pre fader monitoring
aid during mixdown (
S 48
UP,
S 23
DOWN).
It can provide 24 extra B-inputs to the mix (
S 48
DOWN,
S 23
UP).