Behringer MX9000 user manual Headphones, Phones

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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