Behringer EURODESK MX9000 User's, User Manual

Page 1: ...EURODESK MX9000 www behringer com ENGLISH Version 1 1 July 2002 User s Manual All manuals and user guides at all guides com a l l g u i d e s c o m...

Page 2: ...on openings Heat The appliance should be situated away from heat sources such as radiators heat registers stoves or other appliance including amplifiers that produce heat Power Source The appliance sh...

Page 3: ...your highly competent suggestions for new products you ve greatly contributed to shaping our company and making it successful In return we guarantee you uncompromising quality manufactured under ISO90...

Page 4: ...3 5 SUBGROUP AND DIRECT OUTPUTS 14 5 1 Subgroups 14 5 2 Direct outputs 16 6 MASTER PANEL 16 6 1 Aux masters 16 6 1 1 Aux sends 16 6 1 2 Aux returns 17 6 2 MIX B master 19 6 3 Monitoring 20 6 4 Headpho...

Page 5: ...ample inputs 41 14 5Mixdown 41 15 16 TRACK RECORDING WITH 2 SAMPLERS 41 15 1Recording 41 15 2Headphones 42 15 3Mixdown 42 16 PROFESSIONAL 24 TRACK STUDIO 42 16 1Recording 42 16 2Very tricky headphones...

Page 6: ...You might find that several cross sectional references have been made where areas of interest overlap E g Channel EQ is specified and described in the Main equalizer section 3 4 while EQUALIZATION has...

Page 7: ...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 L25 and overload LEDs PEAK L24 The bulit in meterbridge...

Page 8: ...ee section 3 7 B channel and also section 6 2 MIX B master 3 2 Input switching First look at the MIC LINE switch S1 In the UP position it selects MIC in the DOWN position LINE The next switch S3 choos...

Page 9: ...ED L26 See also 13 1 A channel setting up procedure and 6 5 Solo PFL For level setting as opposed to localized listening choose to use the mono PFL rather than the post fader SOLO bus S95 DOWN SOLO PF...

Page 10: ...for and there is an enormous 3 plus octave overlap between the two mid bands P5 P6 P7 and P8 No experienced engineer will complain about that All four bands offer 15 dB of cut and boost Thirdly there...

Page 11: ...y send This meant losing fader control over the signal 3 6 Routing and muting ROUTING means selecting which BUS you want a channel to address There are actually six stereo buses in the EURODESK MX9000...

Page 12: ...all buses save any auxes set to pre fader It is ergonomically placed immediately above the fader and engaging MUTE is equivalent to setting a fader level of minus infinity 3 7 B channel The B channel...

Page 13: ...alized until a jack is plugged into it All subgroups and channels have got insert points as does the main stereo output Both SEND and RETURN are accommodated on a single stereo 1 4 jack socket wired t...

Page 14: ...each subgroup output is duplicated so that the EURODESK can interface with up to 16 tracks via the group outputs without having to re patch As well as always functioning as subgroups for track laying...

Page 15: ...be left wondering how the singer could sound so clear in such a wet acoustic EURODESK insert points are of course simultaneously inputs and outputs Get them onto a patchbay where they can appear as i...

Page 16: ...x sends and returns We ll start with the sends see fig 6 1 1 Stacked in a vertical column are six master aux send levels one for each of buses 1 to 6 P41 to P46 Each one has a gain structure of minus...

Page 17: ...configured as six stereo pairs On these inputs there is up to 20 dB of gain available Alternatively a mono center panned signal may be returned by plugging into the left aux return jack only This feat...

Page 18: ...18 Fig 6 2 Stereo aux returns All manuals and user guides at all guides com...

Page 19: ...IN L R MIX and PHONES 1 2 Gain pots and solo switches complete the picture c SOLO Below each column of aux returns lies a local solo LED L61 L74 These illuminate whenever a SOLO button in the column a...

Page 20: ...ing 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 S82 to S85 see fig 6...

Page 21: ...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 EXTE...

Page 22: ...an isolated signal or a group of signals Whenever a SOLO button is pressed all unselected channels are muted in the monitors Stereo panning is maintained The SOLO bus is derived from the output of the...

Page 23: ...pushbuttons are non latching it might drive you crazy If you are using many headphone feeds you may d it easier to patch a separate microphone for talkback straight into a channel where it can be rou...

Page 24: ...mic phantom power 12 V BNCs and 5 V LEDs Fig 7 2 Power supply unit connector Auxiliary sends Unbalanced 1 4 jacks wired tip signal ve and sleeve ground screen They operate at 4 dBu Fig 7 3 Auxiliary s...

Page 25: ...s for use with tape recorders etc signal main mix wired center post signal ve and sleeve ground screen Fig 7 6 2 track in out 2 track external inputs Two additional stereo inputs this time on unbalanc...

Page 26: ...n see section 6 4 Headphones Meter analyzer out Unbalanced jacks at 4 dBu for use with external measuring equipment e g the built in real time analyzer of our BEHRINGER ULTRA CURVE PRO DSP8024 signal...

Page 27: ...or unbalanced send and return from a single stereo jack socket Wiring is tip out ring in and sleeve ground screen Direct outputs This tap comes from just after the channel fader Unbalanced 1 4 jacks B...

