MX2004A

Technical Specifications

Version 1.1 May 2000

EURORACK

www.behringer.com

ENGLISH
s 8 mono input channels with gold plated XLRs s 4 stereo input channels s 2 additional multi-functional stereo Aux Returns
Ultra-Low Noise 20 Channel, 4-Bus Mic/Line Mixer
s Pre and post-fader Aux Sends for external effects and monitoring s Master Aux Sends with gain control s Extremely high headroom offering more dynamic range s Ultra-low noise discrete Mic pre-amps with +48 V Phantom Power s Balanced inputs and Main outputs s Peak LEDs and switchable Low Cut filter on all mono channels s Ultra-musical 3-band EQ on all channels s Mute / Alt 3-4, Solo-In-Place and Pre-Fader-Listen function on all channels s Separate Main Mix, Control Room and Headphone outputs
s 2-Track inputs assignable to Main Mix or Control Room / Headphone outputs s Highly accurate Bargraph Meters on output s High quality faders and sealed potentiometers s Rugged design power supply ensures superior transient response s State-of-the-art 4580 ICs and high quality components ensure crystal-clear Audio Performance and excellent noise figures
s Rugged construction ensures long life even under the most demanding conditions s Manufactured under ISO9000 certified management system 2

BLOCK DIAGRAM

SPECIFICATIONS
Input channels Mic input Mic E.I.N. (22 Hz - 22 kHz)
Distortion (THD&N) Gain range Max input (Mic) Line input Sensitivity range Max input (Line) Channel fader range Aux Send gain range Equalization Hi shelving Mid bell Lo shelving Lo Cut (High Pass) filter Main Mix Section Noise
electronically balanced, discrete input configuration -129.5 dBu, 150 Ohm source -117.3 dBqp, 150 Ohm source -132.0 dBu, input shorted -122.0 dBqp, input shorted 0.007% at +4 dBu, 1 kHz, Bandwidth 80 kHz +10 dB to +60 dB +12 dBu electronically balanced +10 dBu to -40 dBu +22 dBu +10 dB to -85 dB off to +15 dB 12 kHz +/- 15 dB, Q fixed at 2 oct. 100 Hz - 8 kHz +/- 15 dB, Q fixed at 1 oct. 80 Hz +/- 15 dB, Q fixed at 2 oct. -3 dB at 75 Hz, 18 dB/oct. bus noise, fader 0 dB, channels muted: -100.0 dBr (ref.: +4 dBu), fader 0 dB, all input channels assigned and set to Unity Gain: -88.5 dBr (ref.: +4 dBu) +28 dBu balanced XLR, +22 dBu unbalanced, 1/4" jacks off to Unity to +20 dB +22 dBu 0.007 %, at +4 dBu, 1 kHz, bandwidth 80 kHz below 0.02 %, 22 Hz - 22 kHz normal operating levels, any input to any output, bandwidth 80 kHz 10 Hz - 120 kHz +/- 3 dB, any input to any output
Max output Aux Returns gain range Aux Sends max out General Distortion (THD&N)
Frequency Response Physical Dimensions (H * W * D) Net Weight
app. 1 1/2" / 3 1/2" (40 / 90 mm) * 16 1/4" (410 mm) * 15 1/4" (385 mm) app. 5.4 kg (PSU not included)
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 EURORACK 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

Channel input level is determined by the GAIN control. Use the PFL/SOLO switch to bring the channel input onto the left and right bargraph meters respectively. This also sends the PFL/solo-ed signal to the left and right speakers. 8 2. MONO INPUT CHANNEL
EURORACK MX2004A For level-setting (as opposed to localized listening) select the mono PFL bus rather than the post-fader (postchannel 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 light to come on except very intermittently during a take or a mix. If it does light persistently, reduce input gain (see also chapter 5 SETTING UP). There is a steep low-cut (high pass) filter explosives, woolly bottom end etc. , slope at 18 dB/oct., -3 dB at 75 Hz, for reducing floor rumble,

2.2 Equalizer

All mono input channels are fitted with 3-band EQ and the above mentioned switchable low-cut filter for eliminating unwanted subsonics. All three bands have up to 15 dB of cut and boost, with a centre detent for off. The upper and lower shelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively. The midrange control is semi-parametric with a peaking response, Q fixed at 1 octave. The gain is set with control , the center frequency can be adjusted with control ranging from 100 Hz to 8 kHz.

