6EURODESK SX4882 User Manual

2.EURODESK Overview

2.1 Architecture

The EURODESK SX4882 is a hybrid SPLIT/INLINE console. Input channels cover most of the surface from the left, while the outputs to tape are to the right. Tape monitor returns, however, are housed within the channel strips, not next to the tape outputs, as would be the case in a conventional “split” design.

This architecture enables much flexibility to be bestowed onto the tape monitor signal path, not least being its ability to pick up functions easily from the main channel. Also, during mixdown, when tape tracks are no longer monitored but MIXED, the signal path between tape input and main channel is kept

to a minimum.

The configuration is 24 into 8 into 24. This means that there are 24 channels, eight subgroups or “submixes” (or four stereo subgroups) and 24 tape monitor returns, one for each channel. There are 24 100 mm channel faders, eight subgroup faders, and a stereo pair of faders driving the L/R main mix.

In remix mode 48 channels are available, all with EQ and access to the aux buses. There are six additional stereo FX returns, giving a grand total of 60 separate line-level inputs: and that’s before you even consider using the subgroup insert points to provide eight more!

There are six aux buses accessed by four potentiometers, two headphone mixes and professional recording, monitoring and talkback facilities. If you can afford to lose the extra 24 line inputs, the MIX-B bus can also act as a separate stereo aux send, giving eight aux buses in all.

A comprehensive set of inputs and outputs include MIC (+48 V), line,

tape (+4 dBu or -10 dBV), inserts all round, direct channel outs and all master recorder and monitoring options. Just about everything you’d expect from a massive console.

In addition, a 1/4" jack expander bay (INPUT ONLY) allows direct patching into all buses within the EURODESK (except PFL and SOLO). Hence two EURODESK consoles may be linked, or the EURODESK coupled to ANY OTHER CONSOLE, large or small, provided that the other console has (or can be MADE to have) similar access (see section 19 “Expanding the EURODESK”).

Last, and probably least, two BNC connectors on top of the built-in meterbridge await optional gooseneck desk lights, available from all good gooseneck desk light stores. A must for those darkened auditoria, or when you’re into your third consecutive night in the studio.

2.2 Metering

The 1 to 24 channels have signal (-20 dB, L 25 ) and overload LEDs (PEAK, L 24 ).

The built-in meterbridge provides 12 segment bargraph meters for all channels and subgroups as well as for the main mix. By the DISPLAY MODE switch

( S 100 , top left of the master section) you decide between CHANNEL and TAPE MODE. Your choice will be indicated by a LED.

In CHANNEL MODE, which is the best for live mixing purposes, the LED meters read the channel’s direct OUTPUT, which is post EQ, post mute and post fader (you may alter that to pre mute and pre fader by the modification described in APPENDIX II.3).

In TAPE MODE the channel meters will mirror the multitrack’s meters, because they read the tape return inputs – after the OPERATING LEVEL switch, but unaffected by anything else happening in the channel. 0 dB is referenced to the selected tape operating level (+4 dBu or -10 dBV).

The main mix meters double up as mono PFL or stereo SOLO meters, or 2-track return meters, or EXTERNAL return meters (in general, what you HEAR is what you SEE). During PFL/SOLO only the main mix bargraph meters illuminate.

◊In SOLO/PFL mode a 0 dB meter reading matches an internal operating level of 0 dBu (0.775 V). However, when looking at the mix, 0 dB is referenced to +4 dBu, the 2-track operating level. I.e. if only ONE signal is present in the main mix bus, SOLOing that signal will cause the meter reading to increase by +4 dB.

3. Input/Output Channel

3.1 Channel strip

On the EURODESK SX4882 the 24 INPUT + OUTPUT (I/O or “normal”)

channels cover most of the console. Most of each strip is occupied by the main or A-CHANNEL, accepting MIC, LINE or TAPE inputs, depending on the positions of

S 1 and S 3 (see fig. 3.1 and 3.2). Each channel strip also sports a secondary

B-CHANNEL (fig. 3.6) Anything routed to a B-channel is directed to a separate MIX-B bus. (See section 3.7 “B-channel” and also section 6.2 “MIX-B master”).

3.2 Input switching

First, look at the MIC/LINE switch

S 1

. In the UP position it selects MIC, in the

DOWN position LINE. The next switch

 

 

chooses whether A-channel looks at

 

S 3

INPUT or TAPE. If INPUT is routed to A-channel, TAPE is offered to B-channel. If TAPE is routed to A-channel, INPUT is offered to B-channel. Depressing the PAD switch ( S 1a ) lowers an incoming mic signal by -20 dB, if necessary.

Fig. 3.1: Input

When laying tracks, it is usual to use the MIX-B inputs for monitoring the signal from TAPE, while the A-channels take care of microphones, Dl’s, etc. For MIXING purposes, TAPE tracks are normally “flipped” onto the main channels, leaving the B-channels free for other applications, such as offering extra line inputs.

These rules are, however, made to be broken.

S 23 applies to the B-channel only and replaces the normal TAPE or INPUT source with a tap from the main channel, taken post mute and pre fader. Now MIX-B acts as an extra stereo aux send or extra stereo mix. You should remove MIX-B from the main mix (via S 48 , master section) in this configuration.

Fig. 3.2: Channel input switching architecture

◊The B-channels 25 to 48 are only routable EN BLOC to the main mix,

via S 48 . Therefore, the MIX-B bus can only have one function at any one time, either as a stereo AUX or secondary mix send ( S 48 UP) or as a set of 24 extra line or tape inputs to the main mix ( S 48 DOWN).

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