Page 28: ...28 7 2 Plug soldering guide You will need a lot of cables for a lot of purposes Here s how they should look All manuals and user guides at all guides com...

Page 29: ...29 All manuals and user guides at all guides com...

Page 30: ...lso section 12 UN BALANCED LINES Break the normalizing on this bay Tie lines usually in a MIDI setup racks and keyboards etc are scattered around the control room Plugging these directly into the fron...

Page 31: ...31 Fig 8 1 Example of patchbay configurations All manuals and user guides at all guides com a l l g u i d e s c o m...

Page 32: ...ts harmonics Rather you should be looking at disconnecting the signal screen somewhere You could do worse than ensure that all screens are commoned at the patchbay in which case all unearthed equipmen...

Page 33: ...astiest Over all channels in the mix if too many of the nicest frequencies coincide then you might have to settle for second best in some cases Often you might want to boost two nice frequencies Reall...

Page 34: ...digital distortion is not one of the nicer noises around Fortunately you can SOLO the FX returns Here you ll have to rely on your ears to detect digital distortion since different outboard processors...

Page 35: ...og synths Fig 11 1 Resistor buffered parallel wiring for bay 8 see section 8 The patchfield 12 UN BALANCED LINES Balanced inputs and outputs are offered on most audio connections on the EURODESK MX900...

Page 36: ...on of travel The ve and ve signals are mirror images of each other if you shorted and you d end up with nothing one would cancel out the other In fact this cancelling effect is what makes the balanced...

Page 37: ...B monitor the effect Adjust the processor s output level so that effected and bypassed signals are level matched 7 Channel PFL SOLO switch S26 UP Move onto next channel 13 2 Desk tape setting up proce...

Page 38: ...g matrix directly via one of the subgroups or from the MIX B bus S48 DOWN Channels going to tape are usually monitored via the tape return channel whether A or B In this case the main mix button of th...

Page 39: ...the following headphone sources you can do this without tying up any aux sends or MIX B Passing the DIRECT OUT through any 1 in 2 out delay reverb device enables the vocalist to choose an effect she...

Page 40: ...s not allow for anything coming in on B channels to be sent to headphones If you need to do this S76 must also be depressed In all cases the WET DRY balance of the extra vocal signal takes place withi...

Page 41: ...t level until it also reads 0 dB Beware of inaccurate uncalibrated sampler input meters Work out how hard you can safely drive the sampler s input reference this to 0 dB on a EURODESK subgroup meter t...

Page 42: ...there is no easy way to get FX returns into the cans Bring these back on A or B channels instead until mixdown time Fig 15 1 Headphones 15 3 Mixdown With 24 A channels and up to 36 significant tape an...

Page 43: ...5 Sax Subgroups 1 and 2 Tracks 9 and 10 16 BVs 1 Subgroups 7 and 8 Tracks 11 and 12 17 BVs 2 Subgroups 7 and 8 Tracks 11 and 12 18 BVs 3 Subgroups 7 and 8 Tracks 11 and 12 19 Conga L Direct out Track...

Page 44: ...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...

Page 45: ...MIX B Aux send 2 20 Guitar 1 microphone Main mix MIX B Aux send 1 and 2 21 Guitar 2 microphone Main mix MIX B Aux send 1 and 2 22 Lead vocal Main mix MIX B Aux send 5 and 6 Aux send 1 and 2 23 FX 1 L...

Page 46: ...tar 1 microphone Direct out Track 18 21 Guitar 2 microphone Direct out Track 19 22 Lead vocal Direct out Track 20 23 Main echo reverb return Send aux 3 Track 21 24 Main echo reverb return Send aux 3 T...

Page 47: ...e 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...

Page 48: ...ers 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 be...

Page 49: ...that a tape master can sound tighter MIDI sequencer tracks are laid one at a time usually in sequencer SOLO mode to reduce MIDI congestion to a minimum However Laying to linear tape has its drawbacks...

Page 50: ...No Pot Meter analyzer out 4 dBu No No Fig 23 1 Input output configuration The EXPANDER PORT inputs have a nominal level of 2 dBu subgroup mix and 2 dBu aux All variable gain circuits offer 15 dB exce...

Page 51: ...hannel from pre to post the channel fader as follows Again look for the printing on the PCB shown below 1 Disconnect power supply 2 Cut the pre track 3 Add in a post link 4 Repeat for all channels you...

Page 52: ...Noise unity gain 94 dBu Output impedance 120 Ohms Tape returns bal unbal 1 4 jacks globally switchable from 4 dBu to 10 dBV Channel insert Max in out 22 dBu Channel to channel crosstalk 95 dB 1 kHz Mi...

Page 53: ...nity gain 94 5 dBr ref 4 dBu 16 chs assigned input B set unity gain Power supply External power supply 400 Watts 19 482 6 mm 2 5 rack units approx 7 kg Dimensions weight Dimensions H W D approx 3 54 9...

Page 54: ...pted in order to comply with applicable technical or safety standards on a national or local level in any country which is not the country for which the product was originally developed and manufactur...

Page 55: ...All manuals and user guides at all guides com...

Page 56: ...All manuals and user guides at all guides com a l l g u i d e s c o m...

Page 57: ...All manuals and user guides at all guides com...