2.3 Aux sends

Both aux sends are mono and post-EQ. Aux send 1 can be taken from a point before or after the channel fader, i.e. pre or post by. Aux send 2 is always wired post-fader. For almost all FX send purposes, you will want aux sends 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 and mute. Most reverbs etc. sum internally the left and right inputs. The very few that dont may be driven in true stereo by using 2 aux sends. There is +15 dB of gain on every aux send. Such a high boost is usually only appropriate where the channel fader is set around -15 dB or lower. Here, an almost exclusively wet signal will be heard. In most consoles, such a wet mix requires the use of a pre-fader setting for the channel aux send, losing fader control. With the EURORACK you can have a virtually wet mix with fader control.

2.4 Routing, fading and muting
Level to the main mix and Alt 3-4 buses is ultimately determined by the channel faders. These are specially manufactured for BEHRINGER mixing consoles, and are designed to give a smooth logarithmic taper of a type more usually associated with very expensive consoles. The performance, at low levels particularly, is far smoother than that of a normal budget fader. Channel pan positions the output of the channel in the stereo field. Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned, center-stage, or somewhere in-between. Such pinpoint accuracy will be a revelation if you have been working on consoles with lower quality circuits. Channel pan also determines the stereo position of any signal routed to the Alt 3-4 bus ( depressed). PFL/solo were encountered in chapter 3.1. Solo also follows channel pan.
The MUTE/ALT 3-4 button is ergonomically placed immediately above the channel fader. Engaging mute, indicated by , is equivalent to setting a fader level of minus infinity. On the MX2004A the MUTE/ALT 3-4 button serves two functions. When mixing directly to stereo, it acts as a normal mute. However, this button also acts as a routing button to the Alt 3-4 outputs. In other words, you select between the main mix and Alt 3-4 stereo buses via. This is very useful when submixing live or recording to multitrack, as we shall see later.

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. the signal is only interrupted when a jack is plugged into it.

3. STEREO INPUT CHANNEL

Each stereo channel comes with two balanced line level inputs on 1/4" TRS connectors, for left and right signals. When only the left input is connected, the channel operates in mono.

3.1 Input level setting

The stereo inputs are designed for any line level signal. Most line level sources such as MIDI instruments and FX units will have their own output level control. Those that dont, for example CD players, all have an output level within the scope of the MX2004A. When the channel and master fader are set to unity gain the meters should read between -4 and +7 dB. Remember that there is 15 dB gain on both the channel as well as master fader.

3.2 Equalizer

The stereo input channels are fitted with 4-band EQ. The upper and lower shelving controls have their frequencies fixed at 12 kHz and 80 Hz. The peaking high midrange and low midrange / are fixed at 3 kHz and 500 Hz respectively. A stereo equalizer is generally preferable to using two mono equalizers when EQ-ing a stereo signal, as often discrepancies between left and right settings can occur.

3.3 Aux sends

These are the same as for mono channels (see 2.3). Note that a mono sum is taken from the stereo input.

3.4 Routing

The only difference here from the mono channel described in 2.4 is in the implementation of the balance control. When a channel is run in stereo, this control functions as a balance control, determining the relative balance of the left and right channel signals being sent to the left and right main mix buses. For example, with the balance control turned fully clockwise, only the right portion of the channels stereo signal will be routed to the main mix. Balance also determines the relative amount of left and right channel signals being sent to buses 3 and 4 respectively when Mute/Alt 3-4 is engaged.

4. MAIN SECTION

4.1 Aux sends
Master aux send levels are determined by and. These controls have a centre detent indicating unity gain. Dont worry if your effects unit has no input gain controlyou have a further +15 dB available from these outputs.

