9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11. Use only attachments/accessories specified by the manufacturer. 12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 13. Unplug this apparatus during lightning storms or when unused for long periods of time. 14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection. 16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

Limited Warranty

1 Warranty
[1] This limited warranty is valid only if you purchased the product from a BEHRINGER authorized dealer in the country of purchase. A list of authorized dealers can be found on BEHRINGERs website behringer.com under Where to Buy, or you can contact the BEHRINGER office closest to you. [2] MUSIC Group* warrants the mechanical and electronic components of this product to be free of defects in material and workmanship if used under normal operating conditions for a period of one (1) year from the original date of purchase (see the Limited Warranty terms in 4 below), unless a longer minimum warranty period is mandated by applicable local laws. If the product shows any defects within the specified warranty period and that defect is not excluded under 4, MUSIC Group shall, at its discretion, either replace or repair the product using suitable new or reconditioned product or parts. In case MUSIC Group decides to replace the entire product, this limited warranty shall apply to the replacement product for the remaining initial warranty period, i.e., one (1) year (or otherwise applicable minimum warranty period) from the date of purchase of the original product. [3] Upon validation of the warranty claim, the repaired or replacement product will be returned to the user freight prepaid by MUSIC Group. [4] Warranty claims other than those indicated above are expressly excluded. PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF OF PURCHASE COVERING YOUR LIMITED WARRANTY. THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF OF PURCHASE.

2 Online registration Please do remember to register your new BEHRINGER equipment right after your purchase at behringer.com under Support and kindly read the terms and conditions of our limited warranty carefully. Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently. Thank you for your cooperation! 3 Return materials authorization
[1] To obtain warranty service, please contact the retailer from whom the equipment was purchased. Should your BEHRINGER dealer not be located in your vicinity, you may contact the BEHRINGER distributor for your country listed under Support at behringer.com. If your country is not listed, please check if your problem can be dealt with by our Online Support which may also be found under Support at behringer.com. Alternatively, please submit an online warranty claim at behringer.com BEFORE returning the product. All inquiries must be accompanied by a description of the problem and the serial number of the product. After verifying the products warranty eligibility with the original sales receipt, MUSIC Group will then issue a Return Materials Authorization (RMA) number.

Legal Disclaimer

Technical specifications and appearance are subject to change without notice. The information contained herein is correct at the time of printing. All trademarks are the property of their respective owners. MUSIC Group accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. Colors and specifications may vary slightly from product. BEHRINGER products are sold through authorized dealers only. Distributors and dealers are not agents of MUSIC Group and have absolutely no authority to bind MUSIC Group by any express or implied undertaking or representation. This manual is copyrighted. No part of this manual 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 Red Chip Company Ltd. ALL RIGHTS RESERVED. 2010 Red Chip Company Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands

[2] Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by MUSIC Group. [3] Shipments without freight prepaid will not be accepted.
4 Warranty Exclusions [1] This limited warranty does not cover consumable parts including, but not limited to, fuses and batteries. Where applicable, MUSIC Group warrants the valves or meters contained in the product to be free from defects in material and workmanship for a period of ninety (90) days from date of purchase. [2] This limited warranty does not cover the product if it has been electronically or mechanically modified in any way. 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. This limited warranty does not cover any such modification/adaptation, regardless of whether it was carried out properly or not. Under the terms of this limited warranty, MUSIC Group shall not be held responsible for any cost resulting from such a modification/adaptation. [3] This limited warranty covers only the product hardware. It does not cover technical assistance for hardware or software usage and it does not cover any software products whether or not contained in the product. Any such software is provided AS IS unless expressly provided for in any enclosed software limited warranty. [4] This limited warranty is invalid if the factoryapplied serial number has been altered or removed from the product. [5] Free inspections and maintenance/repair work are expressly excluded from this limited 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, crossfaders, potentiometers, keys/buttons, guitar strings, illuminants and similar parts. [6] Damage/defects caused by the following conditions are not covered by this limited warranty: improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals; 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; damage/defects caused by acts of God/Nature (accident, fire, flood, etc) or any other condition that is beyond the control of MUSIC Group.
[7] Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the limited warranty. [8] If an inspection of the product by MUSIC Group shows that the defect in question is not covered by the limited warranty, the inspection costs are payable by the customer. [9] Products which do not meet the terms of this limited warranty will be repaired exclusively at the buyers expense. MUSIC Group or its authorized service center will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notification, MUSIC Group 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. [10] Authorized BEHRINGER dealers do not sell new products directly in online auctions. Purchases made through an online auction are on a buyer beware basis. Online auction confirmations or sales receipts are not accepted for warranty verification and MUSIC Group will not repair or replace any product purchased through an online auction.

