A professional mixer for a semi-pro price!
is a gem of a mixing board.. a Behringer Eurorack MX 2802 28 Channel, 2 Bus Mixing Console.. It's got a LOT of knobs, no doubt, but all of them work without a hitch. All of the knobs are smooth turning, attenuate properly, and have accurate detents (stops) in the appropriate locations (i.e. pan pots detent accurately in the centered position). All the preamp capabilities for this board are fully functioning as well (inserts, direct outs, aux sends, main mix inserts, main mix outs, control room outs, etc.. +48 phantom is fine too!). In short, you will have no problems with this board. As for wear.. T are marks w this unit was racked. T are also a few scratches and t, however, most are barely noticeable.
INCLUDES:
- Behringer MX 2802 Mixer
- Eurorack Power Supply
- Original User Manual
DESCRIPTION:
The first 8 channels are fully dedicated to complete control of the input signals, accepting dynamic or condenser microphones, or direct line inputs from guitars, keyboards, or whatever it is you're choosing to have maximum control over. Each of these has its own gain control (or trim) enabling you to ultra fine tune the preamp stages using the PFL (pre fade level) selectors which supply access to full independent metering. All eight channels provide insertion points for adding independent dynamic processing (i.e. compression, etc), and direct outputs for means of tapping off each of these channels independently. These direct outputs are perfect for recording purposes, or to provide special monitoring or submixes. A special low frequency roll-off (< 100Hz) is provided for these channels to filter out excessive rumble or other audio disturbance. The remainders of the channels function with the traditional +4dBu/-10dBv input settings, thus providing ample input range for both semi-pro and pro setups.

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Used Behringer Eurorack MX-2804A In Good Condition! This Is A 28 Input - 4 Bus Mixing Digitech manual also included. Only works with Windows 98. 10 results for: BEHRINGER EURORACK MX 2804. BEHRINGER - SL 2442 FX PRO Mixing Console BEHRINGER EURORACK MX 2804. Installation Manual Behringer Eurorack Mx 2804 Manual >>>CLICK HERE. Find best value and selection for your 20 CHANNEL MIXER BEHRINGER EURORACK MX 2804 A MX2804A search on eBay. World's leading marketplace. Eurorack MX 2804A Mixing Console Categories: Mixers Listed via the Reverb App. Shop Behringer Making the World More Musical Continental U.S.

T is 3-band equalization on every channel, consisting of upper and lower band shelving (12 kHz and 80 Hz, respectively), and a midrange band (Behringer's typical 1 kHz). T are also 4 aux sends per channel (2 pre & 2 post), providing for two separate effects sends & two discrete monitor sends, or a variation of these as needed. All inputs are electronically balanced.
The output section of this board offer far too many variations or output schemes to further mention The full manual is included with this purchase and
is recommended reading if the maximum flexibility of the MX 2802 is to be obtained.
DESCRIPTION (Behringer):
The Behringer EURORACK MX 2808 offers incredible versatility and superlative audio performance for a console of this size. However, don't let its size fool you. The Behringer EURORACK MX 2808 is built to the same outstanding quality as our top-of-the-line professional EURODESK consoles. In fact, the EURORACK MX 2808 incorporates the same identical microphone and line-in preamps as those found on the Behringer EURODESK MX 8000! Both the Behringer EURORACK MX 2642 and Behringer EURORACK MX 2808 offer the highest quality components available, yielding ultra-low tolerances. These EURORACK models deliver audio specifications comparable to some the finest audio mixing consoles produced today.
FEATURES:
- Ultra Low-Noise Design 28-Input Mic/Line Mixer with Premium Mic Preamplifiers
- Ultra low-noise design, highest possible headroom, ultra-transparent audio
- 8 new state-of-the-art, studio-grade IMP 'Invisible' Mic Preamps with Ultra-wide +10dB to +50dB gain range
- Effective, extremely musical 3-band EQ and Peak/Clip LEDs on all channels
- 10 balanced high-headroom Stereo line inputs
- State-of-the-art 4580 operational amplifiers provide lowest noise and distortion
- 4 aux sends per channel: 2 pre fader for monitoring applications, 2 post fader for internal FX or as external sends
- Inputs assignable to main mix or control room/phones outputs
- Separate control room, phones and stereo outputs
- Electronically Balanced line inputs and main mix outputs
-..

