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8 EURODESK SX4882 User Manual
An exception to this rule is when laying down voice takes. It is often ◊
convenient to have the mic channel(s) routed to alt potential TAKE
tracks simultaneously, since you are often dropping in quickly between
four or more tracks. It means one less button press each time you
switch tracks.
Fig. 3.5: Routing
The level to the subgroup and main mix buses is ultimately determined by the
channel faders. These are designed to give a smooth logarithmic taper of a
type more usually associated with the name of some pretty expensive brand ...
The low level performance particularly is far smoother than that of a normal
“budget” fader.
The MUTE button (
S 27
), like that for SOLO has an LED indicator (
L 27
) and
removes the A-channel signal from all buses, save any auxes set to pre fader.
It is ergonomically placed immediately above the fader and engaging MUTE is
equivalent to setting a fader level of minus innity.
B-channel3.7
The B-channel (g. 3.6) comprises a secondary channel with its own high and
low EQ, pan and level (
P 18
,
P 19
,
P 20
and
P 21
). The EQ is a replica of
the A-channel shelving EQ. The B-channel ALWAYS feeds into the MIX-B stereo
bus, but its source can be switched between TAPE, LINE, MIC and A-CHANNEL,
depending on how
S 1
,
S 3
and
S 23
are set (see g. 3.2 and section 3.2).
Unusually for an 8-bus console, B-channels also have their own MUTE buttons
(
S 22
). Aux sends 3/4/5/6 may be diverted from the A to the B-channel via
S 17
.
Therefore, if the B-channel is being used to monitor o-tape, some FX processing
e.g. reverb and echo can still be applied. (See section 16.3 “Wet monitoring”.)
When B-channel looks at A-channel (
◊
S 23
DOWN), the signal comes
A-channel mute switch and pre fader. A modification can convert this
PRE stereo aux send to POST fader. (See 23.2 “MIX-B source > post fader”.)
Fig. 3.6: B-channel
Inserts4.
Insert points are useful for adding dynamic processing or equalization to a
channel, subgroup or the mix. Unlike reverbs, etc., which are usually added to
the dry signal, dynamic processing is normally applied across an entire signal.
Here, an aux send would be inappropriate. Instead the signal is intercepted
somewhere along the channel/subgroup/mix, fed through the dynamics
processor and/or EQ and then returned to the console at the same point where it
left. The insert point is invisible or normalized, until a jack is plugged into it.
All subgroups and channels have got insert points, as does the main stereo
output. Both SEND and RETURN are accommodated on a single stereo ¼" jack
socket wired tip=send, ring=return. Inserts are always pre fader and also pre
EQ / aux sends for channels.
Insert points may also be used as pre EQ direct outputs without interrupting
the signal ow. This is obvious when looking at the patchbay wiring (section 8,
g. 8.1). If you want to insert a dynamics processor post EQ, the insert point must
either be taken from a subgroup, or via a second channel / aux return as follows:
Insert a compressor/gate/EQ across a subgroup, and route the channel to be 1)
processed (and only that channel) to that subgroup.
Alternatively, patch a channel’s direct out into a compressor/gate/EQ. 2)
Take the output from that compressor/gate/EQ and feed it back into the
desk via a secondary input (channel, aux return, etc.).
Figure 4.1 illustrates how you might insert into a channel post EQ for mixdown or
track-laying (their requirements are dierent). Mixdown requires one A and one
B-channel. Recording requires two A-channels.