Summary of the content on the page No. 1
User’s Manual
Version 1.1 March 2001
www.behringer.com
ENGLISH
Summary of the content on the page No. 2
EURORACK MX2004A 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 mainte- dangerous voltage inside the enclo- nance
Summary of the content on the page No. 3
EURORACK MX2004A FOREWORD Dear Customer, Welcome to the team of EURORACK users and thank you very much for expressing your confidence in BEHRINGER products by purchasing this unit. 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: To produce a compact mixer, which fully satisfies your and our expectations and delivers a superior sound quality, easy operation
Summary of the content on the page No. 4
EURORACK MX2004A
8 mono input channels with gold-plated XLRs and phone connectors 4 stereo input channels with balanced TRS connectors 2 additional multi-functional stereo aux returns Pre and post-fader aux sends for external effects devices and monitoring Master aux sends with gain control Extremely high headroom—offering more dynamic range Ultra low-noise discrete microphone preamps with +48 V phantom power Balanced input
Summary of the content on the page No. 5
EURORACK MX2004A TABLE OF CONTENTS 1. INTRODUCTION.....................................................................................................................7 1.1 Architecture .................................................................................................................................... 7 1.2 Before you begin ............................................................................................................................. 8 1.2.1 PSU (power supply unit)
Summary of the content on the page No. 6
EURORACK MX2004A 7. TECHNICAL BACKGROUND ..............................................................................................20 7.1 Mixing ........................................................................................................................................... 20 7.1.1 Equalization ........................................................................................................................ 20 7.1.2 Gain optimization .........................................
Summary of the content on the page No. 7
EURORACK MX2004A 1. INTRODUCTION Congratulations. In purchasing our EURORACK you have acquired a mixer with incredible versatility and audio performance. Your EURORACK is built to the same outstanding quality as our top-of-the range console, the BEHRINGER EURODESK MX9000. Later we will see how adding the BEHRINGER ULTRALINK PRO MX882 to your system can inexpensively expand the capacity and flexibility of you mixing power even further. First of all, however, we want to take you on a guided tour o
Summary of the content on the page No. 8
EURORACK MX2004A 1.2 Before you begin 1.2.1 PSU (power supply unit) Any amplifier circuit is limited in its transient response by the available current. Every mixer has numerous 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 EURORACK MX2004A. The sound will always stay clean and crisp right up to the operating limits of the op-amps themselves, thanks to our generous 40 W externa
Summary of the content on the page No. 9
EURORACK MX2004A For level-setting (as opposed to localized listening) select the mono PFL bus rather than the post-fader (post- channel pan) stereo solo bus (CHANNEL MODE global switch up). PFL/solo never interrupts the mix at the main recording outputs. It follows that aux sends must also be unaffected, since they contribute directly to the main mix. In addition to switchable PFL/solo metering, a channel LED illuminates when a channel is going into overload. You do not want the overload lig
Summary of the content on the page No. 10
EURORACK MX2004A 2.5 Insert Insert points are useful for adding dynamic processing or equalization to a channel or the mix. Unlike reverbs etc., which are usually added to the dry signal, dynamic processing is normally applied across an entire signal. Here an aux send would be inappropriate. Instead the signal is intercepted somewhere along the channel, fed through the dynamics processor and/or EQ, then returned to the console at the same point where it left. The insert point is normalized, i.e.
