3.1 3.2 3.3 3.4 3.5 3.6 3.7 Channel strip..... 8 Input switching..... 8 Input gain setting.... 9 Main equalizer.... 10 Aux sends.... 10 Routing and muting.... 11 B-channel..... 12
4. INSERTS....13 5. SUBGROUP AND DIRECT OUTPUTS... 14
5.1 Subgroups.... 14 5.2 Direct outputs.... 16

6. MASTER PANEL.... 16

6.1 Aux masters.... 6.1.1 Aux sends.... 6.1.2 Aux returns.... 6.2 MIX-B master..... 6.3 Monitoring..... 6.4 Headphones..... 6.5 PFL/SOLO.... 6.5.1 PFL.... 6.5.1 SOLO.... 6.6 Talkback..... 22 22

7. CONNECTIONS.... 23

7.1 Rear panel.... 23 7.2 Plug soldering guide..... 27

8. THE PATCHFIELD.... 30

8.1 The normalized bay.... 30 8.2 The patchfield..... 30 8.3 Looming problems.... 32
9. EQUALIZATION.... 33 10.GAIN OPTIMIZATION....34 11.IMPEDANCES AND TUNING.... 35 12.(UN)BALANCED LINES.... 35

13.START-UP..... 37

13.1 A-channel setting up procedure.... 13.1.1 Selecting inputs.... 13.1.2 Initializing channel for gain-setting.... 13.1.3 Auditioning a signal.... 13.2 Desk/tape setting up procedures.... 13.2.1 Desk normalization.... 13.2.2 Multitrack initialization.... 13.2.3 Recording levels.... 13.2.4 Auditioning a mix.... 13.2.5 Mixer mapping.... 38 38
14.8-TRACK MIDI SUITE/DANCE PRODUCTION STUDIO... 38
14.1 Sends.... 14.2 Auxless headphones mix.... 14.3 Returns..... 14.4 Lining up record/sample inputs.... 14.5 Mixdown..... 41
15.16-TRACK RECORDING WITH 2 SAMPLERS.. 41
15.1 Recording..... 41 15.2 Headphones..... 42 15.3 Mixdown..... 42
16.PROFESSIONAL 24-TRACK STUDIO... 42
16.1 Recording..... 16.2 Very tricky headphones..... 16.3 Wet monitoring..... 16.4 Mixdown..... 44 44
17.LIVE P.A. WITH 2-TRACK RECORDING.... 45 18.LIVE CONCERT WITH 24-TRACK RECORDING... 46 19.EXPANDING THE EURODESK MX9000.... 48
19.1 Connections..... 48 19.2 Alignment..... 48
20.TIMECODE..... 48 21.BOUNCING..... 49 22.SEQUENCING LIVE.... 49 23.INPUT/OUTPUT CONFIGURATION... 50 24.MODIFICATIONS.... 50
24.1 Aux sends > post EQ.... 51 24.2 MIX-B source > post fader.... 51 24.3 LED meters > pre fader..... 51
25.SPECIFICATIONS..... 52 26.WARRANTY..... 54

