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Behringer EURODESK MX8000 User Manual
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Behringer EURODESK MX8000 User Manual

Behringer EURODESK MX8000 User Manual

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E
User´s Manual
by Wilf Smarties
Version 1.0
1996
www.behringer.de
1

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Summary of Contents for Behringer EURODESK MX8000

  • Page 1 User´s Manual by Wilf Smarties Version 1.0 1996 www.behringer.de...
  • Page 2 EG-Declaration of Conformity INTERNATIONAL GmbH acc. to the Directives 89/336/EWG and 73/23/EWG BEHRINGER INTERNATIONAL GmbH Hanns-Martin-Schleyer-Straße 36-38 D - 47877 Willich Name and address of the manufacturer or the introducer of the product on the market who is established in the EC...

  • Page 3: Detailed Safety Instructions

    SAFETY INSTRUCTIONS CAUTION: To reduce the risk of electrical shock, do not remove the cover (or back). No user serviceable parts inside; refer servicing to qualified personnel. WARNING: To reduce the risk of fire or electrical shock, do not expose this appliance to rain or moisture. This symbol, wherever it appears, This symbol, wherever it appears, alerts alerts you to the presence of...
  • Page 4 It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our company and making it successful.
  • Page 5 TABLE OF CONTENT 1. INTRODUCTION ........................7 1.1 The design concept ........................7 1.2 Before you begin ..........................7 1.3 Control elements ..........................7 1.3.1 The front panel ........................8 1.3.2 The rear panel ........................8 2..............................8 3.

  • Page 6: An Un- Holistic Approach

    1. THE MANUAL 1.1 NOMENCLATURE Most specialist subjects are not really all that difficult provided you understand the LANGUAGE USED, and the vocabulary of mixing is pretty straight-forward. Nevertheless it is as well to be clear about what certain terms mean. A ‘slot’ in a recorder will always be referred to as a TRACK, while that in a mixer will invariably be a CHANNEL.

  • Page 7: Section 19 'Expanding The Eurodesk')

    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 mixdownj 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.

  • Page 8: Input / Output Channel

    3. INPUT / OUTPUT CHANNEL 3.1 CHANNEL STRIP On the EURODESK 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, which can accept MIC, LINE, or TAPE inputs, depending on the positions of S1 and S3 (see fig.

  • Page 9: Aux Sends

    treble and bass, at 12 kHz and 80 Hz respectively (P4 & P9). These are DUPLICATED for the B-CHANNEL (P18 & P19), not merely ‘SPLIT’ off from the main EQ. I.e. you can have a full 4 band EQ on the main channel AND a two- band EQ on B.
  • Page 10 Level to the Group and MAIN MIX buses is ultimately determined by the channel faders. These are made by Panasonic®, and are designed to give a smooth logarithmic taper of a type more usually associated with the name of some pretty expensive brand... The low level performance particularly is far smoother than that of a normal ‘budget’...

  • Page 11: Direct Output

    5. GROUP AND DIRECT OUTPUTS 5.1 GROUPS The principal routes to the multitrack are via the GROUP OUTPUTS. There are 4 stereo (or eight mono) groups, numbered 1-8. All main channels can access all of them, as can the STEREO AUX RETURNS 1 and 2. (For this reason it is usually wise to bring your best two FX processors back on these returns (or A- Channels, for that matter), so that they can easily be sent to tape.

  • Page 12: Master Panel

    6. MASTER PANEL 6.1 AUX MASTERS 6.1.1 AUX SENDS Much of the Master section (situated above the bargraph meters) is taken up by master aux 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 1-6 (P41-P46).

  • Page 13: Section 16.3: Wet Monitoring)

    control (P51) to compensate. (An analogy comes from Greece: the columns of the Parthenon in Athens are slightly bowed so as to APPEAR straight.) EXPERT TIP 2: When carrying out expert tip No. 1, or any other stereo imaging exercise, don’t just rely on the control room monitors.
  • Page 14 This is fine for a MIDI suite with overdub booth, but for the bigger studio’s headphone network I’d recommend using a separate headphones distribution amplifier like the Behringer HA-4000. This can offer the added advantage of independent headphones level control for every performer.

  • Page 15: Rear Panel Left

    The chunky remote 19" racked power supply is connected via a circular multiway at the left-rear of the console. This supplies several DC operating voltages incl. +/-18 V (audio circuits), +48 V (mic phantom power), +12 V (BNCs) and +5 V (LEDs). THIS CONNECTION FOR BEHRINGER POWER SUPPLY ONLY I Expander port Access is given to all subgroup, aux and mix buses via an array of 1/4"...
  • Page 16 7.2 REAR PANEL RIGHT Tape sends / Group outputs The 8 subgroups are each connected to THREE stereo jack sockets, for easy patching into 16 or 24 track recording systems. Once again operating level and configuration is switchable, in two banks of (3 x) 4. Inputs B / Tape returns These also accept balanced or unbalanced 1/4"...