4.2 Stereo aux returns

There are two additional stereo line inputs (aux returns 1 and 2) on your MX2004A. Aux returns 1 is permanently 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 connection is made to aux return 2, the signal is normalled (connected directly) to aux return 1. Depressing the FX TO AUX 1 switch will then feed the signal from aux return 1 into the cue feed (aux send 1) and can be controlled in level independently with aux return 2. This feature is primarily useful when you are using one effect for the main mix and for the foldback speakers.

Subgroups can be mixes of several channels of sound: dont be surprised if, once you have set up the input gain correctly, the submaster faders are set higher than normal channels.
Remember that when Alt 3-4 is in use, you do not have a channel mute facility on your desk: you will have to pull down the fader to silence any channel.

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. Stereo channels accept -10 dBV or +4 dBu line level signals. Any stereo channel can be run in mono simply by connecting into the left connector only. These channels are suitable for a variety of line-level sources including MIDI instruments and tape returns from multitrack. Stereo line inputs are primarily designed for returning effects units, though these too may be given over to multitrack returns or MIDI instrument outputs.
5.2 Initializing channels for gain setting
1) 2) 3) 4) 5) Set GAIN to minimum and all aux sends to off (fully counter-clockwise). Set EQ to flat (all knobs at 12 oclock). Where applicable, set LOW-CUT switch very low frequency content. Set CHANNEL MODE to PFL Depress PFL/SOLO switch. ON for most microphones, OFF for signals with desired
5.3 Auditioning a signal and setting up a channel
1) Provide an input signal i.e. roll the tape. There should also be some activity at the main L/R bargraph meters , indicating the PFL level. 2) For microphone/line inputs: Adjust the GAIN control Continuous signals should not exceed 0 dB. until transient peaks are regularly hitting +6 dB.
3) For stereo line inputs: Adjust the sources output gain until transients are regularly hitting +6 dB. Continuous signals should not exceed 0 dB. 4) If EQ is used, repeat steps 1 to 3. 5) If an insert is used to patch in a compressor, gate, EQ etc, use the outboard processors bypass or effect off switch to A/B monitor the effect. If it does not have a bypass switch or equivalent, you will have to keep connecting and disconnecting the device until you complete the following procedure: Adjust the processors output level so that effected and bypassed signals are of comparable level, i.e. unity gain. 6) PFL/solo switch UP. Move onto next channel.

5.4 Desk normalization

All board settings should be set to the normal default condition before or after every session. Usually faders are set to zero (minus infinity) EQs set flat and switched out, trimpots and channel aux sends turned fully counterclockwise etc. Many controls have a natural initial setting. For EQ cut and boost this is centre position. However, some settings, such as selecting pre or post for channel aux sends, will depend on the operating environment (e.g. studio or live), or on a particular engineers preferred way of working.

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, its a good idea to keep the recorders peak meters below 0 dB. Most (not all, esp. samplers) read 0 dB with some headroom left. This is because, unlike with analog, the onset of digital distortion is as sudden as it is horrible. If you really want to take your recording level to the limit (and fully exploit for instance 16-bit digitals 96 dB dynamic range), youll have to do some calibrating. How to do it? Well, you could run a tone at 0 dB from the mixer and use that as your DAT reference. But your DAT may be way under its maximum input limit. Probably a better way to work out just how hard you can drive your recorder is to incrementally increase the record level until the onset of digital distortion, subtract, say, 5 or 10 dB, and never exceed that level. Engage peak hold on your recorder before recording if you want to confirm that you havent. When recording to analog, the tape machines VU meters should show around +3 dB on bass, but only around -10 dB for hi hat. Although analogue distortion is more like compression at modest overload levels (often desirable on bottom end), higher frequencies cause saturation even at modest levels (resulting in an unpleasant crunchiness). Also, VU meters tend to progressively under-read above 1 kHz, due to their sluggish response time. Hi-hats should read about -10 dB on a VU meter, as against 0 dB for a typical snare drum, and +3 dB or more for a kick drum. Peak meters read more-or-less independent of frequency. Aim for 0 dB recording level for all signals.