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 up the left and right inputs internally. The very few that dont may be driven in true stereo either by 1) 2 aux sends or 2) the MIX-B bus (see section 3.7 MIX-B). There is +15 dB of gain on every aux send. Such a high boost is only appropriate where the channel fader is set around -15 dB or lower. Here, an almost exclusively WET signal will be heard. Previously, in most consoles, such a wet mix required the use of a PRE setting for the channel auxiliary 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 (plus a stereo SOLO bus). The main mix bus is selected by S32 (see figure 3.5), while the subgroups are selected by switches S28 (for groups 1 and 2), S29 (3 and 4), S30 (5 and 6) and S31 (7 and 8). Odd and even numbered groups are selected via the main A-channel PAN P24, as are the left and right mix buses. (The sixth stereo bus is the MIX-B bus, with its own independent pan control P20; see section 3.7 B-channel). Usually, only one of S28 to S31 will be selected for a particular channel (See block schematics).
An exception to this rule is when laying down voice takes. It is often convenient to have the mic channel(s) routed to alt potential TAKE tracks simultaneously, since you are often dropping in quickly between four or more tracks. It means one less button press each time you switch tracks.
Fig. 3.5: Routing The 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 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 (fig 3.6) comprises a secondary channel with its own high and low EQ, pan and level (P18, P19, P20 and P21). The EQ is a replica of the A-channel shelving EQ. The B-channel ALWAYS feeds into the MIXB stereo bus, but its source can be switched between TAPE, LINE, MIC and A-CHANNEL, depending on how S1, S3 and S23 are set (see fig. 3.2 and section 3.2). Unusually for an 8-bus console, B-channels also have 12
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. INSERTS
Insert points are useful for adding dynamic processing or equalization to a channel, subgroup 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/subgroup/mix, fed through the dynamics processor and/or EQ and then returned to the console at the same point where it left. The insert point is invisible or normalized, 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 tip=send, ring=return. Inserts are always pre fader and also pre EQ / aux sends for channels. Insert points may also be used as pre EQ direct outputs without interrupting the signal flow. This is obvious when looking at the patchbay wiring (section 8, fig. 8.1). If you want to insert a dynamics processor post EQ, the insert point must either be taken from a subgroup, or via a second channel / aux return as follows: a) Insert a compressor/gate/EQ across a subgroup, and route the channel to be processed (and only that channel) to that subgroup. b) Alternatively, patch a channels direct out into a compressor/gate/EQ. Take the output from that compressor/ gate/EQ and feed it back into the desk via a secondary input (channel, aux return, etc.). Figure 4.1 illustrates how you might insert into a channel post EQ for mixdown or track-laying (their requirements are different). Mixdown requires one A and one B-channel. Recording requires two A-channels.

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

The principal routes to the multitrack are via the SUBGROUP OUTPUTS. There are four stereo (or eight mono) subgroups, numbered 1 to 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. (See also section 6.1 Aux masters.) Why are there 16 subgroup output jacks on the EURODESK when there are only 8 subgroups? Well, 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 via the SUBGROUP OUTPUTS, groups can be routed directly into the main mix bus for submixing. Main mix routing is handled by switches S37 and S38. S37 routes an odd numbered group to the left bus, while S38 sends an even numbered subgroup to the right bus. Thats fine for stereo submixes. If you want a pair of mono submixes instead, also press the MONO buttons (S35 and S36). Now these subgroups feed into the center of the main mix stereo image, i.e. equally to L and R. You could have the first subgroup feeding into the left hand side, while the second one appeared in mono, but I cant think of many real situations where youd want to do this. Subgroup SOLO (S33 + S34) follows the mix assignment. E.g.: If the main mix is selected, then that stereo subgroup will be monitored in stereo. If mono is also selected, monitoring is in mono.
Try inserting compression / de-essing / an exciter / a gate across grouped signals (e.g. backing vocals, drums, layered synths).
Fig. 5.1: Stereo subgroup channel schematic

Fig. 7.8: Main balanced outputs
Fig. 7.9: A and B-channel input section 26
A-channel line inputs The A-channel line inputs accept balanced or unbalanced 1/4" jacks, tip = hot, ring = cold and sleeve = ground/ screen. Mic inputs These are via XLR-type connectors, wired pin 1 = ground, pin 2 = hot and pin 3 = cold, for balanced low-level operation. Since most quality capacitor microphones require a 48 V DC offset to charge the plates, phantom power is provided and can be switched on or off in three blocks of eight via a switch situated below channels 8, 16 and 24.
Care should be taken not to plug microphones into the console (or stagebox / wallbox) while the phantom power is on. Also, mute the monitor / PA speaker when turning phantom power on or off. Allow one minute after powering up for the system to equilibrate before setting input gains.
Channel inserts These provide for 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-channel inputs/tape returns They also accept balanced or unbalanced 1/4" jacks and are switchable, in groups of eight, between -10dBV (unbalanced) and +4 dBu (balanced), corresponding to the standard semi-professional and professional operating levels and configurations respectively. Consult your multitrack manual to find out which one applies.
Fig. 7.10: MIX-B operating level switch and phantom power switch Subgroup outputs/tape sends The eight subgroups are each connected to two stereo jack sockets, for easy patching into 16 track recording systems (or 24 track, if you use Y-adaptors). Once again, the operating level is switchable between +4dBu and -10dBV in two banks of (2x) 4.
Fig. 7.11: Subgroup outputs/tape sends and operating level switch

