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24 EURODESK SX4882 User Manual
Live P.A. with 2-Track Recording17.
In this example we’ll use the aux sends 1 and 2 for stage foldback, and 3/4/5/6 for
front-of-house eects. The P.A. is driven from the main mix. MIX-B will be used to
set up the mix to DAT.
Channels Source FOH FX
Wedges /
monitoring
1 Kick
Subgroups 1
and 2 / MIX-B
- Aux send 1 and 2
2 Snare
Subgroups 1
and 2 / MIX-B
Aux send 4 Aux send 1 and 2
3 Hi Hat
Subgroups 1
and 2 / MIX-B
- Aux send 1 and 2
4 Tom 1
Subgroups 1
and 2 / MIX-B
Aux send 4 -
5 Tom 2
Subgroups 1
and 2 / MIX-B
Aux send 4 -
6 Tom 3
Subgroups 1
and 2 / MIX-B
Aux send 4 -
7 Tom 4
Subgroups 1
and 2 / MIX-B
Aux send 4 -
8
Cymbals
(overheads)
Subgroups 1
and 2 / MIX-B
- -
9 Keyboards L
Subgroups 3
and 4 / MIX-B
- Aux send 1 and 2
10 Keyboards R
Subgroups 3
and 4 / MIX-B
- Aux send 1 and 2
11 Bass DI
Main mix /
MIX-B
- Aux send 1 and 2
12 Trumpet
Subgroups 5
and 6 / MIX-B
Aux send 5 Aux send 2
13 Trombone
Subgroups 5
and 6 / MIX-B
Aux send 5 Aux send 2
14 Sax
Subgroups 5
and 6 / MIX-B
Aux send 5 Aux send 2
15 BVs 1
Subgroups 7
and 8 / MIX-B
Aux send 5
and 6
Aux send 1 and 2
16 BVs 2
Subgroups 7
and 8 / MIX-B
Aux send 5
and 6
Aux send 1 and 2
17 BVs 3
Subgroups 7
and 8 / MIX-B
Aux send 5
and 6
Aux send 1 and 2
18 Conga L
Main mix /
MIX-B
- Aux send 2
19 Conga R
Main mix /
MIX-B
- Aux send 2
20
Guitar 1
microphone
Main mix /
MIX-B
- Aux send 1 and 2
21
Guitar 2
microphone
Main mix /
MIX-B
- Aux send 1 and 2
22 Lead vocal
Main mix /
MIX-B
Aux send 5
and 6
Aux send 1 and 2
23 FX 1 L
Main mix /
MIX-B
- -
24 FX 1 R
Main mix /
MIX-B
- -
Tab. 17.1: Channel assignments 2-track
Every B-channel has its own LEVEL, PAN and HIGH and LOW EQ. MIX-B in fact is
acting here like a totally independent separate mixer, albeit with fewer facilities
than the main mix. The primary stereo reverb/echo unit’s outputs have been
patched into A-channels rather than an aux return, to enable them to be sent to
the MAIN MIX and MIX-B independently.
S48 is UP, i.e. MIX-B is NOT blended into the main mix.◊
Bringing the DAT back on aux 1 return P49 (as opposed to the 2-track or ◊
external inputs) enables not only auditioning of DAT playback, but also
balancing playback level against the main mix, in case you also want
to use it to play a pre-recorded intro tape to set the scene for the
coming performance.
Be sure to have aux return 1 turned all the way down or de-assigned ◊
when recording to DAT. Otherwise expect massive and terminal
(as far as the P.A. and gig are concerned) howlround.
Live Concert with 18.
24-Track Recording
Stereo (quadraphonic) P.A. with sidells, three inlls, two wedge mixes,
four FX and simultaneous 24-track recording.
Channels Source Tape route Destination
1 Kick Direct out Track 1
2 Snare Direct out Track 2
3 Hi Hat Direct out Track 3
4 Tom 1 Subgroups 5 and 6 Tracks 5 and 6
5 Tom 2 Subgroups 5 and 6 Tracks 5 and 6
6 Tom 3 Subgroups 5 and 6 Tracks 5 and 6
7 Tom 4 Subgroups 5 and 6 Tracks 5 and 6
8 Cymbals (overheads) Direct out Track 4
9 Keyboards L Direct out Track 7
10 Keyboards R Direct out Track 8
11 Bass DI Direct out Track 9
12 Trumpet Direct out Track 10
13 Trombone Direct out Track 11
14 Sax Direct out Track 12
15 BVs 1 Direct out Track 13
16 BVs 2 Direct out Track 14
17 BVs 3 Direct out Track 15
18 Conga L Direct out Track 16
19 Conga R Direct out Track 17
20 Guitar 1 microphone Direct out Track 18
21 Guitar 2 microphone Direct out Track 19
22 Lead vocal Direct out Track 20
23
Main echo /
reverb return
(Send = aux 3) Track 21
24
Main echo /
reverb return
(Send = aux 3) Track 22
Tab. 18.1: Channel assignments 24-track (track 24 pre-striped with SMPTE)
None of the tape tracks can be auditioned in this conguration. The channel fader
controls the level to tape, MIX-B adjusts the P.A. level.
The channel inserts (which are pre fader), may be used as virtual direct outs.
Hopefully you will be able to set the input gains (
P 2
) to suit the multitrack
on any channel that does not have a massive EQ (i.e. energy) swing away from
0 dB. The consequent lack of any desk EQ on your tape tracks might even be an
advantage when it comes to remixing the concert back in the studio.