S 23 applies to the B-channel only and replaces the normal TAPE or INPUT source with a tap from the main channel, taken post mute and pre fader. NowMIX-B acts as an extra stereo aux send or extra stereo mix. You should remove MIX-B from the main mix (via S 48 , master section) in this configuration.
Fig. 3.2: Channel input switching architecture
The B-channels 25 to 48 are only routable EN BLOC to the main mix,
via S 48. Therefore, the MIX-B bus can only have one function at any one time, either as a stereo AUX or secondary mix send ( S 48 UP) or as a set of 24 extra line or tape inputs to the main mix ( S 48 DOWN).

3.3 Input gain setting

The channel input level is set by the TRIMPOT ( P 2 ). Use SOLO/PFL ( S 26 ) tobring the channels input onto the L/R bargraph meters under the master section of the EURODESK SX4882. This also sends the SOLO/PFLed signal to the left and right speakers. Channel PFL/SOLO ( S 26 ) has an associated LED ( L 26 ). (Seealso13.1 A-channel setting up procedure and 6.5 PFL/SOLO.)
For level-setting (as opposed to localized listening) choose to use the
Thirdly, there is a steep high pass (low cut) filter ( S 11 ), slope @ 12 dB/octave, -3 dB @ 75 Hz, for reducing floor rumble, plosives, woolly bottom end, etc.

3.5 Aux sends

All six aux sends are mono and post EQ. They are switchable PRE/POST fader in two banks ( S 13 and S 16 ). For aux sends 1 and 2, two dedicated pots ( P 12 and P 13 ) are used. These can be taken from a point before or after the channel fader, i.e. PRE or POST ( S 13 ). Aux sends 3 and 4, and 5 and 6 are serviced by two potentiometers ( P 14 and P 15 ). The SHIFT button ( S 15 ) determines whether buses 3 and 4 or 5 and 6 are addressed. Also, these four sends can be derived from the main mix or MIX-B, depending on SOURCE ( S 17 ), and, as before, can be pre or post ( S 16 ).
mono PFL rather than the post fader SOLO bus ( S 95 DOWN).
SOLO/PFL never interrupts the mix at the main recording outputs.
Itfollows that aux sends and subgroups must also be unaffected, sincethey can contribute directly to the main mix. In addition to switchable PFL/SOLO metering, a couple of LEDs ( L 24 and L 25 ) continuously monitor whether a signal is present (-20 dB) or the channel is goinginto overload (PEAK). These take their cue from three test points: input, post EQ and post fader. In all cases the higher level wins. You do NOT want the overload light to come on, or if it does no more than very intermittently during atake or a mix.

3.4 Main equalizer

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 ( S 13 and S 16 ).

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. Thelow level performance particularly is far smoother than that of a normal budget fader. The MUTE button ( S 27 ), like that for SOLO has an LED indicator ( L 27 ) 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.
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. Thiscreates 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. Thereare 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 (orA-channels, for that matter), so that they can easily be sent to tape. (See also section6.1 Aux masters.) Why are there 16 subgroup output jacks on the EURODESK when there are only 8subgroups? 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 SUBGROUPOUTPUTS, groups can be routed directly into the main mix bus for submixing. Main mix routing is handled by switches S 37 and S 38. S 37 routes an odd numbered group to the left bus, while S 38 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 ( S 35 and S 36 ). Nowthese 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, whilethe second one appears in mono, but we cant think of many real situations where youd want to do this. Subgroup SOLO ( S 33 + S 34 ) 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.