7.2 Plug soldering guide

You will need a lot of cables for a lot of purposes. Heres how they should look:

8. THE PATCHFIELD

Nomenclature clarification: s FIELD s BAY = entire patching area = a unit of 48 jack sockets arranged as 24 outs over 24 ins
If you really want to make the most of your home studio, invest in a patchfield. We know that you will often put off doing a complex patch if there is no patchfield: 1) because its so much bother and 2) in case you inadvertently damage or pull out a lead.

8.1 The normalized bay

Most decent jackbays offer two rows of 24 normalized jacks in a 1 U of rack space. Lucky youve got a 24/48 channel desk, eh? The term normalized refers to the fact that the top row (outputs) are internally connected to the bottom row (inputs), unless you plug something into an input socket. Plugging into the output socket of a normalized insert pair does not break the internal connection, but it does provide an alternative direct output. Where normalizing is not wanted on a patchbay (there are a few cases!) it is possible to remove it by cutting certain PCB tracks. Refer to the patchbay instructions for how to do this.

8.2 The patchfield

If you want to do the only decent thing and construct a patchfield for your studio, heres how to do it. Note that we have laid it out in order that a minimum number of cables are likely to be needed. We have also completely left out the microphone inputs. Unlike everything else, these operate at a level several orders of magnitude lower than line (+4 dBu or -10 dBV). It is best to plug microphones directly into the EURODESK MX9000, or via special XLR-type wall boxes connected to the EURODESK microphone inputs by a good quality balanced (2-core + screen) multicore. (See also 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 front of the patchbay would result in Spaghetti Junction. Instead, it is better to connect TIE LINE jacks to wall boxes strategically positioned near to where MIDI hardware congregates. *** Its always good to have a few 4-way links around for splitting signals up to 3 ways (one in, three out). E.g. one tape track has four different instruments on it. Patch the DIRECT out of its CHANNEL into a 4-way split, returning to a further 3 channels via LINE INPUT. Set up each of the paralleled 4 channels for one instrument, and use mutes (preferably MIDI controlled) to mute the 3 unwanted channels at any one time).
Break the NORMALIZING LINKS on positions 21 - 24. Note also that the MIX-B outputs are adjacent to the aux sends. This is because one of the two functions of MIX-B (source switches set to CHANNEL) is to provide an extra stereo aux send. You can treat MIX-B as two mono sends using GAIN for level and PAN for blending. Setting pan to the center will give a 50/50 ratio of the aux 7 and aux 8 effect, hard left 100% aux 7, etc.
**** Break NORMALIZING LINKS here. If youve got more than 5 or 6 stereo dynamics/EQ processors, you might spill over onto another dedicated bay, or alternatively have to find some suitable extra space somewhere else in the patchfield. Remember, most dynamics processors also have sidechain/KEY inputs, and therefore require 3 holes per channel.

Enhancers are usually applied across INSERTS like compression and EQ etc., but most BEHRINGER enhancers 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.
Fig. 8.1: Example of patchbay configurations
Bay 8: L7 & R8 equals the L/R recording input to the 2-tracks. On Bay 8 we have hard-wired these to recording outputs 1 to 6 in order to drive all recorders simultaneously. Copying from any 2-track source to all recorders may be done by patching the source outputs into L7 and R8. We have assumed you have a HiFi amp available to enable a variety of secondary sources to be condensed into the XTRN (external) input for easy monitoring selection via the HiFi amps input selector switch, if you want to record from any of these sources, best patch direct from the individual outputs (17 to 22) rather than the HiFi amp mix (15 and 16) for the cleanest result. (The exception being vinyl, which will need to use the HiFi amps RIAA pre-amp to present the mixer with a flat response signal).
Fig. 8.2: Wiring for bay 8 (for advanced wiring scheme refer to section 11)

