Behringer MX9000 user manual Wet monitoring

Overdubbing:

It’s all change. Flip the recorded music onto A-channels, in order to feed from tape into all the headphones buses.

Alternatively:

(and probably much more sensibly): use the headphones routine outlined in section 15.2 (fig. 15.1).

16.3 Wet monitoring

It is customary with live recording to lay tracks dry. (Not so with MIDI setups: often a tape track is used to record a complex effect. In a MIDI studio a take is generally MIDI sequencer driven, and hence reproducible should the recorded effected track eventually prove to be unsuitable, in live recording, a great take is irreplaceable! Hence the extra caution when laying live tracks.) With dry recording you will probably want to audition tape tracks with some reverb and/or echo, to get a better idea of how the final mix might sound. By pressing the AUX 3/4/5/6 SOURCE switch (S17), aux buses 3 and 4 are available to the B-channels, i.e. tape monitoring. You could send to reverb from input channels, but the FX would disappear on tape playback. Bring the FX back on aux returns 1, 2, 5 or 6. Remember 3 and 4 have been used for headphones patching.

16.4 Mixdown

All aux sends and subgroups are now available for mixing, as are A-channels 23 and 24.

+If you have two different instruments recorded onto one track, the mixdown settings for each might be totally different. Set up two A-channels. one for each instrument, and switch between them.

The B-channels may be used e.g. as FX returns in place of the normal aux returns (the advantage being that these channels have PAN and EQ) or as an extra stereo aux send.

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