5.7 Track sheet

When laying out channels for recording or mixing, try to be sensible. Keep toms together, etc. Work out a scheme that suits you and stick to it. A common order is: kick drum, snare, hi-hat, tom-toms (as the audience sees the kit), cymbals (ditto), bass, guitars, keyboards, other instruments, vocals. From session to session and gig to gig you will soon know where you are without hardly ever having to look at your track sheet.

6. APPLICATIONS

Experience tells us that the cables in a studio environment get tangled very quickly (inviting mistakes). A patchbay will facilitate patching and repatching considerably. The BEHRINGER ULTRAPATCH PRO PX2000 makes patching easier and trouble free, increasing both ergonomics and productivity.
6.1 Keyboard mixing, live or in the studio
This is relatively simple to achieve. Simply use the line inputs to mix stereo or mono outputs from your keyboards. It may be useful to use the Alt 3-4 outs e.g. to control the level of drums versus music. Aux sends may be used either to feed on-stage monitors, artists headphones or effects units. The main mix output should feed the FOH or studio mixer. A typical comprehensive live setup is shown below.
Keyboard Mixer Mic/Line Mono/Stereo Line Mono Line Mono Line Mono Line Mono Line Mono Line Mono Line Mono Line Mono Line Stereo Line Stereo Line Stereo Line Stereo Stereo Stereo > Effect (post-fader) > Effect (post-fader) > P.A. > P.A. > Monitor system > Monitor system
Source MIDI Instrument #1 MIDI Instrument #2 MIDI Instrument #3 MIDI Instrument #4 MIDI Instrument #5 MIDI Instrument #6 MIDI Instrument #7 MIDI Instrument #8 MIDI Sampler #1 MIDI Sampler #2 MIDI Synth #1 MIDI Synth #2 Effect #1 Effect #2 Aux out 1 Aux out 2 Main Mix out L Main Mix out R Monitor out L Monitor out R
Input 9/10 11/12 13/14 15/16 Aux 1 Aux 2
Tab. 6.1: Keyboard mixing, live or in the studio
6.2 Live gig with simultaneous 2-track recording
Live Gig with 2-TK recording Source Routing Mic/Line Mono/Stereo Vocals Main Mix Mic Mono Vocals Main Mix Mic Mono Vocals Main Mix Mic Mono Vocals Main Mix Mic Mono Alt 3-4 out Main Mix Line Mono Alt 3-4 out Main Mix Line Mono Bass Drum Alt 3-4 Mic Mono Drum Overhead Alt 3-4 Mic Mono Guitar Alt 3-4 Line Stereo Bass Alt 3-4 Line Stereo Keyboard #1 Main Mix Line Stereo Keyboard #2 Main Mix Line Stereo Effect Stereo CD player Stereo Alt 3-4 out (Instruments) > 2-TK input Aux out 1 > Cue 1 (pre-fader) Aux out 2 > Effect (post-fader) Main Mix out L > Recording (DAT L) Main Mix out R > Recording (DAT R) Monitor out L > P.A. Monitor out R > P.A.
Tab. 6.2: Live gig with 2-track recording Here some or all mono channels are likely to be tied up with stage microphones. Carefully position these so as to minimize feedback. Try to keep the stage volume as low as possible, as stage sound can interfere with and 6. APPLICATIONS 15