  • Page 17: Plug Soldering Guide

    Control Room Output (Monitors), Main Mix, Mix-B and Studio Output. All are on a pair of unbalanced jacks, nominal put level +4dBu. The main mix is also available as a fully balanced pair (see 7.1). Stereo headphone outputs These are on stereo jacks, wired tip = L, ring = R, sleeve = ground (see section 6.4: HEADPHONES).
  • Page 18 You’ll need this kind for: Headphones You’ll need this kind for: Line In Inputs-B Tape Returns Maybe you will need this ‘Y’ shaped thing for Insert purposes To mixer channel insert processor input From processor output...
  • Page 19 Female XLR plugs (‘soldering’ view of the cable connector) 1= Ground/bcreet 2= Hot (+ve) 3= Cold (-ve) 1= Ground/Screen 2= Hot (+ve) 3= Cold (-ve) You’ll need this kind for Main balanced outputs Male XLR plugs (‘soldering’ view of the cable connector) 1= Ground/Screer 2= Hot (+ve) 3= Cold (-ve) You’ll need this kind for Mic input Be sure to read sections 8 and 12 BEFORE you start heating your soldering iron!
  • Page 20 Remember, most dynamics processors also have sidechain/KEY inputs, and therefore require 3 holes per channel. TIP: Enhancers are usually applied across INSERTS like compression and EQ etc., but most BEHRINGER Exhancers have a SOLO mode, in which they can be addressed via an AUX send and blended back into the main mix like any other REVERB.

  • Page 21: Looming Problems

    8.3 LOOMING PROBLEMS Loom wiring is an art unto itself, and it is worth taking time out to get it right. First off, it is important to avoid earth loops. (A looped wire acts as an ariel, picking up electromagnetic radiation.) Think of a tree. Every part of that tree is connected to every other part, but only by one route.
  • Page 22 EQ curve for all but the tightest of Q’s actually occurs in the audible spectrum, below 16-18 kHz. For example if the Behringer EQ is boosted by +15 dB at 20 kHz, the amount of boost at 10 kHz will be 3 dB.

  • Page 23: Impedances And Tuning

    TIP: Analogue multitrack tape should be driven quite hard, since it’s dynamic range (without noise reduction) is likely to be 20-30 dB worse than other elements in the recording chain. Try to record bright. You can always mix back duller. Brightening up an off-tape signal will bring up the level of tape noise. When mixing or recording, keep the channel FADER levels around or below 0 dB.
  • Page 24 WAVES. Diaphragm movement generates a corresponding electrical signal, which is either POSITIVE or NEGATIVE depending on the direction 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.

  • Page 25: Desk/ Tape Setting Up Procedures

    5) If an INSERT is used to patch in a compressor, gate, EQ etc, use any outboard processor’s BYPASS or EFFECT OFF switch to A/B monitor the effect. Adjust the processor’s output level so that effected and bypassed signals are level matched. 6) SOLO switch (S26) UP.

  • Page 26: Track Midi Suite / Dance Production Studio

    13.2.5MIXER MAPPING When laying out channels for recording or mixing, try to be sensible. Keep tom-toms together, etc.. Work out a scheme that suits you & stick to it, e.g. I always started with kick drum, snare, hi-hat, tom-toms (as the audience sees them), cymbals (ditto), bass, guitars, keyboards, other instruments, vocals.

  • Page 27: Lining Up Record / Sample Inputs

    Channels 9-23 : The MOST IMPORTANT SYNTH/SAMPLER outputs. Those most likely to need full EQ or to be recorded to tape. You might have one minimoog, but half-a-dozen uses for it. Put it on an A-channel. You’ll want to record and/or sample it in action. Channel 24 is of course the MIC input.

  • Page 28: Professional 24-Track Studio

    15.2 HEADPHONES While auxless headphone monitoring (see Section 14.2) is still an option (and a bloody good one), a small general purpose studio might require a more straightforward way of working using one or two discrete headphone mixes. Here it would be best to keep Aux sends 1 and 2 free for monitoring purposes until mixdown time.

  • Page 29: Very Tricky Headphones

    14 Trombone——————~-Group 1 + 2———Tracks9 + 10 15 Sax————————Group 1 + 2———Tracks 9+10 16 BVs 1—-———————Group 7 + 8-———Tracks 11 + 12 17 BVs2—~———————Group7 + 8-———Tracks 11 + 12 18 BVs 3—————————Group 7 + 8———Tracks 11 + 12 19 Conga L————————Direct Out————Track 13 20 Conga R~-——————Direct Out————Track 14 21 Guitar 1 mic——————...
  • Page 30 16.4 MIXDOWN All aux sends and groups are now available for mixing, as are A-Channels 23 + 24. TIP: If you have two different instruments recorded onto one track, the MIXDOWN settings for each might be totally different. Set up two A-Channels. one for each instrument, and SWITCH between them. The B-Channels may be used e.g.

  • Page 34: Warranty

    In no event shall the liability of BEHRINGER INTERNATIONAL INTERNATIONAL under the terms of this warranty will be repaired exceed the invoiced value of the product. or replaced within 30 days of receipt of the product at BEHRINGER § 7 OTHER WARRANTY RIGHTS INTERNATIONAL.
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