Page 2 - SAFETY INSTRUCTIONS; DETAILED SAFETY INSTRUCTIONS:
2 This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient to constitute a risk of shock. This symbol, wherever it appears, alerts y o u t o i m p o r t a n t o p e r a t i n g a n d m a i n t e n a n c e i n ...
Page 3 - FOREWORD; members in our company to you, the user of BEHRINGER products.
3 FOREWORD Dear Customer, Welcome to the team of EURODESK users and thank you very much for expressing your confidence in BEHRINGER products by purchasing the MX9000.It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of hard work delivered b...
Page 4 - TABLE OF CONTENT
4 TABLE OF CONTENT 1. THE MANUAL .......................................................................................................................... 6 1.1 Nomenclature ................................................................................................................................
Page 6 - EURODESK OVERVIEW
6 1. THE MANUAL 1.1 Nomenclature Most specialist subjects are not really all that difficult provided you understand the language used, and the vocabulary of mixing is pretty straightforward. Nevertheless, it is as well to be clear about what certain terms mean. A slot in a recorder will always be ...
Page 7 - youre into your third consecutive night in the studio.
7 enables much flexibility to be bestowed onto the tape monitor signal path, not least being its ability to pick up functions easily from the main channel. Also, during mixdown, when tape tracks are no longer monitored but MIXED, the signal path between tape input and main channel is kept to a minim...
Page 9 - Input gain setting
9 Fig. 3.2: Channel input switching architecture + The B-channels 25 to 48 are only routable EN BLOC to the main mix, via S48. Therefore, the MIX-B bus can only have one function at any one time, either as a stereo AUX or secondary mix send (S48 UP) or as a set of 24 extra line or tape inputs to the...
Page 11 - Routing and muting
11 Fig. 3.4: Aux sends + For almost all FX SEND purposes, you will want auxes to be post fader, so that when a fader level is adjusted, any reverb send from that channel follows the fader. Otherwise, when the fader is pulled down, the reverb from that channel would still be audible. For CUEing purpo...
Page 12 - MUTE is equivalent to setting a fader level of minus infinity.
12 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 smo...
Page 14 - AUX SENDS without some serious re-patching.; SUBGROUP AND DIRECT OUTPUTS
14 Fig. 4.1: Post EQ channel insert + In this arrangement you might find that compression tends to soften the perceived amount of EQ applied. The solution? Apply more EQ. This creates a real pressure sound, great for high energy music such as dance. (For a more subtle approach, use the desk insert...
Page 23 - Expander port bus inputs
23 The built in mic (above the main mix faders) allows you to converse with artists remotely. The most important controls are the VOLUME (P99) and PHONES & STUDIO button (S99, see fig. 6.7). It is possible to route the talkback mic to any of the following: aux 1, aux 2, subgroups, and phones and...
Page 28 - Plug soldering guide
28 7.2 Plug soldering guide You will need a lot of cables for a lot of purposes. Heres how they should look:
Page 30 - The normalized bay; set to CHANNEL) is to provide an extra stereo aux send.
30 8. THE PATCHFIELD Nomenclature clarification: s FIELD = entire patching area s BAY = 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 ...
Page 33 - response rather than shelving at the bottom.
33 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 ...
Page 34 - GAIN OPTIMIZATION; ideally suited for this purpose.
34 + 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 con...
Page 35 - IMPEDANCES AND TUNING; does it become audible?
35 11. IMPEDANCES AND TUNING Electronic inputs tend to have impedances measured in tens of kiloOhms. Outputs, on the other hand, are generally two or three orders of magnitude less. This is just as well, otherwise a signal at an output might find that the line of least resistance is the limit of the...
Page 38 - and FX. MIDI sequencer driven. A typical dance production suite.
38 of digital recorders dont want you to hear this! If you really want to take your recording level to the limit (and fully exploit digitals 96 dB dynamic range), youll have some calibrating to do. You could run a tone at 0 dB from the mixer, and use that as your DAT or digital multitrack recorde...
Page 39 - Auxless headphones mix
39 14.1 Sends Fig. 14.1: Send routing In a dance production, effects are often of paramount importance in creating interesting/evolving sounds, and aux sends are usually all dedicated to this purpose. Also, it is not unusual for a vocalist to be drafted in to add some colour to the mix at a late sta...
Page 40 - Youll want to record and/or sample it in action.
40 Fig. 14.3: Slightly more complicated auxless headphones mix Alternatively: If you need to hear the harmonies, but theyre putting the vocalist off key, youll want to be able to delete channels from the headphone mix. If you still dont want to assign a couple of aux buses to headphones monitorin...
Page 41 - input level until it also reads 0 dB.; 6-TRACK RECORDING WITH 2 SAMPLERS
41 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 ...
Page 44 - Very tricky headphones; headphones 1
44 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...
Page 45 - the coming performance.
45 Channels Source FOH FX W edges / monitoring 1 Kick Subgroups 1 and 2 / MIX-B - Aux send 1 and 2 2 Snare Subgroups 1 and 2 / MIX-B Aux send 4 Aux send 1 and 2 3 Hi Hat Subgroups 1 and 2 / MIX-B - Aux send 1 and 2 4 Tom 1 Subgroups 1 and 2 / MIX-B Aux send 4 - 5 Tom 2 Subgroups 1 and 2 / MIX-B Aux ...
Page 46 - LIVE CONCERT WITH 24-TRACK RECORDING
46 18. LIVE CONCERT WITH 24-TRACK RECORDING Stereo (quadraphonic) P.A. with sidefills, three infills, two wedge mixes, four FX and simultaneous 24-track recording. Channels Source Tape route Destination 1 Kick Direct out Track 1 2 Snare Direct out Track 2 3 Hi Hat Direct out Track 3 4 Tom 1 Subgroup...
Page 47 - No subgrouping is used as a mixing aid to the FOH mix.
47 Channels Source F.O.H. FX W edges Infills 1 Kick MIX-B - - Subgroups 1/2, 3/4 and 7/8 2 Snare MIX-B Aux send 4 Aux send 1 and 2 Subgroups 1/2 and 3/4 3 Hi Hat MIX-B - - Subgroups 1/2 and 3/4 4 Tom 1 MIX-B Aux send 4 - - 5 Tom 2 MIX-B Aux send 4 - - 6 Tom 3 MIX-B Aux send 4 - - 7 Tom 4 MIX-B Aux s...
Page 49 - SEQUENCING LIVE; equipment has left the studio.
49 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...