EURORACK MX2004A muddy FOH sound, as well as causing a reduction in feedback thresholds. Dont forget to notch out troublesome 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 studiolaying vocals to tape
8-track MIDI project studio with sampler, 8-track recording system, one vocal mic and two effects units:
Projekt Studio, laying vocal tracks Source Routing Mic/Line Mono/Stereo Input Vocals Alt 3-4 M Mono 1 Band Main Mix L Mono 2 Band Main Mix L Mono 3 Band Main Mix L Mono 4 Band Main Mix L Mono 5 Band Main Mix L Mono 6 Band Main Mix L Mono 7 Band Main Mix L Mono 8 Sampler #1 Main Mix L Stereo 9/10 Sampler #2 Main Mix L Stereo 11/12 Sampler #3 Main Mix L Stereo 13/14 Sampler #4 Main Mix L Stereo 14/15 Effect #1 Stereo Aux 1 Effect #2 Stereo Aux 2 MX 882 Mix out > 2-Track input Alt 3-4 out > Available Aux out 1 > Effect 1 Aux out 2 > Effect 2 Main Mix out L > Recording (DAT L) Main Mix out R > Recording (DAT R) Monitor out L > Monitor system Monitor out R > Monitor system
Tab. 6.3: MX2004A example "Project studio, laying vocals to tape" With largely computer-generated music you will want to have plenty of Line inputs, and an ability to take vocals quickly, efficiently, and with minimal desk disturbance. Often a vocal line is added after the music is almost complete. For this we try not to use a valuable aux send as a cue feed. In general, the mix in the artists headphones can be the same as that going into the control room monitors: basically a stereo mix with 1) the vocal channel raised above the mix level in volume and 2) any off-putting channels muted. If you intend to take several tracks in quick succession, you can route the channel via the Alt 3-4 bus simultaneously into all tape tracks via a simple junction box, splitter lead, line mixer like our MX882, or patchbay. Note: When using Alt 3-4 to send to tape, you can either audition the signal via the tape recorder track, or by assigning Alt 3-4 to the control room monitors , or both. If you are auditioning the vocalist via both routes, the voice should appear louder to you (and the singer) during a take, but be set properly in the mix during playback. By a benign twist of fate, this is usually exactly what you (and they) want. Note that there are two aux sends and two stereo aux returns. If you want to use more than two effects units, these can either be 1) patched across insert points, 2) inserted between the samplers outputs and desk inputs, or 3) driven from the channel insert. If you have invested in the 8-channel BEHRINGER ULTRALINK PRO MX882 for tape monitoring purposes, you can turn the 2-track input into eight line inputs for accepting stereo or mono effects or synths etc. during mixdown.

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 configurations. 6.4.1 Patchbay configuration The majority of commercially available patchbays include two rows with 24 phone jacks each in a 19" 1 U rack panel. On the rear, either a corresponding number of phone jacks or contacts for soldering signal leads can be found. Each group of four of these phone jacks forms one module. The configuration of some Patchbays can be changed by inserting jumpers or turning individual modules. With the help of our ULTRAPATCH PRO PX2000, an easy-to-use 24-patchbay offering phone jacks throughout, you can easily understand the four different modes. With the ULTRAPATCH PRO you can select between the four different operating modes simply by setting a switch on the upper panel (example: module 17):
EURORACK MX2004A 6.4.2 Parallel
Fig. 6.2: Patchbay mode parallel In this mode, all terminals of one module are interconnected. This configuration doesnt 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 signal routed through the rear path is not interrupted. Only when the lower front jack is used will the rear panel route be split up, so that the two upper and the two lower phone jacks are connected to one another. This configuration is called input break and is used mainly for insert paths. So you can easily patch the signal from a mixing console channel at the Patchbay without interrupting the signal flow in the channel. 6.4.4 Normalled
Fig. 6.4: Patchbay mode normalled Here, and in contrast to the half-normalled setup, the signal route of the rear phone jacks is interrupted when you insert a plug both into the upper and lower front jacks. 6.4.5 Open
Fig. 6.5: Patchbay mode open This mode is used to connect devices such as sound modules or CD players having no inputs of their own. This saves space, as you can route the left and right outputs to one module (left - top; right - bottom) or patch two devices to one module (top and bottom). Effects devices and 2-tracks can be configured this way, so the inputs 18 6. APPLICATIONS