Fig. 6.5: Phones

Fig. 6.4: Monitoring
A SOURCING matrix picks up any or all of MIX-B ( S 76 ), CONTROL ROOM (aschosenin monitor section, S 77 ), AUX 3/4 ( S 78 ), AUX 5/6 ( S 79 ) and EXTERNAL( S 80 ). In addition to the sources which are directly selectable from theheadphones masters, aux returns 3 to 6 may be force-fed into HP 1 & HP 2 from the aux returns masters ( S 55 , S 56 , etc.). The headphone mix level is controlled by a master volume pot ( P 75 ), andthe gain is sufficient to drive headphones directly. This is fine for a MIDI suite with overdub booth, but for the bigger studios headphone network wed recommend using a separate headphones distribution amplifier like our BEHRINGERPOWERPLAYPROHA4400. This can offer the added advantage ofindependent headphones level control for every performer. A SOLO button ( S 81 ), with its own LED, enables monitoring of the headphones amplifiers output signal. This way the engineer can monitor whats going on in the cans on the control room monitors, though in our experience this does not give as true a picture as auditioning the cue feed from a set of headphones identical to those worn by theperformer(s).
Though most of you will want to audition the main mix most of the time there are exceptions. These include PFL/SOLO, and 2-TRACK PLAYBACK. The SOURCING matrix ( S 82 to S 85 , see fig.6.5) allows you to monitor the main mix, theMIX-B and two external sources marked 2-track and EXTERNAL. The master meters follow whatever source is being auditioned. The meters wont make much sense if more than one source is selected!
EXTERNAL could be normalled to a HiFi pre-amp, allowing you to
monitor extra sources such as vinyl, cassette, CD, etc.
Altering what goes into the control rooms monitors does not affect the
signal from the main recording outputs. Just as well, or every time you wanted to do a quick SOLO during a mix, youd have to start again! The CONTROL ROOM LEVEL pot P 86 sets the level to the control room monitors. This is sourced post the main main mix stereo fader setting: otherwise you wouldnt be able to hear your fades. There is also a similar STUDIO volume pot( P 82 ).

6.5 PFL/SOLO

Complex headphone or stage monitoring networks could be constructed where HP 1 , HP 2 , aux 1 (pre), aux 2 (pre) and one or more subgroups all feed separate monitor mixes. (See section16.2 Very tricky headphones). However, since the four pushbuttons are non-latching it might drive you crazy. Ifyou are using many headphone feeds, you may find it easier to patch a separate microphone for talkback straight into a channel, where it can be routed pretty much anywhere. Engaging TALKBACK (S99) dims the control room (monitors, not lights) by -20dB to restrict the possibility of feedback. All other talkback routes are unaffected.

Fig. 8.3: 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) ratherthan 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).

9. Equalization

The variable parameters of the channel A and B equalizers on the EURODESKSX4882 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, orcompensating 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 willbe affected.
Finding bad resonances is made easier by first frequency sweeping in

boost mode.

All output / input pairs normalised!
Fig. 8.4: Wiring for bay 8 (for advanced wiring scheme refer to section11)

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, pickingup 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.
Motown EQ is achieved by applying boost in a fairly broadband way. Thebroader the band, the more musical but less instrument-specific the effect. Applying boost over a narrow bandwidth will sound Honky. The two semiparametric 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 MIDIinstrument 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 ULTRACURVE PRO DEQ2496, 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 high- quality (1/2" at 30 IPS) analog tape sounds better than DAT to many discerning ears is because, althoughits 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 40kHz. Perhaps less controversially it can be shown that if cut/boost is applied at 20kHz, 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 willbe 3 dB. The resulting EQ curve will bear no relation to one where 3 dB of boost is applied at 10 kHz.