User’s Manual

Version 1.1 March 2001

www.behringer.com

EURODESK MX3282A

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.

This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Read the manual.

DETAILED SAFETY INSTRUCTIONS:

All the safety and operation instructions should be read before the appliance is operated.

Retain Instructions:

The safety and operating instructions should be retained for future reference.

Heed Warnings:

All warnings on the appliance and in the operating instructions should be adhered to.

Follow instructions:

All operation and user instructions should be followed.

Water and Moisture:

The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool etc.).

Ventilation:

The appliance should be situated so that its location or position does not interfere with its proper ventilation. For example, the appliance should not be situated on a bed, sofa rug, or similar surface that may block the ventilation openings, or placed in a built-ininstallation, such as a bookcase or cabinet that may impede the flow of air through the ventilation openings.

Heat:

The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliance (including amplifiers) that produce heat.

Power Source:

The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance.

Grounding or Polarization:

Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.

Power-CordProtection:

Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point where they exit from the appliance.

Cleaning:

The appliance should be cleaned only as recommended by the manufacturer.

Non-usePeriods:

The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time.

Object and Liquid Entry:

Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

Damage Requiring Service:

The appliance should be serviced by qualified service personnel when:

-The power supply cord or the plug has been damaged; or

-Objects have fallen, or liquid has been spilled into the appliance; or

-The appliance has been exposed to rain; or

-The appliance does not appear to operate normally or exhibits a marked change in performance; or

-The appliance has been dropped, or the enclosure damaged.

Servicing:

The user should not attempt to service the appliance beyond that is described in the Operating Instructions. All other servicing should be referred to qualified service personnel.

EURODESK MX3282A

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 MX3282A.

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: creating an outstanding device that will become a standard tool used by studios and PA companies. The task to design the MX3282A certainly meant a great deal of responsibility, which we assumed by focusing on you, the discerning user and musician. It also meant a lot of work and night shifts to accomplish this goal. But it was fun, too. Developing a product usually brings a lot of people together, and it really is a great feeling when everybody who participated in such a project can be proud of what we’ve achieved!

It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our company and making it successful. In return, we guarantee you uncompromising quality (manufactured under ISO9000 certified management system) as well as excellent technical and audio properties at an extremely affordable price. All of this will enable you to fully unfold your creativity without being hampered by budget constraints.

We are often asked how we are able to produce such high-gradedevices at such unbelievably low prices. The answer is quite simple: it’s you, our customers! Many satisfied customers means large sales volumes enabling us to get better conditions of purchase for components, etc. Isn’t it only fair to pass this benefit back to you? Because we know that your success is our success too!

I would like to thank all people whose help on “Project MX3282A” has made it all possible. Everybody has made very personal contributions, starting from the designers of the unit via the many staff members in our company to you, the user of BEHRINGER products.

My friends, it’s been worth the trouble!

Thank you very much,

Uli Behringer

EURODESK MX3282A

EURODESK®

Professional 32-channel8-busrecording &live-mixingconsole in ultralow-noisedesign

s32 microphone/line inputs, 24 mono and 4 stereo

sUltra low-noise,discrete microphone preamps with +48 V phantom power andswitchableMX3282Alow-cutfilter

s32 balanced line inputs and 24 balanced XLR microphone inputs with gold-platedcontact surface

s8 subgroups equipped with independent panpots, separate soloing, main mix switches and individual insert sockets

s8 master aux sends with gain control and soloing function

s4 multifunctional stereo aux returns featuring individual level and pan controls, solo and routing switches

sUltra-musicaloriginal EURODESK4-bandEQ (stereo channels) and3-bandEQ withsemi-parametricmids (mono channels)

s4 pre/post fader switchable aux sends, two permanent pre fader and two permanent post fader located aux sends for maximum flexibility of monitoring functions and effects routing

sInsert facility on every single mono channel, subgroup and main channel

sClear and easy comprehensible designed as split console, input and main sections divided

sState of the art 4580 ICs and high-qualitycomponents guaranteecrystal-clearaudio performance and excellent noise figures

sRCA sockets for 2-trackrecorders (input and output), input assignable to main mix or monitor