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 for this and other digital signal-related functions. Microphone inputs operate at a level several orders of magnitude lower than line levels (+4 dBu or -10 dBV). Therefore, they should never be routed via a patchbay. In any case, patching in a field with 48 VDC (phantom power) flying about is to be avoided at all costs. It is best to plug mics directly into the mixing console or via special XLR-type wall boxes connected to the mic inputs of the console by good-quality balanced multicore cables (2-cond. + shield). 6.4.6 Patchbay organization Let us give you an example configuration that shows how you can most effectively use your patchbays. We assume you own a mixing console with 16 mic/line inputs plus inserts, 8 direct outputs, 8 subgroups with 4 inserts, 4 aux paths with 2 stereo returns and one stereo master output including insert jacks. Added to this we have an 8-track recorder (digital or analog), a few pieces of outboard equipment (FX, dynamics & EQs), a CD player, tape deck, HiFi system and a headphones amp:
Fig. 6.6: Example of a studio organization with four patchbays
In the first eight modules of patchbay 1 the subgroup outputs are directly connected to the corresponding multitrack inputs. In addition to that it is also possible to record the signals coming from a subgroup on a different track of the multitrack. To save space and provide a clearly structured configuration, the direct outputs are connected both to the top and bottom jacks. Modules 17 & 18 are the stereo master output, which is half-normalled and 6. APPLICATIONS 19
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 & 24, which are open, because they only serve as a source. In patchbay 2 the first 16 modules are normalled (1 through 8 IN could also be used to connect the corresponding monitor inputsif the console has a separate monitor section). MIDI devices such as samplers, expanders, keyboards, etc. are usually set up in every corner of the room. To make the cabling better structured we route these units to modules 9 through 16. This allows further workmanship of the MIDI devices at the mixing console. Modules 17 through 20 are normalled and have the FX inputs and the aux sends connected, 21 through 24 are also normalled and are patched to the two stereo aux returns with the FX outputs. In patchbay 3 , modules 1 through 16 are for the channel insert. These modules are half-normalled, so that you have an additional route for the channel signals. The same applies to the insert paths of the subgroups and the master output. The headphones amp is connected to 23 & 24, which are normalled and connected to the control room outputs of the mixing console. Of course, you can also use pre-fader aux paths for the headphones mix. Patchbay 4 manages the dynamics and frequency-processing devices in an open configuration (modules 1 through 16). Multigates and Compressors should be used here, in particular. Modules 17 through 24 are used to provide a parallel split, i.e. two modules are patched to each other on the rear with one patch cord, so that you can split up a signal applied on the front panel to several destinations. These modules have a parallel configuration. It should be noted that patchbays should be placed one below the other in such a way that the patch cords wont hang all over the patchbays. In our example you dont have to span great distances, for instance, to patch the dynamics and EQs to the insert paths. 6.4.7 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 an aerial, picking up hum and 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. Rather you should be looking at disconnecting the signal screen somewhere (one or several audio cables). It is good practice to 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 one 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 screen 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. 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.

7. TECHNICAL BACKGROUND

7.1 Mixing
7.1.1 Equalization Few people buying a mixer 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 20 7. TECHNICAL BACKGROUND
EURORACK MX2004A 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. For sounds which require drastic corrective EQ, it is advisable to have a couple of channels of fully comprehensive Parametric Equalization in your rack. (You can always bounce tracks though the outboard EQ, freeing up the unit for the next task). Check out the BEHRINGER ULTRA-CURVE PRO DSP8024, a superlative digital stereo equalizer and much, much more. Or our ULTRA-Q PRO PEQ2200 5-band constant-Q state-variable analog EQ. For advanced equalization, EQ might be applied to a signal as follows: First, trim the LF and HF shelves to achieve the required slope or loudness. Now use a parametric EQ band to boost the most significant frequency for each instrument or tape track. Over all channels, if two or more of these frequencies coincide, then you might have to settle for second best in some cases, if you want to achieve optimum separation in the mix. Really nasty frequencies will need notching out. A good vocal signal can be enhanced by applying a significant boost in the 12 kHz region or higher, above the nasty sibilance region. This is especially effective if youve got a de-esser patched post-EQ.

