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9 EURODESK SX4882 User Manual
behringer.com
Fig. 4.1: Post EQ channel insert
In this arrangement you might find that compression tends to soften ◊
the perceived amount of EQ applied. The solution? Apply more EQ.
This creates a real “pressure” sound, great for high energy music such
as dance. (For a more subtle approach, use the desk insert points word
for word.)
Using a group insert to effect post EQ processing precludes the use of ◊
POSTPROCESSING AUX SENDS without some serious re-patching.
Subgroup and Direct Outputs5.
Subgroups5.1
The principal routes to the multitrack are via the SUBGROUP OUTPUTS. There are
four stereo (or eight mono) subgroups, numbered 1 to 8. All main channels
can access all of them, as can the STEREO AUX RETURNS 1 and 2. (For this
reason it is usually wise to bring your best two FX processors back on these
returns (or A-channels, for that matter), so that they can easily be sent to tape.
(See also section 6.1 “Aux masters”.)
Why are there 16 subgroup output jacks on the EURODESK when there are only
8 subgroups? Well, each subgroup output is duplicated, so that the EURODESK can
interface with up to 16 tracks via the group outputs without having to re-patch.
As well as always functioning as subgroups for track laying via the
SUBGROUP OUTPUTS, groups can be routed directly into the main mix bus for
submixing. Main mix routing is handled by switches
S 37
and
S 38
.
S 37
routes an odd numbered group to the left bus, while
S 38
sends an even
numbered subgroup to the right bus. That’s ne for stereo submixes. If you want
a pair of mono s
ubmixes instead, also press the MONO buttons (
S 35
and
S 36
).
Now these subgroups feed into the center of the main mix stereo image, i.e.
equally to L and R. You could have the rst subgroup feeding into the left hand
side, while the second one appears in mono, but we can’t think of many real
situations where you’d want to do this.
Subgroup SOLO (
S 33
+
S 34
) follows the mix assignment. E.g.: If the main
mix is selected, then that stereo subgroup will be monitored in stereo. If mono is
also selected, monitoring is in mono.
Try inserting compression / de-essing / an exciter / a gate across ◊
grouped signals (e.g. backing vocals, drums, layered synths).
Fig. 5.1: Stereo subgroup channel schematic
Try merging a dry signal with a little wet, then compressing the sum ◊
heavily. Though the reverb proportion will be low when a signal is
present, the resultant reverb tail pumped up by the compressor at the
start of each silence will give the illusion that the reverb was massive
alt the time. (The listener will be left wondering how the singer could
sound so clear in such a wet acoustic!)
EURODESK insert points are, of course, simultaneously inputs and ◊
outputs. Get them onto a patchbay, where they can appear as
independent sockets, and do away with all these fiddly Y leads that
always seem to be the first to get knotted in the flightcase.
(See section 8 “The patchfield”.) Now it is possible to do the following
incredibly useful patch without having to make up what would
amount to a ring-to-tip, tip-to-ring stereo patch lead.
Fig. 5.2: Using insert to add channel EQ to subgroup output (while keeping the number of line
inputs unchanged!)