sExtremely high headroom—offeringmore dynamic range

sExternal power supply design provides endless power resources, superior transient response and humfree audio

sBalanced inputs and main outputs for highest possible signal quality

sLED indicators for mute, solo in place and PFL-solofunctions

sIndividual outputs for main mix, control room and headphones

sExtremely versatile headphones and talkback section

sHigh-precision,8-digitLED metering device for input channels, main mix and subgroups

sHighest quality faders for main mix, channels and subgroups as well as sealed potentiometers

sBNC-connectorfor 12 V gooseneck lights

sExtremely rugged construction ensures long life even under the most demanding conditions

sManufactured under ISO9000 certified management system

EURODESK MX3282A

TABLE OF CONTENTS

1. THE MANUAL.............................................................		7
1.1	Warranty .....................................................................	7
1.2	Nomenclature .................................................................	7
1.3	Key .........................................................................	7

2. EURODESK OVERVIEW ....................................................		8
2.1	Architecture ..................................................................	8
2.2	Metering .....................................................................	8
2.3	Power Supply Unit (PSU) ........................................................	9

3. MONO INPUT CHANNELS		..................................................9
3.1	Input Level Setting ..............................................................	9
3.2	Equalizer....................................................................	10
3.3	Aux Sends ..................................................................	10
3.4	Routing & Muting .............................................................	10

4. STEREO INPUT CHANNELS................................................		11
4.1	Input Level Setting .............................................................	11
4.2	Equalizer....................................................................	11
4.3	Aux Sends ...................................................................	11
4.4	Routing & Muting ..............................................................	11

5. SUBGROUPS AND INSERTS ...............................................		12
5.1	Subgroups ..................................................................	12
5.2	Insert Points .................................................................	12
6. MAIN SECTION ...........................................................		14
6.1	Aux Masters .................................................................	14
6.2	Monitoring ...................................................................	15
6.3	Headphones .................................................................	15
6.4	Solo/PFL....................................................................	15
6.5	2-TrackInput and Output ........................................................	15
6.6	Talkback ....................................................................	16
7. CONNECTIONS ..........................................................		16
7.1	EURODESK MX3282A Back Panel ................................................	16
7.2	Patchfield and Plug Wiring Scheme ...............................................	16
7.2.1 Soldering Guide .........................................................	17
8. SETTING UP .............................................................		19
8.1	Selecting Inputs ..............................................................	19
8.2	Initializing Channels for Gain Setting ...............................................	19
8.3	Auditioning a Signal and Setting Up a Channel .......................................	19
8.4	Desk Normalization ............................................................	20
9. PATCHBAY ..............................................................		20
9.1	Parallel .....................................................................	20
9.2	Half-normalled ................................................................	20
9.3	Normalled ...................................................................	21
9.4	Open .......................................................................	21
9.5	Patchbay Organization .........................................................	21
9.6	Looming Problems ............................................................	23

EURODESK MX3282A
10. APPLICATIONS ..........................................................	23
10.1 Keyboard Submixing ..........................................................	23
10.2 Live Concert with Simultaneous 8-TrackRecording...................................	23
10.3 8-TrackStudio Recording ......................................................	25
10.4 16-TrackStudio Recording......................................................	27
10.5 Multitrack Initialization .........................................................	28
10.6 Recording Levels .............................................................	29
10.7 Track Sheet ................................................................	29
10.8 Auditioning a Mix .............................................................	29
11. TECHNICAL BACKGROUND ...............................................	29
11.1 Mixing .....................................................................	29
11.1.1 Equalization ...........................................................	29
11.1.2 Gain Optimization .......................................................	30
12. EXPANDING .............................................................	30
13. MODIFICATIONS .........................................................	31
14. SPECIFICATIONS ........................................................	32
15. WARRANTY .............................................................	33

EURODESK MX3282A

1. THE MANUAL

Thank you for expressing your confidence in us and our work by purchasing the EURODESK MX3282A. Our first task in writing this manual is to make you feel comfortable with the special terms that are used to describe your EURODESK MX3282A and its proper use.

+Reading this manual will make you aware of the many possibilities the EURODESK MX3282A offers you. Please keep this manual safely for future reference.