8.3 Looming problems

Loom wiring is an art in itself, and it is worth taking time out to get it right. First, it is important to avoid earth loops. (A looped wire acts as an arial, picking up electromagnetic radiation.) Think of a tree: Every part of that tree is connected to every other part, but only by one route. Thats how the total earth picture for your entire studio should look. Dont take the earth off your power cable plug to reduce audible 50 Hz mains hum (or its 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 equipment would pick up earth from this point via a single screen (more than 1 route = an earth loop), while mains-earthed equipment would have all screens cut at the equipment end.
Some quality equipment has an independent signal and mains earth. In this case, at least one and possibly all screens should carry earth to the equipment. Sometimes the only way to find out is suck and see.
Take care to ensure that using the patchbay does not disturb the studios earth architecture. Always use short as possible patch leads with the screen connected at both ends. If youre really serious about hum levels, you could run balanced lines wherever appropriate. The earth wiring scheme would be the same as before. By shorting the ring to the barrel for all balanced jack sockets connected to unbalanced equipment, you could use balanced patch leads throughout. (There is no percentage in wiring a balanced output to a balanced input with a mono patch cord!) (See section 12 (UN)BALANCED LINES.) Having designed mains hum out of the system, make up your cable looms from the patchbays outwards, and use cable ties, flexible sheaths, multicores etc. to keep the back of your racks tidy. Its going to get very busy in there, and loose cables will inevitably mean lost signals. Possibly even lost equipment! 32

9. EQUALIZATION

The variable parameters of the channel A and B equalizers on the EURODESK MX9000 are described in sections 3.4 and 3.7. Few people buying the EURODESK will need to be told how an equalizer works. But how to get the best out of it? Well, thats another story. In the beginning EQ was an instrument for removing unwanted frequencies, or compensating for imperfect microphone response curves, or bumps in a studios acoustic. It was a corrective device. Tamla Motown turned that notion upside down in the sixties with the novel idea that you try to find for each instrument a characteristic frequency not shared by the other instruments in the mix. Then you whack up its gain. This makes individual voices punch through a mix in a slightly unnatural but exciting way. In general, corrective EQ usually involves broadband (slope) contouring, together with narrowband notching of unwanted resonances. The narrower the notch or Q, the less the total signal will be affected.
Finding bad resonances is made easier by first frequency sweeping in boost mode.
Motown EQ is achieved by applying boost in a fairly broadband way. The broader the band, the more musical but less instrument-specific the effect. Applying boost over a narrow bandwidth will sound Honky. The two semi-parametric bands of the EURODESK EQ have had their Q fixed at 1, a typical and sensible value. For sounds which require drastic corrective EQ (remember no MIDI instrument should need it), it is advisable to have a couple of channels of fully comprehensive equalization in your rack. (You can always bounce tracks though the outboard EQ, freeing up the unit for the next task). Check out our BEHRINGER ULTRA-CURVE PRO DSP8024, which promises to be another price/performance buster. The EURODESK EQ might be applied to a signal as follows: First, trim the LF and HF shelves to achieve the required slope or LOUDNESS. (These controls mirror the tone controls of a typical HiFi amp.) Now use one parametric band to boost the nicest frequency, and another to cut the nastiest. 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. Really nasty frequencies will need notching. Time to go outboard. Why does the upper mid bell frequency go up to 20 kHz? A more pertinent question might be, why has it taken so long to get there? After all, even 16 bit (the lowest acceptable quality) digital audio sports a 20k bandwidth: surely if 20k is important then so is controlling it. OK. You and I will never hear a pure 20k sine tone. However, Rupert Neve, the audiophile Guru, would argue that when it comes to real instruments, what happens even above 20k may have a perceptible effect on the listener. It seems that one reason why highquality (1/2" at 30 IPS) analog tape sounds better than DAT to many discerning ears is because, although its frequency response begins to roll off at 12 dB/octave somewhere around 15 to 20 kHz, it is not abruptly cut off at 20! We have heard, or detected, a 20+ kHz low pass filter being switched in and out when monitoring an analog master tape through a speaker system that included piezo-electric tweeter elements capable of reproducing up to 40 kHz. Perhaps less controversially it can be shown that if cut/boost is applied at 20 kHz, a significant portion of the resulting EQ curve for all but the tightest of Qs actually occurs in the audible spectrum, below 16 to 18 kHz. For example if the BEHRINGER EQ is boosted by +15 dB at 20 kHz, the amount of boost at 10kHz will be 3 dB. The resulting EQ curve will bear no relation to one where 3 dB of boost is applied at 10 kHz.

