Version 1.1 July 2002 EURODESK ® www.behringer.
SAFETY INSTRUCTIONS CAUTION: To reduce the risk of electrical shock, do not remove the cover (or back). No user serviceable parts inside; refer servicing to qualified personnel. WARNING: To reduce the risk of fire or electrical shock, do not expose this appliance to rain or moisture. This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient to constitute a risk of shock.
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 by our engineering team to reach a very ambitious goal: making an outstanding device that will become a standard tool used by studios and P.A. companies.
TABLE OF CONTENT 1. THE MANUAL .......................................................................................................................... 6 1.1 Nomenclature .................................................................................................................................. 6 1.2 An un-holstic approach ................................................................................................................... 6 1.3 Key .....................................................
13.START-UP ............................................................................................................................. 37 13.1 A-channel setting up procedure ..................................................................................................... 13.1.1 Selecting inputs .................................................................................................................. 13.1.2 Initializing channel for gain-setting .................................................
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 referred to as a TRACK, while that in a mixer will invariably be a CHANNEL. A GROUP will always refer to a submix of channels, never a collection of musicians.
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 minimum. The configuration is 24 into 8 into 24. This means that there are 24 channels, eight subgroups or submixes (or four stereo subgroups) and 24 tape monitor returns, one for each channel.
Why? Any amplifier circuit is limited in its transient response by the available current. In common with most desks of this size, the EURODESK has more than a thousand line-level operational amplifiers (op-amps) inside. When being driven hard, many desks begin to show signs of stress due to power supply limitations. Not so with the EURODESK MX9000. The sound should stay clean and crisp and TIGHT right up to the operating limits of the op-amps themselves.
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 main mix (S48 DOWN). 3.3 Input gain setting The channel input level is set by the TRIMPOT (P2).
3.4 Main equalizer Fig. 3.3: Main equalizer The main equalizer can be switched (S10) out of circuit for easy A/B comparisons between EQed and straight signals, or when you know that you dont want to use desk EQ at all. It is best considered in three sections. First, there are two Baxendall shelving frequency controls for treble and bass, at 12 kHz and 80 Hz respectively (P4 and P9). These are DUPLICATED for the B-channel (P18 and P19), not merely SPLIT off from the main EQ. I.e.
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.
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.
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.
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.
Fig. 5.1: Stereo subgroup channel schematic + + Try merging a dry signal with a little wet, then compressing the sum heavily. Though the reverb proportion will be low when a signal is present, the resultant reverb tail pumped up by the compressor at the start of each silence will give the illusion that the reverb was massive alt the time.
Fig. 5.2: Using insert to add channel EQ to subgroup output (while keeping the number of line inputs unchanged!) 5.2 Direct outputs Each of the 24 main channels on the EURODESK MX9000 has its own DIRECT OUTPUT, which is taken from a point immediately after the fader (i.e. post EQ and after the aux sends, see block schematics). This can feed a tape track directly without having to resort to the subgroups, enabling more than eight different tracks to be recorded simultaneously.
Fig. 6.1: Aux sends 6.1.2 Aux returns Next to the aux sends are the stereo aux returns (see fig. 6.2). These can be thought of as a dozen extra line inputs configured as six stereo pairs. On these inputs there is up to 20 dB of gain available. Alternatively, a mono (center-panned) signal may be returned by plugging into the left aux return jack only. + This feature is disabled if all line-level I/Os from the EURODESK are wired permanently to a patchbay (see section 8).
^ Fig. 6.
a) Aux returns 1 and 2 Aux returns 1 and 2 have full subgroup routing matrices to enable returning FX to be sent to tape, plus main mix bus assignment. The functions for aux return 1 (mirrored by aux return 2) are: ROUTING (S49/50/51/52/ 53) LEVEL (P49), BALANCE (P51) and SOLO (S54). LEVEL controls the amount of signal being blended into the mix or a subgroup, while BALANCE controls the relative amounts of L and R processed signal. We doubt if youll often want to adjust BALANCE away from center.