1.1Warranty

Please take the time to have the warranty card filled out completely, and return it within 14 days after the date of purchase, so as to be entitled to benefit from our extended warranty. You may also use our online registration option available on the Internet at www.behringer.com. You will find the serial number of your MX3282A on the rear panel.

Your EURODESK was carefully packed in the factory and the package was designed to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred while shipping.

+If the unit is damaged, please do NOT return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not be granted. Shipping claims must be made by the consignee.

+Before you connect your EURODESK and its external power supply unit (PSU) to the mains, please make sure that your local voltage matches the voltage required by the unit. On the PSU’s rear panel you will find the information required (see chapter 2.3).

+The PSU and the mixing console are getting warm while in use. This is a normal effect and no reason to worry.

+Operation and installation of the EURODESK and connected studio equipment should only be done by qualified personnel. Always be sure that operating personnel is sufficiently earthed to avoid trouble caused by electrostatic charge.

1.2Nomenclature

Most specialist subjects are not really all that difficult provided you understand the language used, and the vocabulary of mixing is pretty straight-forward.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 asub-mixof channels. Similarly the term band will be mentioned only in conjunction with frequency.

1.3Key

On a separate sheet you will find some pages with drawings showing the front, the connector panel and the rear panel of your EURODESK. Always keep them available while studying this manual.

All EURODESK functions will be numbered consistently throughout the manual, whether they be in the text or in an illustration.

EURODESK MX3282A

2. EURODESK OVERVIEW

2.1 Architecture

The MX3282A is a conventional split console. By this we mean that the inputs and outputs occupy separate areas of the board. This makes for easier visualization of signal path compared to an in-linedesign, which uses combined input/output channels. The main section on the right hand side handles all the outputs (as well as 4 stereo aux returns and a2-tracktape input), input channels are located on the left.

The configuration is 32 into 8 into 2. This means that there are 32 channel inputs in total (there are 24 mono and 4 stereo channels), assignable to 8 subgroup buses (plus the main mix) which in turn may be blended into the main mix stereo output. The subgroups (configurable as stereo pairs if required) are provided for connecting to a multitrack tape recorder, or for use as a mixing aid during mix-downor during a live concert. Every channel, and two out of four stereo aux returns included in the MX3282A can access any or all of these subgroups, or the main mix directly, via comprehensive routing matrices. All channels also have access to eight aux send buses. Each channel can access 6 aux sends simultaneously. For each channel the 8 aux sends are switchable between two configurations: six preand twopost-,or six postand twopre-fader,for live or studio operating environments respectively.

Input channels

The first 24 input channels are mono, with a choice of balanced mic (XLR, +48 V phantom power switchable) or line (1/4' TRS) inputs, both with exceptional gain architecture. A further 8 line inputs are configured as 4 stereo input channels, accepting all line level signals. Every channel has MUTE, SOLO/PFL and comprehensive EQ. A high-quality60 mm fader feeds the main mix and/or subgroup buses via subgroupandmix-assignswitches. Aconstant-powerchannel PAN also selects between odd andeven-numberedsubgroup buses.

Subgroups

For ease and flexibility of mixing, eight mono subgroups with PAN and SOLO are provided. Each has its own individual output, and each may also be assigned to the main mix.

Aux sends

There are eight master aux send outputs, each with SOLO and GAIN.

Aux returns

Four line-levelstereo aux returns, each with SOLO and GAIN, are located above the subgroup faders. Note that AUX RETURNS 1 and 2 are assignable to any mix bus.

Stereo aux returns

At the main sections top end (middle) you will find four stereo aux returns, each with SOLO and LEVEL control. AUX RETURN 3 and 4 are hard-wiredto the main mix, while AUX RETURNS 1 and 2 can be switched to either main mix or the subgroups and therefore are equipped with a BALANCE control.

Main mix output / additional features

Main mix output level is being controlled via a pair of high-quality60 mm faders. The main section also includes an assignable headphones output with LEVEL, a2-tracktape return assignable to the control room/monitors, and a solo output, adjustable for audition level and switchable between the solo and PFL function. The monitor (or control room) output is independently adjustable for level, and the integral TALKBACK mic is routable to 6 of the 8 aux buses, i.e. all possiblepre-fader(cue) sends. A BNC connector is provided for a gooseneck lamp for those dark winter’s night mixes.

