Behringer user manual Expanding the Eurodesk MX9000, Timecode, Connections, Alignment

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19. EXPANDING THE EURODESK MX9000

19.1 Connections

The EXPANDER PORT is input only, and provides access to all but the PFL/SOLO buses. Since the nominal internal operating level of your EURODESK MX9000 is 0 dB, and that at the jack outputs +4 dB, the sends from the outputs of console 2 must be attenuated by +4 dB if unity gain between it and the primary console is to be maintained. Wiring is as follows:

EURODESK 2

>

-4 dB

>

EURODESK 1

Subgroup outputs 1 to 8

>

-4 dB

>

EXPANDER PORT subgroup inputs 1 to 8

Aux outputs 1 to 6

>

-4 dB

>

EXPANDER PORT aux inputs 1 to 6

Main mix output

>

-4 dB

>

EXPANDER PORT main mix inputs

MIX-B output

>

-4 dB

>

EXPANDER PORT MIX-B input

Another manufacturer’s desk

>

-X dB

>

EURODESK 1

Subgroup outputs 1 to 8

>

-X dB

>

EXPANDER PORT subgroup inputs 1 to 8

Aux outputs 1 to 6

>

-X dB

>

EXPANDER PORT aux inputs 1 to 6

Main mix output

>

-X dB

>

EXPANDER PORT main mix inputs

MIX-B output

>

-X dB

>

EXPANDER PORT MIX-B input

19.2 Alignment

To find out the value of “X” align the consoles in the following way. Patch a 1 kHz sine tone (or play a sustained B above middle C on a keyboard) into a channel on each console. Set up each console so that the signal produces unity gain (0 dB) at every output (use each console's PFL or equivalent function to do this). Now, connect the outputs of the second console into the EURODESK EXPANDER PORT. Mute the channel on the EURODESK carrying the signal, and look at the EURODESK outputs. Systematically adjust the reading on each bus until they all read 0 dB by adjusting the master send levels of console 2 (i.e.: master aux send controls, main mix master faders, subgroup faders, etc.).

20. TIMECODE

In analog multitrack recording timecode usually goes down on the edge of the tape: track 8, 16 or 24, with the adjacent track left clear (GUARD BAND) to stop bleeding between recorded tracks and code. Digital formats do not waste any audio tracks on timecode: a separate sync is provided.

Ideally, timecode should be patched from the multitrack out directly into the synchronizer input. Normally, a 24 track tape is striped with timecode before a session commences. Any sequenced music, click track, mix automation is then referenced to it.

Always check sync before laying down any sequenced music: record a click track, then check to see that a

“live” playback doesn't drift. Timecode comes in various formats. The general rule is: format (and make/ model) of timecode generator must be matched to the reader. This shouldn't be a problem if recording and mixing take place in-house and under one roof. It's when tapes move around that problems arise (be sure to include every conceivable technical detail on a tracksheet accompanying the master tape). Fortunately, there are ways to generate fresh in-sync timecode even where none existed in the first place, otherwise most remixes would never happen. You (and I) would rather not have to, though, since it takes time, effort, and an intelligent “learning” synchronizer to do it.

If the gain from the recorder is too low to drive the sync unit,

1)re-stripe at a higher level or

2)amplify the recorded timecode somehow, possibly via a desk channel not routed to any of the main buses. In this case use the channel's direct out to drive the synchronizer's input, in order to keep the timecode as remote as possible from the audio (timecode crosses over like nothing else I know).

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Contents Eurodesk MX9000 Safety Instructions Detailed Safety InstructionsForeword Table of Content Track Recording with 2 Samplers Manual Eurodesk OverviewPSU Power Supply Unit MeteringInput switching INPUT/OUTPUT ChannelChannel strip Input gain setting Channel input switching architectureMain equalizer Aux sendsRouting and muting Aux sendsChannel RoutingInserts B-channelSubgroup and Direct Outputs SubgroupsStereo subgroup channel schematic Master Panel Direct outputsAux masters Aux sends Stereo aux returns MIX-B master Mix-BMonitoring MonitoringHeadphones PhonesPFL/SOLO TalkbackConnections Rear panelPower supply unit connector Subgroup inserts Main balanced outputs 10 MIX-B operating level switch and phantom power switch Plug soldering guide Page Patchfield Normalized bayPatchfield Example of patchbay configurations Looming problems Wiring for bay 8 for advanced wiring scheme refer to sectionEqualization Gain Optimization Impedances and Tuning Unbalanced LinesChannel setting up procedure START-UPDesk/tape setting up procedures Track Midi SUITE/DANCE Production Studio Auxless headphones mix SendsSlightly more complicated auxless headphones mix ReturnsTrack Recording with 2 Samplers Lining up record/sample inputsMixdown RecordingHeadphones Professional 24-TRACK StudioTab .1 Channel assignment Very tricky headphones Live P.A. with 2-TRACK RecordingWet monitoring Tab .1 Channel assignments 2-track Live Concert with 24-TRACK Recording Tab .2 Front/rear/stage monitors routing Expanding the Eurodesk MX9000 TimecodeConnections AlignmentBouncing Sequencing LiveINPUT/OUTPUT Configuration ModificationsAux sends post EQ MIX-B source post faderLED meters pre fader Specifications DBr ref. +4 dBu, 24 chs. assigned input B & set @ unity gain Warranty § 1 Warranty CARD/ONLINE RegistrationPage
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