6
STAGE MONITORS & EFFECTS
Every channel, as well as each of the four main aux returns (A1-A4), has eight aux send
controls. Per channel, aux sends 1-4 can be switched to be post-fader (for effects
sends) or pre-EQ/pre-fader (for stage monitors). Aux sends 5-8 have a similar switch,
post-fader (for effects sends) or post-EQ/pre-fader (for stage monitors with EQ).
In the output section, aux sends can be routed in one of two ways. Normally, these aux
mixes are controlled by the rotary master level control and mute switch, and then sent
to TRS output jacks. This method is fine for effects sends or small applications. Larger
installations may demand more flexibility for the stage mixes. Enter the flip switch.
Each aux send master has a flip switch. This removes an aux mix from its dedicated
mute switch and level control, and diverts it to the like-numbered sub routing. This way,
an aux send designated for stage cueing will have its own dedicated 100mm fader,
“Air” EQ, insert, and balanced XLR output. Meanwhile, a flipped aux send also diverts
the sub signal to the original aux send master controls and TRS output, ensuring that sub
assignments can still be used.
When used for effects, aux sends are patched into the inputs of parallel effects devices,
like reverb and delay units. The outputs of these devices are the origin of aux return
signals. Aux return signals, or any stereo line-level signals, can be injected into either the
main aux returns or the “B” aux returns (or into pairs of channels). The main aux returns
provide most of the controls present in the channels: trim, high-pass filter, EQ, mute, pan,
and assign. “B” aux returns B1, B2, and B3 are dedicated to the left/right mix and offer
only rotary level and mute switch controls. (Aux return B4 is dedicated to the center
mix.) Additionally, there are two stereo line-level RCA tape returns, dedicated to the
left/right mix, with level control and mute switch.
MONITORING, SOLO, & METERING
Usually an engineer listens to the left/right mix (with the center mix blended in), just as
the audience is hearing it. Signals available for monitoring by the engineer are
available via either of the high-powered headphone outputs, with level control, or a
line-level monitor (control room) output, also with level control. There is a stereo insert
dedicated to the phones mix, to allow a delay device to synchronize the distance
delay present in large halls.
To audition individual signals or groups of signals, there are solo switches on every
channel, main aux return, aux send master, matrix A-D, tape return, and sub 1-8, as well
as the left/right/center faders. The engineer behind an SR40•8 can listen to any signal,
individually or in groups, without disturbing the content of any of the console’s primary
outputs. Input signals (channels, main aux returns, “B” aux returns, tape A, and tape B)
can be globally switched PFL (pre-fader-listen) or AFL (after-fader-listen, stereo-in-
place). Output signals (main/left/right, subs 1-8, aux send masters, and matrix A-D) have
a similar switch.
There are 59 twelve-segment LED-ladder meter displays on the SR40•8, one for each
channel and sub, two for each stereo main aux return, and one each for the left/right/
center main mixes. Input and output meters can each be globally switched PFL or AFL.
During solo, described earlier, the left/right/center meters automatically display the solo
levels: AFL on the left/right meters and PFL on the center.