A good vocal signal can be enhanced by applying a significant boost in the 15 k region or higher, above the nasty sibilance region. Especially effective if youve got a de-esser post EQ. Use the LF cut to tighten up channels in a mix: maybe remove it only for the bass, kick drum, toms, tablas, didgeridu and other deliberate subsonics. (When recording classical music ignore this advice). With an LF cut at 100 Hz and a lo sheelf boost at 80 to 160 Hz, you have pretty much got a peak response rather than shelving at the bottom.
Look at the extraordinary width of the frequency sweep of the upper mid EQ -300 Hz all the way up. Set to maximum boost and play about with the frequency in real time. I bet youII get some stunning filter sweeps. Try it on drumloops great for dance music! You can cascade channel EQs by connecting the DIRECT OUT (see section 7 CONNECTIONS) of one channel into the LINE or TAPE INPUT of another. The first channel should first be unrouted to all buses, including L/R and aux sends. The second channel then becomes the control channel, routing to the buses. You now have a 23 channel mixer, but one channel has a 4-band (semi)-parametric plus 30 dB of shelving swing! Remember EQ contouring can be done with CUT as well as BOOST. E.g.: cutting away the top and bottom, then pushing up the gain is equivalent to MID-RANGE BOOST! EQ is NOT a 1-way street! Always re-set a channels input gain after altering the amount of EQ cut or boost applied (see 3.3).

10. GAIN OPTIMIZATION

PFL (Pre-Fader-Listening) is the way to set a desk level. Setting up the channel input gain is discussed in the essential section 13. Optimum master aux send levels will be dependent on the sensitivity of the FX device being driven, but unity gain is a useful starting point. As the mix progresses, more and more channels are likely to be sending to effects via the aux buses, and its best to PFL all sends (aux, subgroup, MIX-B) just before setting up for the final mix. Outboard reverbs etc. should all be made to work hard. Theres no point in having an 85 dB dynamic range if the input meter of your reverb is barely flickering. On the other hand, digital distortion is not one of the nicer noises around. Fortunately you can SOLO the FX returns. Here youll have to rely on your ears to detect digital distortion, since different outboard processors calibrate their meters differently, and their dynamic range is not sufficient to allow, say, 15 dB of headroom (as is the case with DAT etc.). The PFL/SOLO meter, on the other hand, looks only at the desks analog aux input level, if you hear distortion, but the meter says youre just hitting 0 dB, then it must be coming from the aux send amp or the FX unit. If PFL on the aux send reveals nothing amiss, turn down the input on the FX unit, and turn up the desks aux return.

