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Behringer MX9000 user manual Headphones, 5 Phones

Models: MX9000

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6.4 Headphones

The CONTROL ROOM LEVEL pot P86 sets the level to the control room monitors. This is sourced post the main main mix stereo fader setting: otherwise you wouldn’t be able to hear your fades. There is also a similar STUDIO volume pot (P82).

+Owners of MIDI production suites might like to drive a second pair of control room speakers from the studio output, but take care when using the TALKBACK mic: no -20 dB offset is applied to the studio output!

We would like to recommend you to use half-a-dozen sets of speakers on an external switching matrix, including studio monitors, ghettoblaster, club system, car stereo and overblown 2" speakers loosely screwed into a less-than-airtight cardboard box.

+If you are using the STUDIO output to drive a pair of monitors actually in the studio, do not ever leave P82 turned up during a take. Howls and howlround may well be the result.

Lastly, there is a MONO button (S86), useful for checking the phase correlation and/or coherence of a stereo signal. Again, this does not affect the main mix output.

6.4 Headphones

Both HEADPHONES 1 & 2 masters are identical.

Fig. 6.5: Phones

A SOURCING matrix picks up any or all of MIX-B (S76), CONTROL ROOM (as chosen in monitor section, S77), AUX 3/4 (S78), AUX 5/6 (S79) and EXTERNAL (S80). In addition to the sources which are directly selectable from the headphones masters, aux returns 3 to 6 may be “force-fed” into HP1 & HP2 from the aux returns masters (S55, S56, etc.).

The headphone mix level is controlled by a master volume pot (P75), and the gain is sufficient to drive headphones directly. This is fine for a MIDI suite with overdub booth, but for the bigger studio’s headphone network we’d recommend using a separate headphones distribution amplifier like our BEHRINGER POWERPLAY PRO HA4400. This can offer the added advantage of independent headphones level control for every performer.

A SOLO button (S81), with its own LED, enables monitoring of the headphones amplifier’s output signal.

This way the engineer can monitor what’s going on in the cans on the control room monitors, though in our experience this does not give as true a picture as auditioning the cue feed from a set of headphones identical to those worn by the performer(s).

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Behringer MX9000 user manual Headphones, 5 Phones

Contents

EURODESKMX9000 User´s ManualENGLISH SAFETY INSTRUCTIONS FOREWORD TABLE OF CONTENT 13.START-UP 2. EURODESK OVERVIEW 1. THE MANUAL1.1 Nomenclature 1.2 An un-holstic approach2.2 Metering 2.3 PSU Power Supply Unit3. INPUT/OUTPUT CHANNEL 3.2 Input switching3.1 Channel strip Fig. 3.1 InputFig. 3.2 Channel input switching architecture 3.3 Input gain setting3.4 Main equalizer 3.5 Aux sendsFig. 3.3 Main equalizer Fig. 3.4 Aux sends 3.6 Routing and mutingFig. 3.5 Routing 3.7 B-channelFig. 3.6 B-channel 4. INSERTS5. SUBGROUP AND DIRECT OUTPUTS 5.1 SubgroupsFig. 4.1 Post EQ channel insert Fig. 5.1 Stereo subgroup channel schematic 6. MASTER PANEL 5.2 Direct outputs6.1 Aux masters 6.1.2 Aux returns Fig. 6.1 Aux sendsFig. 6.2 Stereo aux returns a Aux returns 1 and 6.2 MIX-B masterb Aux returns 3 to c SOLOFig. 6.4 Monitoring 6.3 MonitoringFig. 6.5 Phones 6.4 Headphones6.6 Talkback 6.5 PFL/SOLOFig. 6.6 Solo section 6.5.1 PFL7. CONNECTIONS 7.1 Rear panelFig. 7.1 Expander port bus inputs Auxiliary sends Fig. 7.2 Power supply unit connectorFig. 7.3 Auxiliary sends Auxiliary returnsSubgroup inserts Fig. 7.7 Additional connectorsFig. 7.5 Subgroup inserts 2-track in/outPhones 1/2 Stereo outputsMeter/analyzer out Master balanced outputsFig. 7.10 MIX-B operating level switch and phantom power switch 7.2 Plug soldering guideFig. 7.11 Subgroup outputs/tape sends and operating level switch A-channel line inputsPage Page 8. THE PATCHFIELD 8.1 The normalized bay8.2 The patchfield Fig. 8.1 Example of patchbay configurations Fig. 8.2 Wiring for bay 8 for advanced wiring scheme refer to section 8.3 Looming problems9. EQUALIZATION 10. GAIN OPTIMIZATION 12. UNBALANCED LINES 11. IMPEDANCES AND TUNINGFig. 12.1 A balanced microphone line Here something exquisitely simple happens13.1 A-channel setting up procedure 13.2 Desk/tape setting up procedures13. START-UP 13.2.2 Multitrack initialization 14. 8-TRACK MIDI SUITE/DANCE PRODUCTION STUDIO13.2.3Recording levels 13.2.4Auditioning a mix14.1 Sends 14.2 Auxless headphones mixFig. 14.2 Simple auxless headphones mix Fig. 14.1 Send routing14.3 Returns Fig. 14.3 Slightly more complicated auxless headphones mixFig. 14.4 Subgroup-driven auxless headphones mix 14.4 Lining up record/sample inputs 15. 16-TRACK RECORDING WITH 2 SAMPLERS14.5 Mixdown 15.1 Recording16. PROFESSIONAL 24-TRACK STUDIO 15.2 Headphones15.3 Mixdown 16.1 RecordingTab. 16.1 Channel assignment 16.2 Very tricky headphones16.4 Mixdown 16.3 Wet monitoring17. LIVE P.A. WITH 2-TRACK RECORDING Tab. 17.1 Channel assignments 2-trackS48 is UP, i.e. MIX-B is NOT blended into the main mix 18. LIVE CONCERT WITH 24-TRACK RECORDING Tab. 18.2 Front/rear/stage monitors routing + + + +20. TIMECODE 19. EXPANDING THE EURODESK MX900019.1 Connections 19.2 Alignment22. SEQUENCING “LIVE” 21. BOUNCINGHowever 1. TRACK STACK RULE23. INPUT/OUTPUT CONFIGURATION 24. MODIFICATIONSFig. 23.1 Input/output configuration 24.2 MIX-B source post fader 24.1 Aux sends post EQ24.3 LED meters pre fader Fig. 24.1 Modifications aux send post EQMain channel strip 25. SPECIFICATIONSEqualisation Channel direct outPower supply Dimensions/weightGeneral § 1 WARRANTY CARD/ONLINE REGISTRATION 26. WARRANTY§ 2 WARRANTY § 3 RETURN AUTHORIZATION NUMBERPage