12EURODESK SX4882 User Manual

◊For live applications try using MIX-B to feed a secondary set of speakers. These could be sidefills, or even more spectacular, the rearward portion of a quadraphonic sound system.

There is no SOLO provision for MIX-B. However, you can audition it by selecting only MIX-B ( S 83 ) in the monitor sourcing matrix.

◊ If MIX-B is assigned to the main mix (

 

S 48

DOWN), do not listen to

 

 

 

 

 

MIX-B (

S 83

) and the main mix (

S 82

 

) simultaneously. That way

you’ll be monitoring MIX-B twice over, and what you hear won’t correspond with what’s going down to tape.

6.3 Monitoring

Fig. 6.4: Monitoring

Though most of you will want to audition the main mix most of the time there are exceptions. These include PFL/SOLO, and 2-TRACK PLAYBACK. The SOURCING matrix ( S 82 to S 85 , see fig. 6.5) allows you to monitor the main mix,

the MIX-B and two external sources marked 2-track and EXTERNAL. The master meters follow whatever source is being auditioned. The meters won’t make much sense if more than one source is selected!

◊EXTERNAL could be “normalled” to a HiFi pre-amp, allowing you to monitor extra sources such as vinyl, cassette, CD, etc.

◊Altering what goes into the control room’s monitors does not affect the signal from the main recording outputs. Just as well, or every time you wanted to do a quick SOLO during a mix, you’d have to start again!

The CONTROL ROOM LEVEL pot P 86 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 ( P 82 ).

◊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 P 82 turned up during a take. Howls and howlround may well be the result.

Lastly, there is a MONO button ( S 86 ), 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 (

 

), CONTROL ROOM

S 76

(as chosen in monitor section,

 

), AUX 3/4 (

 

 

), AUX 5/6 (

 

) and

S 77

 

S 78

S 79

EXTERNAL ( S 80 ). In addition to the sources which are directly selectable from

the headphones masters, aux returns 3 to 6 may be “force-fed” into

 

HP 1

&

 

from the aux returns masters (

 

,

 

, etc.).

 

 

HP 2

S 55

S 56

 

 

The headphone mix level is controlled by a master volume pot (

 

),

 

P 75

 

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 ( S 81 ), 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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