Channel 24 is of course the MIC input. A compressor might be patched into the channel 24 insert. Keep this channel free until the mix absolutely demands its services, just in case you want to add in any last minute singing, or any last minute anything! The B-channel line inputs (tape returns) can accomodate even more MIDI expanders and synths, etc.
14.4 Lining up record/sample inputs
Set the relevant TAPE OUTPUT and INPUT switches (located at the rear of the console) to match the operating level of your 8-track (consult manual, phone manufacturer, or simply suck & see to find which setting works best). The samplers variable input gain range should be more than wide enough to accept either -10dBV or +4 dBu. There is no oscillator in the EURODESK MX9000, but you can use a simple unmodulated sustained tone from a keyboard. Choose one around 1 kHz (B above middle C is 997 or 1002 Hz depending on whether you are using the tempered scale or just tuning: either way its close enough for jazz). Set the channel EQ to OFF, and line up the channel according to the Setting up procedure (section 13.1). Route this signal to all subgroups and adjust the SUBGROUP OUTPUT FADERS until the bargraph meters read 0dB. Now put the recorder into INPUT mode on all channels, and the sampler into SAMPLE mode. If the tape operating level switches are correctly set, then 0 dB on the subgroup output meters should also show 0dB on the tape recorders input meters. A discrepancy of +/-14 dB indicates a wrong operating level selection. Small discrepancies may be taken up by the SUBGROUP FADERs, though a better solution would be to get the multitrack, properly aligned. (Refer to multitrack manual and/or qualified personnel.) Adjust the samplers input level until it also reads 0 dB.
Beware of inaccurate/uncalibrated sampler input meters. Work out how hard you can safely drive the samplers input, reference this to 0 dB on a EURODESK subgroup meter, then take note of the samplers input gain pot setting. (Or use soft adhesive tape etc. to hold it in one position.)
(For more info on digital metering and associated problems see section 13.2.3.)

14.5 Mixdown

The situation here is no different from record, really, save that the subgroups may now be routed directly to the main mix (L/R) bus (S35 to 38) for easier mixing. Remember, you started off with the tape returns coming up on A-channels 1 to 8, therefore there is no need to flip them. You will probably (definitely) be running lots of MIDI sequencer tracks live. Take care not to encourage MIDI delays (see section 22 SEQUENCING LIVE).
15. 16-TRACK RECORDING WITH 2 SAMPLERS

15.1 Recording

F.O.H. MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B MIX-B
FX Aux send 4 Aux send 4 Aux send 4 Aux send 4 Aux send 4 Aux send 5 Aux send 5 Aux send 5 Aux send 5 and 6 Aux send 5 and 6 Aux send 5 and 6 Aux send 5 and 6 -
Wedges Aux send 1 and 2 Aux send 1 and 2 Aux send 1 and 2 Aux send 1 and 2 Aux send 1 Aux send 1 Aux send 1
Infills Subgroups 1/2, 3/4 and 7/8 Subgroups 1/2 and 3/4 Subgroups 1/2 and 3/4 Subgroup 12 Subgroup 12 Subgroups 1/2, 3/4 and 7/8 Subgroups 1/2, 3/4 and 7/8 Subgroups 1/2, 3/4 and 7/8 Subgroups 3 and 4 Subgroups 3 and 4 -
Tab. 18.2: Front/rear/stage monitors routing For front of house 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 guitarist, keyboard player and drummer use subgroups 1/2, 3/4 and 7/8.

+ + + +

No subgrouping is used as a mixing aid to the FOH mix. Infill sends use up one group pair each as a consequence of the routing matrix being dependent on the channel PANpot (P24). All channels should be set for: aux 1/2: PRE (S13 DOWN) > WEDGES; aux 3/4/5/6: POST (S16 UP) > FX; MIX-B SOURCE = CHANNEL (S23 DOWN); FLIP = Mic/Line SIGNAL (S3 UP) In a quadrophonic setup MIX-B should be kept separate from the main mix (S48 UP).
OK: This example has been extreme. Chances are if you were touring with the sort of PA / multitrack described above you'd also have a massive FOH console, separate foldback mixer, and a rider that would make Bill Graham blanche. None of the applications examples are designed to be used as a BLUEPRINT. Rather, they should give you some idea of the scope and flexibility of your EURODESK MX9000. Use your imagination to find novel ways of solving problems and creating extra facilities.
19. EXPANDING THE EURODESK MX9000

19.1 Connections

21. BOUNCING

Sometimes you want to play back from one or more tracks, route the signals to a new track or pair of tracks, and re-record. This process is commonly referred to as bouncing. Examples would be when reducing 4 lead vocal take tracks down to 1, reducing 4 separate tom-tom tracks down to a stereo pair via noise gates, putting a wild effect or EQ onto a dry signal, comping backing vocal tracks, etc. On an analog tape recorder, bouncing to an adjacent track is to be avoided. A feedback loop can be set up, since for all overdubs or bounces you will be using the same (sync) head for both playback and record. Organize your track layout so that any bounces you might have to do are always over at least one track. There are no restrictions when using digital multitracks.

