Behringer SX4882 19. Expanding the EURODESK, 20. Timecode

25EURODESK SX4882 User Manual

Using this setup, you can even change the P.A. to a quadrophonic system. Positioning takes place by balancing the main mix (channel fader, PANpot P 24 ) against MIX-B ( P 20 , P 21 ).

Channels	Source	F.O.H.	FX	Wedges	Infills
1	Kick	MIX-B	-	-	Subgroups 1/2, 3/4
					and 7/8
2	Snare	MIX-B	Aux send 4	Aux send 1	Subgroups 1/2
				and 2	and 3/4
3	Hi Hat	MIX-B	-	-	Subgroups 1/2
					and 3/4
4	Tom 1	MIX-B	Aux send 4	-	-
5	Tom 2	MIX-B	Aux send 4	-	-
6	Tom 3	MIX-B	Aux send 4	-	-
7	Tom 4	MIX-B	Aux send 4	-	-
8	Cymbals	MIX-B	-	-	-
	(overheads)
9	Keyboards L	MIX-B	-	-	Subgroup 12
10	Keyboards R	MIX-B	-	-	Subgroup 12
11	Bass DI	MIX-B	-	-	Subgroups 1/2,
					3/4 and 7/8
12	Trumpet	MIX-B	Aux send 5	-	-
13	Trombone	MIX-B	Aux send 5	-	-
14	Sax	MIX-B	Aux send 5	-	-
15	BVs 1	MIX-B	Aux send 5	Aux send 1	-
			and 6	and 2
16	BVs 2	MIX-B	Aux send 5	Aux send 1	-
			and 6	and 2
17	BVs 3	MIX-B	Aux send 5	Aux send 1	-
			and 6	and 2
18	Conga L	MIX-B	-	-	Subgroups 1/2,
					3/4 and 7/8
19	Conga R	MIX-B	-	-	Subgroups 1/2,
					3/4 and 7/8
20	Guitar 1	MIX-B	-	-	Subgroups 3 and 4
	microphone
21	Guitar 2	MIX-B	-	-	Subgroups 3 and 4
	microphone
22	Lead vocal	MIX-B	Aux send 5	Aux send 1	-
			and 6
23	FX 1 L	MIX-B	-	Aux send 1	-
24	FX 1 R	MIX-B	-	Aux send 1	-

Tab. 8.2: Front/rear/stage monitors routing

For front of house route all channels to the MIX-B bus > main mix. For live P.A. effects use auxes 3/4/5/6. For wedge monitors use aux 1 and 2 in pre mode > aux 1and 2 output. For sidefills use phones 1 output. For infill for guitarist, keyboard player and drummer use subgroups 1/2, 3/4 and 7/8.

◊No subgrouping is used as a mixing aid to the FOH mix.

◊Infill sends use up one group pair each as a consequence of the routing matrix being dependent on the channel PANpot ( P 24 ).

◊ All channels should be set for: aux 1/2: PRE ( S 13 DOWN) > WEDGES; aux 3/4/5/6: POST ( S 16 UP) > FX; MIX-B SOURCE = CHANNEL ( S 23 DOWN); FLIP = Mic/Line SIGNAL ( S 3 UP)

◊In a quadrophonic setup MIX-B should be kept separate from the main mix ( S 48 UP).

OK: This example has been extreme. Chances are if you were touring with the sort of PA / multitrack described above you’d also have a massive FOH console, separate foldback mixer, and a rider that would make Bill Graham blanche.

None of the applications examples are designed to be used as a BLUEPRINT. Rather, they should give you some idea of the scope and flexibility of your EURODESK SX4882. Use your imagination to find novel ways of solving problems and creating extra facilities.

19. Expanding the EURODESK

19.1 Connections

The EXPANDER PORT is input only, and provides access to all but the PFL/SOLO buses. Since the nominal internal operating level of your EURODESK SX4882 is

0 dB, and that at the jack outputs +4 dB, the sends from the outputs of console 2 must be attenuated by +4 dB if unity gain between it and the primary console is to be maintained. Wiring is as follows:

EURODESK 2	> -4 dB >	EURODESK 1
Subgroup outputs 1 to 8		EXPANDER PORT subgroup inputs 1 to 8
Aux outputs 1 to 6		EXPANDER PORT aux inputs 1 to 6
Main mix output		EXPANDER PORT main mix inputs
MIX-B output		EXPANDER PORT MIX-B input
Another manufacturer’s	> -X dB >	EURODESK 1
desk
Subgroup outputs 1 to 8		EXPANDER PORT subgroup inputs 1 to 8
Aux outputs 1 to 6		EXPANDER PORT aux inputs 1 to 6
Main mix output		EXPANDER PORT main mix inputs
MIX-B output		EXPANDER PORT MIX-B input

19.2 Alignment

To find out the value of “X” align the consoles in the following way. Patch a 1 kHz sine tone (or play a sustained B above middle C on a keyboard) into a channel on each console. Set up each console so that the signal produces unity gain

(0 dB) at every output (use each console’s PFL or equivalent function to do this). Now, connect the outputs of the second console into the EURODESK EXPANDER PORT. Mute the channel on the EURODESK carrying the signal, and look at the EURODESK outputs. Systematically adjust the reading on each bus until they all read 0 dB by adjusting the master send levels of console 2 (i.e.: master aux send controls, main mix master faders, subgroup faders, etc.).

20. Timecode

In analog multitrack recording timecode usually goes down on the edge of the tape: track 8, 16 or 24, with the adjacent track left clear (GUARD BAND) to stop bleeding between recorded tracks and code. Digital formats do not waste any audio tracks on timecode: a separate sync is provided.

Ideally, timecode should be patched from the multitrack out directly into the synchronizer input. Normally, a 24 track tape is striped with timecode before a session commences. Any sequenced music, click track, mix automation is then referenced to it.

Always check sync before laying down any sequenced music: record a click track, then check to see that a “live” playback doesn’t drift. Timecode comes in various formats. The general rule is: format (and make/model) of timecode generator must be matched to the reader. This shouldn’t be a problem if recording and mixing take place in-house and under one roof. It’s when tapes move around that problems arise (be sure to include every conceivable technical detail on a tracksheet accompanying the master tape). Fortunately, there are ways to generate fresh in-sync timecode even where none existed in the

first place, otherwise most remixes would never happen. You would rather not have to, though, since it takes time, effort, and an intelligent “learning” synchronizer to do it.

If the gain from the recorder is too low to drive the sync unit,

•re-stripe at a higher level or

•amplify the recorded timecode somehow, possibly via a desk channel not routed to any of the main buses. In this case use the channel’s direct out to drive the synchronizer’s input, in order to keep the timecode as remote as possible from the audio (timecode crosses over like nothing else we know).

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