Summary of the content on the page No. 11
EURORACK MX2004A 4.2 Stereo aux returns There are two additional stereo line inputs (aux returns 1 and 2) on your MX2004A. Aux returns 1 is perma- nently assigned to the main mix. If you connect a jack to the left socket only, the aux return 1 operates in mono. Aux return 2 can be switched between the main mix and the cue feed (aux send 1) via a switch FX TO AUX 1 . This enables you to provide a wet (signal with effect i.e. reverb) cue mix for the headphones or foldback speakers. If no connectio
Summary of the content on the page No. 12
EURORACK MX2004A 4.5 2-track input and output Input A 2-track input, on RCA connectors / , provides easy connection to DAT and other professional or semi-professional audio equipment. The 2-track input is primarily for auditioning mix playback from tape. The switch 2 TK routes this signal to the monitors and/or phones. However, it can also be routed to the main mix via the switch 2 TK TO MIX and will act as an additional input for tape playback, MIDI instruments etc. Here switch should be dis
Summary of the content on the page No. 13
EURORACK MX2004A 5. SETTING UP 5.1 Selecting inputs 1) Mono channels accept microphone or line inputs. If you are using the microphone input, make sure nothing is connected to the line input (and vice-versa). The microphone inputs are more sensitive than the line inputs. Do not connect microphones with phantom power switched on. Never use unbalanced mic cables with the phantom power switched on ever! Shorting 48 V to earth can cause serious damage. 2) Stereo channels accept -10 dBV or +4 dBu l
Summary of the content on the page No. 14
EURORACK MX2004A 5.5 Multitrack initialization Set up the multitrack so that any track in “record ready” condition has its input monitored when the tape is stationary. Place all tracks to be recorded into “record ready” status. (Once a recording has been made, these tracks should automatically switch to tape playback. Check that the input levels to each track are optimized before recording commences). 5.6 Recording levels When recording to digital, it’s a good idea to keep the recorder’s peak me
Summary of the content on the page No. 15
EURORACK MX2004A Keyboard Mixer Source Mic/Line Mono/Stereo Input MIDI Instrument #1 Line Mono 1 MIDI Instrument #2 Line Mono 2 MIDI Instrument #3 Line Mono 3 MIDI Instrument #4 Line Mono 4 MIDI Instrument #5 Line Mono 5 MIDI Instrument #6 Line Mono 6 MIDI Instrument #7 Line Mono 7 MIDI Instrument #8 Line Mono 8 MIDI Sampler #1 Line Stereo 9/10 MIDI Sampler #2 Line Stereo 11/12 MIDI Synth #1 Line Stereo 13/14 MIDI Synth #2 Line Stereo 15/16 Effect #1 Stereo Aux 1 Effe
Summary of the content on the page No. 16
EURORACK MX2004A muddy FOH sound, as well as causing a reduction in feedback thresholds. Don’t forget to notch out trouble- some frequencies using a graphic or parametric equalizer, or feedback destroyer (see the BEHRINGER ULTRA-CURVE PRO DSP8024 or the FEEDBACK DESTROYER PRO DSP1124P, which do all of these and more). Use the low-cut filters to eliminate floor rumble, mics popping etc. Switching logic for this setup is: and up, and down, down for channels 1 to 8 except 6. 6.3 Project studi
Summary of the content on the page No. 17
EURORACK MX2004A Fig. 6.1: Project studio setup example 6.4 Patchbay A patchbay allows to patch the audio signals of most components in your studio from a central point and send them to other units, which makes your entire cabling better structured and is indispensable for professional work. If you want to use your studio as effectively as possible then it is preferable to use a complete patchbay wiring scheme, but even less sophisticated patchbay solutions will benefit smaller studio configura
Summary of the content on the page No. 18
EURORACK MX2004A 6.4.2 Parallel Fig. 6.2: Patchbay mode “parallel” In this mode, all terminals of one module are interconnected. This configuration doesn’t make sense at first glance but is used to split up and send one audio signal (e.g. aux send) to several destinations (e.g. effects devices). 6.4.3 Half-normalled Fig. 6.3: Patchbay mode “half-normalled” In this configuration, the contacts of the two jacks on the rear are interconnected. When you insert a plug into the upper front jack, the si
Summary of the content on the page No. 19
EURORACK MX2004A and outputs are positioned on top of each other. Basically, the inputs are routed to the bottom and the outputs to the top rear-wall connectors. Avoid routing digital signals over a patchbay as the pulse signal used for the transmission of such signals causes heavy interference in analog signals. Additionally, normal patchbays change the impedance of the digital cable route, which causes interference in the digital path. Use the BEHRINGER ULTRAMATCH SRC2000 specifically designed
Summary of the content on the page No. 20
EURORACK MX2004A thus allows for recording both to the DAT recorder and the tape deck, simply by patching it accordingly. Modules 19 & 20 (tape deck) are open, because it does not make sense connecting the inputs and outputs of the tape deck. 21 & 22 are normalled and route the DAT recorder outputs to the 2-track inputs of the mixing console. So it always is possible to control the recorded data on the 2-track from the mixing console. The CD player and the HiFi system are connected to modules 23