It can provide 24 extra B-inputs to the mix (S48 DOWN, S23 UP). + For live applications try using MIX-B to feed a secondary set of speakers. These could be sidefills, or even more spectacular, the rearward portion of a quadraphonic sound system. There is no SOLO provision for MIX-B. However, you can audition it by selecting only MIX-B (S83) in the monitor sourcing matrix. + If MIX-B is assigned to the main mix (S48 DOWN), do not listen to MIX-B (S83) and the main mix (S82) simultaneously.
The CONTROL ROOM LEVEL pot P86 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 (P82).
6.5 PFL/SOLO Fig. 6.6: Solo section 6.5.1 PFL Pressing S95 disengages the stereo SOLO bus, and replaces it with a separate mono PFL (Pre-Fader-Listen) bus. Now anything at all which is SOLOed, isnt. It is PFLed instead. PFL should be used for gain-setting. (See also the essential section 13 Start-up.) 6.5.1 SOLO SOLO is short for SOLO IN PLACE, and is the preferred method for auditioning an isolated signal or a group of signals.
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 studio (S96 to S99). Complex headphone or stage monitoring networks could be constructed where HP1, HP2, aux 1 (pre), aux 2 (pre) and one or more subgroups all feed separate monitor mixes. (See section 16.
PSU The chunky remote 19" racked power supply is connected via a circular multiway (DC POWER IN) at the bottom left-rear of the console. This supplies several DC operating voltages incl. +/-18 V (audio circuits), +48 V (mic phantom power), +12 V (BNCs) and +5 V (LEDs). Fig. 7.2: Power supply unit connector Auxiliary sends Unbalanced 1/4" jacks, wired tip = signal (+ve) and sleeve = ground/screen. They operate at +4 dBu. Fig. 7.
Subgroup inserts Unbalanced send and return from a single stereo jack socket, wired tip = out, ring = in and sleeve = ground/ screen. Fig. 7.5: Subgroup inserts 2-track in/out RCA sockets for use with tape recorders, etc., signal = main mix, wired center post = signal (+ve) and sleeve = ground/screen. Fig. 7.6: 2-track in/out 2-track/external inputs Two additional stereo inputs, this time on unbalanced 1/4" jacks, wired tip = signal (+ve) and sleeve = ground/ screen. Fig. 7.
Stereo outputs The control room output (monitors) main mix, MIX-B and studio output are all on a pair of unbalanced 1/4" jacks, nominal output level +4 dBu. The main mix is also available as a fully balanced pair. Phones 1/2 These are on stereo jacks, wired tip = left signal, ring = right signal and sleeve = ground/screen (see section 6.4 Headphones). Meter/analyzer out Unbalanced jacks at +4 dBu for use with external measuring equipment, e.g.
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.
7.2 Plug soldering guide You will need a lot of cables for a lot of purposes.
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 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.
Fig. 8.
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.
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.
+ + + + 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.
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 preceding unit. In the patchbay section I recommended that you parallel the MAIN MIX output of the EURODESK MX9000 into all 2-track recording inputs.
Well, all other things being equal, the amount of mains hum picked up by a cable is independent of the signal level. Speaker lines run 50 or more volts, enough to diminish the effect of mains radiation to vanishingly small even with no screen. (In fact, at these voltages another effect comes into play: capacitive resistance. It is positively undesirable to use screened cable to wire an amp to a speaker. Speaker leads should be as thick and short as possible, with XLR or wound post terminals.
13.1.2 Initializing channel for gain-setting 1) Set GAIN (P2) and all aux sends (P12,13,14 and 15) to OFF (fully counterclockwise). 2) EQ switch (S10) UP (off). 3) LOW CUT switch (S11) ON for microphones, OFF for signals with desired low frequency content. 4) CHANNEL MODE set to PFL (S95 UP). 5) Channel PFL/SOLO (S26) switch UP (L26 off). 6) Check that main PFL/SOLO LED (L95) is not lit. 7) Channel PFL/SOLO switch (S26) DOWN (L26 and L95 should light). 13.1.
