EURORACK MX2642A
8. SETTING UP
8.1 Selecting Inputs
1)Mono channels accept mic or line inputs. If you are using the mic input, make sure nothing is connected to the line input (and
+The mic inputs are more sensitive than the line inputs. Do not connect mics with phantom power switched on. NEVER use unbalanced mic cables with the phantom power switched on ever! Shorting +48 V to earth can cause serious damage.
2)Stereo channels accept
3)Stereo line inputs are primarily designed for returning effects units, though these too may be given over to multitrack returns or MIDI instrument outputs.
8.2 Initializing Channels for Gain-Setting
1)Set gain to minimum and all aux sends to “Off” (fully counterclockwise).
2)Set EQ to flat (all knobs at 12 o’clock).
3)Where applicable, set Lo Cut switch (S2) “On” for most mics, “Off” for signals with desired very low frequency content.
4)Set channel mode to PFL (S37 up).
5)Depress SOLO/PFL (S14) switch.
8.3 Auditioning a Signal and Setting up a Channel
1)Make a typical noise, or roll the tape. There should also be some activity at the main L/R bargraph meters, indicating the PFL level.
2)For Mic/Line inputs: Adjust the GAIN control (P1) until transient peaks are regularly hitting +6 dB. Continuous signals should not exceed 0 dB.
3)For stereo line inputs: Adjust the GAIN control (P22) until transient peaks are regularly hitting +6 dB. Continuous signals should not exceed 0 dB.
4)If EQ is used, repeat steps 8.2 1) & 2).
5)If an insert is used to patch in a compressor, gate, EQ etc, use the outboard processor’s bypass or effect “Off” switch to A/B monitor the effect. If it does not have a bypass switch or equivalent, you will have to keep connecting and disconnecting the device until you complete the following procedure: Adjust the processor’s output level so that effected and bypassed signals are of comparable level, ie “unity” gain.
6)SOLO/PFL switch (S14) up. Move onto next channel.
8.4 Desk Normalization
All board settings should be set to the normal default condition before or after every session. Usually faders are set to zero (minus infinity) EQ’s set flat and switched out, trimpots and channel aux sends turned fully counterclockwise etc. Many controls have a natural initial setting. For EQ cut and boost this is centre position. However, some settings, such as selecting pre or post for channel aux sends, will depend on the operating environment (e.g. studio or live), or on a particular engineer’s preferred way of working.
8.5 Multitrack Initialization
Set up the multitrack so that any track in “record ready” condition has its input monitored when the tape is stationary. Place all tracks to be recorded into “record ready” status. (Once a recording has been made, these tracks should automatically switch to tape playback.) Check that the input levels to each track are optimized before recording commences.
16 | 8. SETTING UP |