13. Start-up

13.1 A-channel setting up procedure

13.1.1 Selecting inputs

MICROPHONE: MIC/LINE switch ( S 1 ) UP, PAD switch ( S 1a ) UP,

FLIP switch ( S 3 ) UP

LINE: MIC/LINE switch DOWN, FLIP switch UP TAPE: FLIP switch DOWN
13.2.3 Recording levels When recording to digital, its a good idea to keep the recorders PEAK READING meters below 0 dB. Engage peak hold on your recorder if you want to confirm that you havent inadvertently overstepped the mark during a take or mix. Mostdigital recorders (though not 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, and the manufacturers of digital recorders dont want you to hear this! If you really want to take your recording level to the limit (andfully exploit digitals 96 dB dynamic range), youll have some calibrating to do. Youcould run a tone at 0 dB from the mixer, and use that as your DAT or digital multitrack recorder reference. But your DAT or digital multitrack recorder may still be 10 to 20 dB off its headroom limit. Probably a better way to work out just how hard you can drive your recorder is to incrementally increase the record level until it well distorts, subtract, say 6 dB, and never ever exceed that level. When recording to analog, the tape machines VU meters should show around +3dB on BASS, but only around 10dB for HI HAT. Although analog distortion is more like compression at modest overload levels (often desirable on bottom end), higher frequencies cause saturation even at modest levels (an unpleasant crunchiness). Also, VU meters tend to progressively under-read above 1 kHz, due to their sluggish response time. 13.2.4 Auditioning a mix In order to be heard other than when PFL/SOLO-ed, channels must be routed to the main mix bus. This can be either from the channel routing matrix directly, viaone of the subgroups, or from the MIX-B bus ( S 48 DOWN). Channels going to tape are usually monitored via the tape return channel, whether A or B. In this case the main mix button of the channel going to tape should be UP, while that coming back should be DOWN (if on an A-channel). Tapetracks returning on B-channels will always be heard so long as the MIX-B/MAIN MIX switch ( S 48 ) is depressed. Some to-tape channels will have no routing other than a direct out patch into the recorder, others may be routed through subgroups. When a subgroup is sending to tape, the subgroup L/R assignment buttons ( S 37 , S 38 ) should be UP. I.e. thatsubgroup should not feed into the main mix bus directly.

In all cases the WET/DRY balance of the extra vocal signal takes place

within the FX processor.

The above example refers to aux 3 return > headphones 1.
Ananalogous situation is possible for aux 4/5/6 return > headphones 1 or 2.

14.3 Returns

Channels 1 to 8: When youve only got eight tape returns, you can afford to bring them back on main channels to enable e.g. chorus vocal comps. or recorded real-time mixing effects such as frequency sweeping to be quickly bounced or sampled off via subgroups. Channels 9 to 23: The most important SYNTH/SAMPLER outputs. Those most likely to need full EQ or to be recorded to tape. You might have one Minimoog, but half-a-dozen uses for it. Put it on an A-channel. Youll want to record and/or sample it in action. 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 MIDIexpanders and synths, etc.
15. 16-Track Recording with 2 Samplers

15.1 Recording

Subgroup outputs/tape sends 1 to 16 should be wired to the multitrack record inputs 1 to 16. Sampler inputs should be connected to subgroup outs 5, 6, 7and 8 via custom-made Y-adaptors. Lining up is as per the previous example (see section14.3). When choosing which outputs where to assign, you have to consider that you have got maybe 16 tape and 16 or 20 sampler outputs to accommodate onto 24 A-channels (and 24 B-channels)! Wed suggest all audio tape tracks be returned on A-Channels, while at least one stereo output from a sampler is also brought back on a pair of A-channels for flying in (a sampler can pick up e.g. chorus vocal and drop it into all choruses, or sample a particularly nifty bit of flanging on a drum loop etc.; then lay the effected loop back to tape, without re-patching). Most other sampler outputs and MIDI keyboards which need to be heard but not recorded can be assigned to B-channels. The remaining six or so A-channels may then be used for overdubs.
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, phonemanufacturer, or simply suck & see to find which setting works best). Thesamplers variable input gain range should be more than wide enough to accept either -10dBV or +4 dBu. There is no oscillator in the EURODESKSX4882, but you can use a simple unmodulated sustained tone from a keyboard. Chooseone 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 (section13.1). 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 alsoreads 0 dB.