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 recorder reference. But your DAT or digital multitrack recorder may still be 10 to 20 dB off its headroom limit.
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 stage. The following set-ups avoid using aux sends for headphone monitoring, while enabling both the vocalist and engineer to get a comfortable headphone mix. 14.
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 monitoring because this would disturb the main mix, the following suggestion might prove useful. Set up a separate channel assignment on a spare subgroup pair. Feed the output into aux return 3.
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.
15.2 Headphones While auxless headphone monitoring (see section 14.2) is still an option (and a pretty good one), a small general purpose studio might require a more straightforward way of working using one or two discrete headphone mixes. Here, it would be best to keep aux sends 1 and 2 free for monitoring purposes until mixdown time. Aux returns 3/4/5//6 can be routed directly to headphones 1 and/or 2.
Channels Source 1 Kick 2 Snare 3 Hi Hat 4 Tom 1 5 Tom 2 6 Tom 3 7 Tom 4 8 Cymbals (overheads) L 9 Cymbals (overheads) R 10 Bass microphone 11 Bass DI 12 Escaping prisoners 13 Trumpet 14 Trombone 15 Sax 16 BVs 1 17 BVs 2 18 BVs 3 19 Conga L 20 Conga R 21 Guitar 1 microphone 22 Guitar 2 microphone 23 Lead vocal Route Direct out Direct out Direct out Subgroups 5 and 6 Subgroups 5 and 6 Subgroups 5 and 6 Subgroups 5 and 6 Direct out Direct out Subgroup 3 Subgroup 3 Subgroup 4 Subgroups 1 and 2 Subgroups 1 and
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 (see 16.3).
Channels Source 1 Kick 2 Snare 3 Hi Hat 4 Tom 1 5 Tom 2 6 Tom 3 7 Tom 4 8 Cymbals (overheads) 9 Keyboards L 10 Keyboards R 11 Bass DI 12 Trumpet 13 Trombone 14 Sax 15 BVs 1 16 BVs 2 17 BVs 3 18 Conga L 19 Conga R 20 Guitar 1 microphone 21 Guitar 2 microphone 22 Lead vocal 23 FX 1 L 24 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 Subgro
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 1 Kick 2 Snare 3 Hi Hat 4 Tom 1 5 Tom 2 6 Tom 3 7 Tom 4 8 Cymbals (overheads) 9 Keyboards L 10 Keyboards R 11 Bass DI 12 Trumpet 13 Trombone 14 Sax 15 BVs 1 16 BVs 2 17 BVs 3 18 Conga L 19 Conga R 20 Guitar 1 microphone 21 Guitar 2 microphone 22 Lead vocal 23 FX 1 L 24 FX 1 R F.O.H.
19. EXPANDING THE EURODESK MX9000 19.1 Connections The EXPANDER PORT is input only, and provides access to all but the PFL/SOLO buses. Since the nominal internal operating level of your EURODESK MX9000 is 0 dB, and that at the jack outputs +4 dB, the sends from the outputs of console 2 must be attenuated by +4 dB if unity gain between it and the primary console is to be maintained.
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.
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.
24.1 Aux sends > post EQ All channel aux sends are post mute and pre fader. If you want to convert these to post EQ, carry out the following modification to each channel. You will find a corresponding printing on the PCB (see fig. 24.1). 1. Disconnect power supply. 2. Cut the post mute track. 3. Add in a post EQ link. 4. Repeat for all channels you want to be modified. Fig. 24.1: Modifications aux send > post EQ 24.2 MIX-B source > post fader That's it.
25. SPECIFICATIONS Main channel strip Mic input Mic E.I.N. (22 Hz to 22 kHz) Distortion (THD & N) Gain range Max. input Line input Gain range Max. input Channel fader range Aux send gain range 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.
Aux returns gain range Aux sends max. out General Distortion (THD & N) Frequency response off to unity to + 20 dB +22 dBu 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.
26. 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.