8. INSTALLATION

8.1 EURORACK MX2004A connections
Follow us on a walk along the rear panel of your EURORACK, starting left: 8. INSTALLATION 21
EURORACK MX2004A AC Power In. For connecting the mixer to the power supply unit (PSU). Always connect mixer and PSU before you connect the PSU to the mains supply. POWER switch. Once the PSU is connected to the mains supply, you may switch on your EURORACK. Allow one minute after powering up for the system to equilibrate before setting input gains. PHANTOM switch. When using condenser microphones, +48 V DC can be switched globally on or off for all microphone channels. Care should be taken not to plug microphones into the console (or stagebox) while the phantom power is on. Also, mute the monitor/PA speakers when turning phantom power on or off.
Lets now have a look an all the inputs and outputs on the EURORACK. Most of them are balanced. Unbalanced equipment may be connected to balanced inputs/outputs. Either use 1/4" phone connectors or connect ring and sleeve of 1/4" TRS connector (or leave pin 3 of XLR plugs unused). Main outputs (XLR) Balanced XLR, wired pin 1 ground/screen, pin 2 hot (+ve), pin 3 cold (-ve). Maximum level is +28 dBu. MAIN OUTPUT LEVEL switch Level to the XLR main outputs (+4 dB) will be lowered to microphone level, if you depress can route the lowered output signal directly to the microphone inputs of another console. Main output Unbalanced 1/4" phone connectors, wired tip = signal, sleeve = ground/screen. Alt 3-4 output Unbalanced 1/4" phone connectors, wired tip = signal, sleeve = ground/screen. Let us now move onto the front panel of your EURORACK MX2004A. Mono input channels 1 to 8 Mic inputs Balanced XLR, wired pin 1 = ground/screen, 2 = hot (+ve), 3 = cold (-ve). Remember the PHANTOM switch. Line inputs Balanced 1/4" TRS connectors, wired tip = hot (+ve), ring = cold (-ve), sleeve = ground/screen. Stereo input channels 9/10 to 15/16 Four stereo pairs. Balanced 1/4" TRS connectors, wired tip = hot (+ve), ring = cold (-ve), sleeve = ground/screen. Stereo aux returns 1/2 Two stereo pairs. Unbalanced 1/4" phone connectors, wired tip = signal, sleeve = ground/screen. Aux sends 1/2 Unbalanced 1/4" phone connectors, wired tip = signal, sleeve = ground/screen. 2-track in/out RCA connectors for use with tape recorders etc., signal = main mix. Control room outputs Will feed a pair of speakers (via an amp, of course unbalanced 1/4" phone connectors, wired tip = signal, sleeve = ground/screen. Phones outputs Will feed headphones. 1/4" TRS connector, wired tip = left signal, ring = right signal, sleeve = ground/ screen. E.g. you

9. SPECIFICATIONS

Mono input channels Mic input Frequency response Distortion (THD & N) Mic E.I.N. (22 Hz - 22 kHz)
Gain range Signal-to-noise ratio Line input Frequency response Distortion (THD & N) Gain range EQ Low Mid High Stereo input channels Line input Frequency response Distortion (THD & N) EQ Low Low Mid Hi Mid High Main mix Max. output Aux Sends max. output Signal-to-noise ratio Noise (absolute)
electronically balanced, discrete input configuration 10 Hz to 60 kHz, +/- 3 dB 0.007% @ +4 dBu, 1 kHz, bandwidth 80 kHz -129.5 dBu, 150 Ohm source -117.3 dBqp, 150 Ohm source -132.0 dBu, input shorted -122.0 dBqp, input shorted +10 dB to +60 dB 113,6 dB electronically balanced 10 Hz to 60 kHz, +/- 3 dB 0.007% @ +4 dBu, 1 kHz, bandwidth 80 kHz +10 dBu to -40 dBu
80 Hz, +/- 15 dB, Q=Hz to 8 kHz, +/- 15 dB, Q=kHz, +/- 15 dB, Q=2 unbalanced 10 Hz bis 55 kHz, +/- 3 dB 0.007% @ +4 dBu, 1 kHz, bandwidth 80 kHz
80 Hz, +/- 15 dB, Q=Hz, +/- 15 dB, Q=kHz, +/- 15 dB, Q=kHz, +/- 15 dB, Q=2 +28 dBu, balanced, XLR +22 dBu, unbalanced, 1/4" phone connectors +22 dBu, unbalanced 112 dB bus noise, fader 0 dB, channels muted: -100.0 dBr (ref.: +4 dBu) fader 0 dB, all input channels assigned and set to unity gain: -88.5 dBr (ref.: +4 dBu)
Power supply Mains voltage
U.S.A./Canada U.K./Australia Europe Japan
115 V ~, 60 Hz, power supply MXULV ~, 50 Hz, power supply MXUKV ~, 50 Hz, power supply MXEUV ~, 60 Hz, power supply MXJP1
Physical Dimensions (H * W * D) Net weight Total weight
app.1"/3" (40/90 mm) x 16" (410 mm) x 15" (385 mm) app. 6 kg (PSU not included) app. 8 kg
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 further notice. Specifications and appearance may differ from those listed or illustrated.