Choose to send to subgroups 7 and 8 from channels which are routed
to tape from their DIRECT OUT. Otherwise CHANNEL PAN, which will already have been set for recording via another group, is unlikely to be pointing to where you want the cue signal to go. Aux sends 1 and 2 are available as two separate mono headphone feeds, or as a single stereo headphone feed. Youll need an extra stereo amplifier to amplify the aux 1 and 2 outputs to drive headphones properly. Overdubbing: Its all change. Flip the recorded music onto A-channels, in order to feed from tape into all the headphones buses. Alternatively: (and probably much more sensibly): use the headphones routine outlined in section15.2 (fig.15.1).

16.3 Wet monitoring

It is customary with live recording to lay tracks dry. (Not so with MIDI setups: often a tape track is used to record a complex effect. In a MIDI studio a take is generally MIDI sequencer driven, and hence reproducible should the recorded effected track eventually prove to be unsuitable, in live recording, a great take is irreplaceable! Hence the extra caution when laying live tracks.) With dry recording you will probably want to audition tape tracks with some reverb and/ or echo, to get a better idea of how the final mix might sound. By pressing the AUX3/4/5/6 SOURCE switch ( S 17 ), aux buses 3 and 4 are available to the B-channels, i.e. tape monitoring. You could send to reverb from input channels, but the FX would disappear on tape playback. Bring the FX back on aux returns 1, 2, 5 or 6. Remember 3 and 4 have been used for headphones patching.

16.4 Mixdown

All aux sends and subgroups are now available for mixing, as are A-channels 23 and 24.
If you have two different instruments recorded onto one track,
Tab. 16.1: Channel assignment
Tape Monitoring will be via MIX-B in tape return mode. Once tracks are layed, they will be flipped onto the A-channels (1 to 17), and overdubbing can commence via tracks 18 to 24. Also bouncing, reducing several tracks onto one or a stereo pair, requires access to the full routing matrix. This is available to the A-channels, but not the B-channels.
themixdown settings for each might be totally different. Set up two A-channels. One for each instrument, and switch between them. The B-channels may be used e.g. as FX returns in place of the normal aux returns (the advantage being that these channels have PAN and EQ) or as an extra stereo aux send.
16.2 Very tricky headphones
In a multi-musician scenario youll probably want as many different headphones mixes as you can muster. With the current channel/group/track assignments it is possible to set up four independent, or semi-independent, headphone feeds while still keeping back auxes 3/4/5/6 for wet monitoring (see16.3).
Subgroup 7 => aux return 3 => headphones 1 Main mix (and)/or MIX-B => headphones 1 Active switches: S55/(S82, S77)/S76 Subgroup 8 => aux return 4 => headphones 2 Main mix (and)/or MIX-B => headphones 2 Active switches: S69/(S82, S89)/S88