Inserts

Mono channels, subgroups and the main mix all have insert points for patching in dynamics processors etc.

2.2 Metering

All input channels have signal and overload LEDs, while the L and R output has a pair of 12 digit bargraph meters. The main mix (L/R) meters also have clip LEDs (+28/22 dB: balanced/unbalanced), and double up as mono PFL or stereo solo meters, or 2-trackreturn meters (in general, what you hear is what you see). During Solo/PFL only the main mix bargraph meters illuminate.

EURODESK MX3282A

+The master clip LEDs (+22 dBu) should never be allowed to illuminate. If they do, reduce either the MAIN MIX fader or the group(s) and/or channel fader(s), or (as a last resort) the channel input gain(s). Maybe it’s time to do a round of PFL metering.

+In Solo/PFL mode a 0 dB meter reading matches an internal operating level of 0 dBu (0.775 V). However, when looking at the mix, 0 dB is referenced to +4 dBu, the 2-trackoperating level. I.e. if only one signal is present in the main mix bus, soloing that signal will cause the meter reading to increase by +4 dB.

2.3Power Supply Unit (PSU)

Any amplifier circuit is limited in its transient response by the available current. In common with most desks of this size, the EURODESK has several hundreds of 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. Due to the vast power resources of its external power supply unit, the sound should stay clean and crisp and tight right up to the operating limits of theop-ampsthemselves.

The EURODESK remote PSU connects to the desk at the rear of the console via a multiway connector. Give an extra 1/2 U of rack space to allow air to circulate around the heatsinks employed for heat dissipation. The EURODESK PSU chucks out a massive 100 Watts.

Please note:

On the rear of your PSU you will find the mains connector / fuse holder / voltage selector. Before you connect the unit, please make sure that the displayed voltage corresponds to your mains supply.

If you intend to change the operating voltage, remove the fuse holder and twist it by 180 degrees before you reinsert it. Matching the two markers indicates the selected voltage.

Note that the correct fuse type and rate must be installed corresponding to the mains voltage.

Connect the PSU to the mains power supply by the enclosed mains cable, then use the mains switch to power up your power supply unit and EURODESK.

+Never connect or disconnect your EURODESK and power supply unit when the power supply unit is “on”! Always start connecting your MX3282A to the PSU, check if the PSU is turned “off”, plug into mains and then power up the PSU and thereby your EURODESK.

3. MONO INPUT CHANNELS

Each channel comes with a balanced line input on 1/4' TRS jack, and an XLR mic input. Press the PHANTOM switch at the back panel if required. The mic amp circuit has an unusually wide gain rangefrom 10 dB to 60 dB, is of extremelow-noisedesign, and utilizeshigh-currentconjugate pair vintage transistor circuitry to deliver an incredibly warm and transparent sound.

When a jack is plugged into the balanced (self-unbalancing)line input, the gain structure is such that it can match any line level from +10 to-40dBu. The crucial operating levels +4 dBu and-10dBV are clearly and accurately legended ().

3.1Input Level Setting

Channel input level is determined by the GAIN trimpot . Use SOLO/PFLto accurately monitor the channel input on the left/right master output bargraph meters. This also sends theSolo/PFL-edsignal to the left and right speakers. Channel SOLOhas an associated LED.

+For level-setting(as opposed to localized listening) choose to use the Mono PFL bus rather than thepost-fader(post-channelpan) stereo solo bus (CHANNEL MODE switchnot depressed). SOLO/PFL never interrupts the mix at the main recording outputs. It follows that aux sends and subgroups must also be unaffected, since they contribute directly to the main mix.

EURODESK MX3282A

In addition to switchable Solo/PFL metering, a couple of channel LEDs ( /) illuminate when a signal is present(-20dB), or if a channel is going into overload. These LEDs are particularly useful when using extreme EQ settings, or adding a dynamics processor via an insert.

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 the essential section 8: “SETTING UP”).