22. SEQUENCING LIVE

Live sequencing is a term used when a sequencer is driving MIDI instruments in a mixdown. Many re-mixers do not like to do this for several reasons. 1. It may be a problem re-assembling all the hardware/software used if a re-mix is required once the MIDI equipment has left the studio. 2. It is easier to send 2 x 24 track tapes around the world than a truckload of gear. 3. MIDI timing problems mean 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. Apart from the sheer cost of hiring a 24/48 track studio, what happens if you want to change a song's structure half-way through? Non-linear devices are still expensive, and far the cheapest way to keep the arrangement flexible is to employ a sequencer. MIDI is slow, but you can get around this by following these basic rules. 1. TRACK STACK RULE MIDI sequencer tracks read from the top, therefore put the most timing specific tracks at the top. Start with rhythmic loops, then voices with fast transients like percussion etc. 2. MIDI SPREAD RULE Spread MIDI data as thinly as possibly for fastest response times. There are two ways to do this. First, have as many MIDI ports as your computer will allow, and spread the MIDI activity as evenly as possible among them. Secondly, try to have as few MIDI notes as possible playing simultaneously, e.g. advance slow attack tracks, put little silence onto the front of samples etc. Live sequence mixing is most suitable for enthusiasts who have all their own hardware permanently set up in one location. When a mix has been cracked, the elements can then be laid to multitrack for re-mixing, should the need arise.
23. INPUT/OUTPUT CONFIGURATION
Nominal level Balanced Attenuation EURODESK internal +4 dBu XLR microphone input Yes Trimpot / PAD switch Line A input +4 dBu Yes Trimpot Line B / tape input +4 dBu / -10 dBV Yes Gain switch Aux sends +4 dBu No Pot Aux returns 0 dBu No Pot MIX-B output +4 dBu No Pot Subgroup output +4 dBu / -10 dBV Yes Gain switch Main mix 1/4" jack +4 dBu No Fader Main mix XLR +4 dBu (max. +28 dBu) Yes Fader 2-track out RCA +4 dBu No Fader 2-track in 1/4" jack / RCA +4 dBu No No External input +4 dBu No No Channel insert out +4 dBu No No Channel insert in +4 dBu No No Channel direct out +4 dBu No Fader Subgroup insert out 0 dBu No No Subgroup insert in 0 dBu No No Main mix insert out 0 dBu No No Main mix insert in 0 dBu No No Control room out +4 dBu No Pot Studio out +4 dBu No Pot Meter / analyzer out +4 dBu No No

MX9000

Technical Specifications

Version 1.1 May 2000

EURODESK

www.behringer.com

ENGLISH
Professional 48/24 channel inline mixing console with integrated meterbridge
s Additional 24 input Mix-B channels, all with individual 2-band EQ, level, pan and mute
s Dedicated 4-band EQ with 2 semi-parametric mid bands offering an extremely wide swept range from 50Hz to 20 kHz s Up to 6 assignable aux sends buses, all switchable pre- / post-fader s 6 stereo aux returns with multiple routing options s 8 subgroups simultaneously feed 24 multitrack outputs
s Built-in meterbridge with meters for each channel, subgroup and main mix, monitoring eihter the channel or the tape return signal s +15 dB gain available on all aux sends and returns
s Highest quality discrete balanced mic preamps with -20 dB pad, low-cut 100 Hz 12 dB/oct. and 48 V phantom power s Balanced tape in / outs, switchable for -10 dBV or +4 dBu operation s Channel, group and mix insert points
s 100 mm high-precision logarithmic, tapered faders, with big console performance s Separate solo in place and PFL buses available s 2 track tape monitoring with multiple routing options
s 2 separate headphone mixes and talkback facility with built-in microphone
s High-quality sealed rotary pot controls ensuring long lifetime and durability
s State-of-the-art op-amps and highest quality components for crystal clear audio performance s BNC connectors for 12 V gooseneck lights
s Expander port providing universal 1/4" link facilities to any other console
s 400 Watts rugged external 19" power supply with superior transient response s Manufactured under ISO9000 certified management system 2