See also fig.14.4 Subgroup-driven auxless headphones mix and associatedtext. In the above configuration HP 1 and HP 2 comprise a blend of the main mix, MIX-B and an additional feed from a subgroup. The subgroup feed can be used to select which channel(s) should be boosted in the cans relative to the main mixes.
17. Live P.A. with 2-Track Recording
In this example well use the aux sends 1 and 2 for stage foldback, and 3/4/5/6 for front-of-house effects. The P.A. is driven from the main mix. MIX-B will be used to set up the mix to DAT.
Channels Source Kick Snare Hi Hat Tom 1 Tom 2 Tom 3 Tom 4 Cymbals (overheads) Keyboards L Keyboards R Bass DI Trumpet Trombone Sax BVs 1 BVs 2 BVs 3 Conga L Conga R Guitar 1 microphone Guitar 2 microphone Lead vocal FX 1 L FX 1 R FOH Subgroups 1 and 2 / MIX-B Subgroups 1 and 2 / MIX-B Subgroups 1 and 2 / MIX-B Subgroups 1 and 2 / MIX-B Subgroups 1 and 2 / MIX-B Subgroups 1 and 2 / MIX-B Subgroups 1 and 2 / MIX-B Subgroups 1 and 2 / MIX-B Subgroups 3 and 4 / MIX-B Subgroups 3 and 4 / MIX-B Main mix / MIX-B Subgroups 5 and 6 / MIX-B Subgroups 5 and 6 / MIX-B Subgroups 5 and 6 / MIX-B Subgroups 7 and 8 / MIX-B Subgroups 7 and 8 / MIX-B Subgroups 7 and 8 / MIX-B Main mix / MIX-B Main mix / MIX-B Main mix / MIX-B Main mix / MIX-B Main mix / MIX-B Main mix / MIX-B Main mix / 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 / monitoring Aux send 1 and 2 Aux send 1 and 2 Aux send 1 and 2 Aux send 1 and 2 Aux send 1 and 2 Aux send 1 and 2 Aux send 2 Aux send 2 Aux send 2 Aux send 1 and 2 Aux send 1 and 2 Aux send 1 and 2 Aux send 2 Aux send 2 Aux send 1 and 2 Aux send 1 and 2 Aux send 1 and 2 -
S48 is UP, i.e. MIX-B is NOT blended into the main mix. Bringing the DAT back on aux 1 return P49 (as opposed to the 2-track or
external inputs) enables not only auditioning of DAT playback, butalso balancing playback level against the main mix, in case you alsowant to use it to play a pre-recorded intro tape to set the scene for the comingperformance.

Tab. 22.1: Input/output configuration
The EXPANDER PORT inputs have a nominal level of -2 dBu (subgroup/mix) and+2 dBu (aux).
All variable gain circuits offer +15 dB (except aux returns,

which offer +20 dB).

All balanced jack sockets are automatically unbalanced when using an
unbalanced jack patch lead!

23. Modifications

These modifications require you to do some soldering. Attemptonly
if you are experienced in using an iron on PCBs. Otherwise,referto qualified personnel. After modification the warranty becomesdiscretionary.
Excuse us for repeating ourselves once again: BEHRINGER is not
Fig. 23.5: Modifications LED meters > pre fader
responsible for anything what happens after you start disassembling your EURODESK SX4882. Dont even think of it, if you make much of your warranty privileges.

24. Specifications

Main Channel Strip Subgroup Section
Mic input Type Mic E.I.N. (22Hz - 22kHz)
Noise2 electronically balanced, discrete input circuit -129.0dBu / -117.3dBqp -132.0dBu / -122.0dBqp 0.007%@+4dBu, 1kHz, bandwidth80kHz +10dB to +50dB +12dBu (+32dBu@PAD) electronically balanced 0dB to +40dB (-20dBto+20dB@PAD) +22dBu +10dB to -85dB / off 0dB to +15dB / off bus noise @ fader 0dB102.5dBr 24chs. assigned (input B) & set @ 0dBgain92.5dBr 16chs. assigned (input B) & set @ 0dBgain94.5dBr Submaster output max. output level Submaster insert max. output level Submaster insert max. input level Fader range

Main Mix Section

@ 150 source input shortened Distortion (THD + N) Gain range Max. input level Line input Type Gain range Max. input level Channel fader range Aux send gain range

Equalizer

+22dBu, balanced/unbalanced +22dBu +22dBu +10dB to 85dB / off
Noise2 bus noise @ fader 0dB101.0dBr 24chs. assigned (input B) & set @ 0dBgain92.5dBr 16 chs. assigned (input B) & set @ 0dBgain94.5dBr Max. output level Aux returns gain range Aux sends max. output level

System Data

Hi shelving Hi mid sweep Lo mid sweep Lo shelving Lo cut (HPF)

Channel Direct Out

12kHz, 15dB 300Hz to 20kHz, 15dB 50Hz to 3kHz, 15dB 80Hz, 15dB 75Hz, 12dB/oct.
+28dBu, XLR connector, balanced / +22dBu, "jacks, unbalanced 0dB to +20dB / off +22dBu
Max. output level Noise @ 0dBgain Output impedance

+22dBu -94dBu 120

Distortion (THD + N)
Tape returns"jacks, balanced / unbalanced, globally switchable from +4dButo10dBV