10. WARRANTY

1 WARRANTY CARD/ONLINE REGISTRATION To be protected by the extended warranty, the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH, in accordance with the conditions stipulated in 3. Failure to return the card in due time (date as per postmark) will void any extended warranty claims. Based on the conditions herein, the buyer may also choose to use the online registration option via the Internet (www.behringer.com or www.behringer.de). 2 WARRANTY 1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH including all BEHRINGER subsidiaries listed on the enclosed page, except BEHRINGER Japan) warrants the mechanical and electronic components of this product to be free of defects in material and workmanship for a period of one (1) year from the original date of purchase, in accordance with the warranty regulations described below. If the product shows any defects within the specified warranty period that are not due to normal wear and tear and/or improper handling by the user, BEHRINGER shall, at its sole discretion, either repair or replace the product. 2. If the warranty claim proves to be justified, the product will be returned to the user freight prepaid. 3. Warranty claims other than those indicated above are expressly excluded. 3 RETURN AUTHORIZATION NUMBER 1. To obtain warranty service, the buyer (or his authorized dealer) must call BEHRINGER (see enclosed list) during normal business hours BEFORE returning the product. All inquiries must be accompanied by a description of the problem. BEHRINGER will then issue a return authorization number. 2. Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by BEHRINGER. 3. Shipments without freight prepaid will not be accepted. 4 WARRANTY REGULATIONS 1. Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealers invoice. Any product deemed eligible for repair or replacement by BEHRINGER under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER. 2. If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level, in any country which is not the country for which the product was originally developed and manufactured, this modification/adaptation shall not be considered a defect in materials or workmanship. The warranty does not cover any such modification/adaptation, irrespective of whether it was carried out properly or not. Under the terms of this warranty, BEHRINGER shall not be held responsible for any cost resulting from such a modification/adaptation. 3. Free inspections and maintenance/repair work are expressly excluded from this warranty, in particular, if caused by improper handling of the product by the user. This also applies to defects caused by normal wear and tear, in particular, of faders, potentiometers, keys/buttons and similar parts. 4. Damages/defects caused by the following conditions are not covered by this warranty: s misuse, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals. s connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used. s damages/defects caused by force majeure or any other condition that is beyond the control of BEHRINGER. 5. Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the warranty. 6. If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty, the inspection costs are payable by the customer. 7. Products which do not meet the terms of this warranty will be repaired exclusively at the buyers expense. BEHRINGER will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notification, BEHRINGER will return the unit C.O.D. with a separate invoice for freight and packing. Such costs will also be invoiced separately when the buyer has sent in a written repair order. 5 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer (customer of retail dealer) and is not transferable to anyone who may subsequently purchase this product. No other person (retail dealer, etc.) shall be entitled to give any warranty promise on behalf of BEHRINGER. 6 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim (consequential) damages. In no event shall the liability of BEHRINGER exceed the invoiced value of the product. 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1. This warranty does not exclude or limit the buyers statutory rights provided by national law, in particular, any such rights against the seller that arise from a legally effective purchase contract. 2. The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law.