3.2 Equalizer

All mono input channels are fitted with a semi-parametric3-bandEQ, plus a switchablelow-cutfilter for eliminating unwanted subsonics. The upperand lowershelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively. The midrange controlissemi-parametricwith a peaking response, Q fixed at 2 octaves, sweepable from 100 Hz - 8 kHz (). All three bands have up to 15 dB of cut and boost, with a center detent for “off”. Thirdly, there is a steep high pass(low-cut)filter, slope @ 18 dB/oct, for reducing floor rumble, breath noise and popping, woolly bottom end etc.

+The combination of shelf boost at 80 Hz together with low-cutat 75 Hz results in a peaking response, useful for adding warmth to vocals and instruments, and a firm bottom to kick drums and basses, without losing control of low frequency speaker cones.

3.3 Aux Sends

All eight aux sends are mono andpost-EQ.Aux sends 1 & 2 are fixed to bepre-faderfor cueing purposes, while 3 & 4 are fixedpost-faderfor sending to effects etc. A SHIFT switchtoggles the third pair of aux send potentiometers between two bus pairs (5 & 6 or 7 & 8). These four aux sends are switchablepre/post-faderen bloc using the PRE switch.

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 setpre-fader,i.e. independent of the channel fader (depress PRE switchfor aux sends 5/6/7/8).

+Most reverbs etc. internally sum up the left and right inputs. The very few that do not 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 -15dB or lower. Here, an almost exclusively wet signal will be heard. In most consoles, such a wet mix requires the use of a pre setting for the channel aux send, losing fader control. With the EURODESK you can have a virtually wet mix with fader control.

Channels may be altered for pre-EQaux sends (see section 13: “MODIFICATIONS”).

3.4 Routing & Muting

Routing means selecting which bus you want a channel to address. There are five stereo buses in the EURODESK MX3282A (plus a stereo solo bus). Main mix and the four subgroup pairs are selected by five assign switches . Solo/PFL we encountered in the section on input level setting (3.1).

Channel PAN positions the output of the channel in the stereo field. Itsconstant-powerdesign ensures there are no level discrepancies whether a signal ishard-panned,center-stage,or somewherein-between.Suchpin-pointaccuracy will be a revelation if you have been working on consoles with lower quality circuits.

All stereo buses follow channel PAN. Usually, only one of L-R,1-2,3-4etc. will be selected for a particular channel.

+An exception to this rule is when laying down voice takes. It is often convenient to have the mic channel(s) routed to all potential take tracks simultaneously, since you are often dropping in quickly between four or more tracks. It means one less button to press each time you switch tracks.

EURODESK MX3282A

Level to the group and main left and right busses is ultimately determined by the channel fader . This is designed to give a smooth logarithmic taper of a type more usually associated with megabuck consoles. The low level performance particularly is far smoother than that of a “normal budget” fader.

The MUTE button , like that for SOLOis ergonomically placed immediately above the channel fader, and has an associated LEDfor excellent visual status indication of thismuch-usedfeature. Engaging mute is equivalent to setting a fader level of minus infinity. It follows thatpre-faderaux sends are unaffected by application of mute.

4. STEREO INPUT CHANNELS

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

+This feature is disabled, if the inputs and outputs of the EURODESK are wired permanently to a patchbay (see section 9: “PATCHFIELD”).

Channel input sensitivity is variable between -20and +20 dB by adjusting GAIN, enabling a perfect match with all commonline-levelsources including multitrack tape outputs, MIDI and other electronic instruments and effects units, all of which are normally designed to operate at either +4 dBu or-10dBV.

4.1Input Level Setting

This is exactly as for a mono channel (see section 3.1).

4.2Equalizer

All stereo input channels are fitted with four-band,fixed-frequencyEQ. Bands 1 and 4 are shelving, while bands 2 and 3 have a peaking response, with their Q set at 2 octaves.

The upper and lowershelving controls have their turnover frequencies fixed at 12 kHz and 80 Hz, whereas the midrange controlsandhave their bell center frequencies set at 8 kHz and 800 Hz.

All bands have up to 15 dB of cut and boost, with a center detent for “off”.

+A stereo equalizer is generally preferable to using two mono equalizers when EQ-inga stereo signal, as often discrepancies between left and right settings can occur.

4.3Aux Sends

These are the same as for mono channels (see section 3.3).

4.4Routing & Muting

The only difference here from the mono channel described in 3.4 is in the implementation of the pan control. When a channel is run in mono, there is no difference at all.