BLOCK DIAGRAM

SPECIFICATIONS
Main channel strip Mic input Mic E.I.N. (22 Hz to 22 kHz) electronically balanced, discrete input configuration -129.0 dBu, 150 Ohms source -117.3 dBqp, 150 Ohms source -132.0 dBu, input shorted -122.0 dBqp, input shorted 0.007 % at +4 dBu, 1 kHz, bandwidth 80 kHz +10 dB to +50 dB +12 dBu (+32 dBu @ PAD) electronically balanced unity to +40 dB (-20 to +20 dB @PAD) +22 dBu +10 dB to -85 dB / off off to unity to +15 dB 12 kHz, +/- 15 dB 300 Hz to 20 kHz, +/- 15 dB 50 Hz to 3 kHz, +/- 15 dB 80 Hz, +/- 15 dB 75 Hz, 12 dB/oct. + 22 dBu -94 dBu 120 Ohms bal./unbal. 1/4" jacks, globally switchable from +4 dBu to -10 dBV +22 dBu -95 dB @ 1 kHz off to unity to +15 dB 12 kHz, +/- 15 dB 80 Hz, +/- 15 dB bus noise @ fader 0 dB: -102.5 dBr (ref. +4 dBu) -92.5 dBr (ref. +4 dBu, 24 chs. assigned (input B) & set @ unity gain) -94.5 dBr (ref. +4 dBu, 16 chs. assigned (input B) & set @ unity gain) +22 dBu balanced/unbalanced +22 dBu +22 dBu +10 dB to -85 dB / off bus noise @ fader 0 dB: -101.0 dBr (ref. +4 dBu) -92.5 dBr (ref. +4 dBu, 24 chs. assigned (input B) & set @ unity gain) -94.5 dBr (ref. +4 dBu, 16 chs. assigned (input B) & set @ unity gain) +28 dBu balanced XLR, +22 dBu unbalanced 1/4" jacks off to unity to + 20 dB +22 dBu
Distortion (THD & N) Gain range Max. input Line input Gain range Max. input Channel fader range Aux send gain range Equalisation Hi shelving Hi mid sweep Lo mid sweep Lo shelving Lo cut (HPF) Channel direct out Max. output Noise @unity gain Output impedance Tape returns Channel insert Max. in/out Channel to channel crosstalk Mix B channel strip Gain range Hi shelving Lo shelving Subgroup section Noise
Submaster output max. out Submaster insert max. out Submaster insert max. in Fader range Main mix section Noise
Max. output Aux returns gain range Aux sends max. out
General Distortion (THD & N) Frequency response
0.007 %, @ +4 dBu, 1 kHz, bandwidth 80 kHz below 0.02 %, 22 Hz to 22 kHz at normal operating levels, any input to any output, bandwidth 80 kHz 20 Hz to 40 kHz, +/- 1 dB any input to any output 10 Hz to 120 kHz, +/- 3 dB -102.5 dBr (ref. +4 dBu) -92.5 dBr (ref. +4 dBu, 24 chs. assigned (input B) & set @ unity gain) -94.5 dBr (ref. +4 dBu, 16 chs. assigned (input B) & set @ unity gain) 400 Watts, 19" (482.6 mm), 2.5 rack units, app. 8.3 kg app. 3.54/9.45" (90/240 mm) * 37" (940 mm) * 29.5" (750 mm) app. 30 kg (without PSU)
Power supply External power supply Dimensions/weight Dimensions (H * W * D) Weight
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.

The information contained in this sheet is subject to change without notice. No part of this sheet may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER and EURODESK are registered trademarks. ALL RIGHTS RESERVED. 2000 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +49 (0) / 92 06-0, Fax +49 (0) / 92 06-30