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12 EURODESK SX4882 User Manual
For live applications try using MIX-B to feed a secondary set of speakers. ◊
These could be sidefills, or even more spectacular, the rearward portion
of a quadraphonic sound system.
There is no SOLO provision for MIX-B. However, you can audition it by selecting
only MIX-B (
S 83
) in the monitor sourcing matrix.
If MIX-B is assigned to the main mix (◊
S 48
DOWN), do not listen to
MIX-B (
S 83
) and the main mix (
S 82
) simultaneously. That way
you’ll be monitoring MIX-B twice over, and what you hear won’t
correspond with what’s going down to tape.
Monitoring6.3
Fig. 6.4: Monitoring
Though most of you will want to audition the main mix most of the time there
are exceptions. These include PFL/SOLO, and 2-TRACK PLAYBACK. The SOURCING
matrix (
S 82
to
S 85
, see g. 6.5) allows you to monitor the main mix,
the MIX-B and two external sources marked 2-track and EXTERNAL. The master
meters follow whatever source is being auditioned. The meters won’t make much
sense if more than one source is selected!
EXTERNAL could be “normalled” to a HiFi pre-amp, allowing you to ◊
monitor extra sources such as vinyl, cassette, CD, etc.
Altering what goes into the control room’s monitors does not affect the ◊
signal from the main recording outputs. Just as well, or every time you
wanted to do a quick SOLO during a mix, you’d have to start again!
The CONTROL ROOM LEVEL pot
P 86
sets the level to the control room monitors.
This is sourced post the main main mix stereo fader setting: otherwise you
wouldn’t be able to hear your fades. There is also a similar STUDIO volume
pot (
P 82
).
Owners of MIDI production suites might like to drive a second pair ◊
of control room speakers from the studio output, but take care
when using the TALKBACK mic: no -20 dB offset is applied to the
studio output!
We would like to recommend you to use half-a-dozen sets of speakers on an
external switching matrix, including studio monitors, ghettoblaster, club system,
car stereo and overblown 2" speakers loosely screwed into a less-than-airtight
cardboard box.
If you are using the STUDIO output to drive a pair of monitors actually in ◊
the studio, do not ever leave
P 82
turned up during a take. Howls and
howlround may well be the result.
Lastly, there is a MONO button (
S 86
), useful for checking the phase
correlation and/or coherence of a stereo signal. Again, this does not aect
the main mix output.
Headphones6.4
Both HEADPHONES 1 & 2 masters are identical.
Fig. 6.5: Phones
A SOURCING matrix picks up any or all of MIX-B (
S 76
), CONTROL ROOM
(as chosen in monitor section,
S 77
), AUX 3/4 (
S 78
), AUX 5/6 (
S 79
) and
EXTERNAL (
S 80
). In addition to the sources which are directly selectable from
the headphones masters, aux returns 3 to 6 may be “force-fed” into
HP 1
&
HP 2
from the aux returns masters (
S 55
,
S 56
, etc.).
The headphone mix level is controlled by a master volume pot (
P 75
),
and the gain is sucient to drive headphones directly. This is ne for a MIDI
suite with overdub booth, but for the bigger studio’s headphone network
we’d recommend using a separate headphones distribution amplier like our
BEHRINGER POWERPLAY PRO HA4400. This can oer the added advantage
of independent headphones level control for every performer.
A SOLO button (
S 81
), with its own LED, enables monitoring of the headphones
amplier’s output signal.
This way the engineer can monitor what’s going on in the cans on the control
room monitors, though in our experience this does not give as true a picture as
auditioning the cue feed from a set of headphones identical to those worn by
the performer(s).