Summary of the content on the page No. 1
User´s Manual
Version 1.0 June 2000
www.behringer.com
®
EURODESK MX9000
ENGLISH
Summary of the content on the page No. 2
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, alerts This symbol, wherever it appears, alerts you to the presence of uninsulated you to important operating and dangerous voltage inside the enclosure maintenance instructions in
Summary of the content on the page No. 3
FOREWORD Dear Customer, Welcome to the team of EURODESK users and thank you very much for expressing your confidence in BEHRINGER products by purchasing the MX9000. It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of hard work delivered by our engineering team to reach a very ambitious goal: making an outstanding device that will become a standard tool used by studios and P.A. companies. The task to design the EURODESK certainly meant
Summary of the content on the page No. 4
TABLE OF CONTENT 1. THE MANUAL ..........................................................................................................................6 1.1 Nomenclature.................................................................................................................................. 6 1.2 An un-holstic approach ................................................................................................................... 6 1.3 Key ...........................................
Summary of the content on the page No. 5
13.START-UP .............................................................................................................................37 13.1 A-channel setting up procedure ..................................................................................................... 37 13.1.1 Selecting inputs .................................................................................................................. 37 13.1.2 Initializing channel for gain-setting ................................
Summary of the content on the page No. 6
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. A GROUP will always refer to a submix of channels, never a collection of musicians. Similarly the term BAND will be mentioned
Summary of the content on the page No. 7
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 2
Summary of the content on the page No. 8
Why? Any amplifier circuit is limited in it’s transient response by the available current. In common with most desks of this size, the EURODESK has more than a thousand line-level operational amplifiers (op-amps) inside. When being driven hard, many desks begin to show signs of stress due to power supply limitations. Not so with the EURODESK MX9000. The sound should stay clean and crisp and TIGHT right up to the operating limits of the op-amps themselves. + Do not connect the PSU to the EURODESK
Summary of the content on the page No. 9
Fig. 3.2: Channel input switching architecture + The B-channels 25 to 48 are only routable EN BLOC to the main mix, via S48. Therefore the MIX-B bus can only have one function at any one time, either as a stereo AUX or secondary mix send (S48 UP) or as a set of 24 extra line or tape inputs to the main mix (S48 DOWN). 3.3 Input gain setting The channel input level is set by the TRIMPOT (P2). Use SOLO/PFL (S26) to bring the channel’s input onto the L/R bargraph meters under the master section of t
Summary of the content on the page No. 10
3.4 Main equalizer Fig. 3.3: Main equalizer The main equalizer can be switched (S10) out of circuit for easy A/B comparisons between EQed and straight signals, or for when you know you don’t want to use desk EQ at all. It is best considered in three sections. First off there are two Baxendall shelving frequency controls for treble and bass, at 12 kHz and 80 Hz respectively (P4 and P9). These are DUPLICATED for the B-channel (P18 and P19), not merely “SPLIT” off from the main EQ. I.e. you can hav
Summary of the content on the page No. 11
Fig. 3.4: Aux sends + For almost all FX SEND purposes, you will want auxes to be post fader, so that when a fader level is adjusted, any reverb send from that channel follows the fader. Otherwise, when the fader is pulled down, the reverb from that channel would still be audible. For CUEing purposes, aux sends will usually be set pre fader, i.e. independent of the channel fader (S13 and S16). + Most reverbs etc. sum internally the left and right inputs. The very few that don’t may be driven in t
Summary of the content on the page No. 12
Fig. 3.5: Routing Level to the subgroup and main mix buses is ultimately determined by the channel faders. These 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” fader. The MUTE button (S27), like that for SOLO has an LED indicator (L27) and removes the A-channel signal from all buses, save any auxes set to pre fader. It is ergono
Summary of the content on the page No. 13
have their own MUTE buttons (S22). Aux sends 3/4/5/6 may be diverted from the A to the B-channel via S17. Therefore if the B-channel is being used to monitor off-tape, some FX processing e.g. reverb and echo can still be applied. (See section 16.3 “Wet monitoring”.) + When B-channel looks at A-channel (S23 DOWN), the signal comes A-channel mute switch and pre fader. A modification can convert this PRE stereo aux send to POST fader. (See APPENDIX II “Modification No. 2”.) Fig. 3.6: B-channel 4. I
Summary of the content on the page No. 14
Fig. 4.1: Post EQ channel insert + In this arrangement you might find that compression tends to soften the perceived amount of EQ applied. The solution? Apply more EQ. This creates a real “pressure” sound, great for high energy music such as dance. (For a more subtle approach, use the desk insert points word for word.) + Using a group insert to effect post EQ processing precludes the use of POSTPROCESSING AUX SENDS without some serious re-patching. 5. SUBGROUP AND DIRECT OUTPUTS 5.1 Subgroups Th
Summary of the content on the page No. 15
Fig. 5.1: Stereo subgroup channel schematic + Try merging a dry signal with a little wet, then compressing the sum heavily. Though the reverb proportion will be low when a signal is present, the resultant reverb tail pumped up by the compressor at the start of each silence will give the illusion that the reverb was massive alt the time. (The listener will be left wondering how the singer could sound so clear in such a wet acoustic!) + EURODESK insert points are, of course, simultaneously inputs
Summary of the content on the page No. 16
Fig. 5.2: Using insert to add channel EQ to subgroup output (while keeping the number of line inputs unchanged!) 5.2 Direct outputs Each of the 24 main channels on the EURODESK MX9000 has its own DIRECT OUTPUT, which is taken from a point immediately after the fader (i.e. post EQ and after the aux sends, see block schematics). This can feed a tape track directly without having to resort to the subgroups, enabling more than eight different tracks to be recorded simultaneously. Almost alone among
Summary of the content on the page No. 17
Fig. 6.1: Aux sends 6.1.2 Aux returns Next to the aux sends are the stereo aux returns (see fig. 6.2). These can be thought of as a dozen extra line inputs 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 feature is disabled if all line-level I/Os from the EURODESK are wired permanently to a patchbay (see section 8). 17
Summary of the content on the page No. 18
^ Fig. 6.2: Stereo aux returns 18
Summary of the content on the page No. 19
a) Aux returns 1 and 2 Aux returns 1 and 2 have full subgroup routing matrices to enable returning FX to be sent to tape, plus main mix bus assignment. The functions for aux return 1 (mirrored by aux return 2) are: ROUTING (S49/50/51/52/ 53) LEVEL (P49), BALANCE (P51) and SOLO (S54). LEVEL controls the amount of signal being blended into the mix or a subgroup, while BALANCE controls the relative amounts of L and R processed signal. We doubt if you’ll often want to adjust BALANCE away from center
Summary of the content on the page No. 20
It can provide 24 extra B-inputs to the mix (S48 DOWN, S23 UP). + For live applications try using MIX-B to feed a secondary set of speakers. These could be sidefills, or more spectacularly, the rearward portion of a quadraphonic sound system. There is no SOLO provision for MIX-B. However, you can audition it by selecting only MIX-B (S83) in the monitor sourcing matrix. + If MIX-B is assigned to the main mix (S48 DOWN), do not listen to MIX-B (S83) and the main mix (S82) simultaneously. That way