In stereo operation however, 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, or odd and even subgroup buses. For example, with the BALANCE control turned fully clockwise, only the right portion of the channel’s stereo signal will be routed to any or all of buses R, 2, 4 etc.

EURODESK MX3282A

5. SUBGROUPS AND INSERTS

5.1 Subgroups

The principal routes to multitrack are via the subgroup outputs. There are eight mono (or four stereo) subgroups. All channels can access all of them, as can aux returns 1 and 2 ( ). Subgroup level is determined by the SUBGROUP fader, while the signal level may be accurately checked bysolo-ing().

Subgroup outputs can also be assigned to the main mix during mixdown by pressing the MAIN MIX switch , in which case stereo position in the L R mix is determined by the subgroup’s PAN pot.

+Try inserting compression/de-essing/anexciter or a noise gate across grouped signals (e.g. backing vocals, drums, layered synths).

+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 at the time. (The listener will be left wondering how the singer could sound so dear in such a wet acoustic!)

5.2 Insert Points

Insert points are useful for adding dynamic processing or equalization to a channel, a group, 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.

All mono input channels have got insert points, as have the subgroups and the main mix. Each insert point is accommodated on a single TRS jack socket wired tip = send, ring = return, sleeve = ground/screen. Inserts are alwayspre-fader,and alsopre-EQ/pre-auxsends for channels.

+If you want to insert a dynamics processor etc. into one of the stereo channels, it must be done between the source output and the EURODESK, as these channels have no bona-fideinsert point.

Fig. 5.1: Inserting into a stereo channel

+Please note that we didn’t draw the ground/screen connection in the following graphics to keep them as simple as possible.

+If you want to insert an external EQ or dynamics processor post-EQ,a subgroup insert should be used as follows:

EURODESK MX3282A

Fig. 5.2: Inserting an external EQ/dynamics processor post channel EQ

In this arrangement you might find that compression tends to soften the perceived amount of (especially treble) EQ applied. The solution here is to apply more EQ. This creates a real ‘pressure’ sound, great for high energy music such as dance.

In the above example, any aux sends to effects should be applied before the EQ/dynamics processing takes place. If you want the aux sends to be post-processing,you will need to address the signal to one of the subgroups and then insert the EQ/dynamics processor between the corresponding subgroup output (insert send) and a channel input (insert return).

You can now reclaim the channel 2 input as follows: By applying the channel’s insert send you can route out an instrument’s signal being plugged into the line input, treat it with an EQ/dynamics processor, and then reroute it via a subgroup (insert return) to the master section.

An additional patch enables channel EQ to be placed onto a subgroup with no reduction in the number of line inputs available, as well as providing an opportunity to lead a signal pre-EQinto a subgroup. By inserting a plug into the channel insert socket, the channel is interrupted between the gain pot and the EQ. A signal which is being led into the channel’s micor line input is now guided into the subgroup inserts input. It appears to be sensible to use this signal path preferably for readily edited signals (e.g. tape tracks orpost-EQDI-outsfrom instruments amplifiers), as there is no EQ in the subgroup signal path.

Fig. 5.3: Making use of the channel EQ for shaping subgroup-signalby applying inserts

5. SUBGROUPS AND INSERTS

13

EURODESK MX3282A

+EURODESK insert points are, of course, simultaneously inputs and outputs. For goodness sake, get them onto a patchbay, where they can appear as independent sockets, and do away with all these fiddly Y-teadsthat always seem to be the first to get knotted in the flightcase (see section 9: “PATCHBAY”). Now it is possible to do the incredibly useful patch shown in fig. 5.3 without having to make up what would amount to aring-to-tip,tip-to-ringstereo patch lead.

+Insert points may also be used as pre-EQdirect outputs without interrupting the signal flow. See fig. 7.1 Direct out connection.

6. MAIN SECTION

6.1 Aux Masters

Aux sends

Much of the main section (situated left and below the bargraph meters) is taken up by master aux sends and returns.

Stacked in a vertical column are eight master AUX SEND LEVEL pots , one for each bus. Each has a gain structure of-ooto+15 dB. The extra 15 dB of gain comes in once a knob passes a center detent (representing the ‘normal’ unity gain position), enabling insensitive outboard FX to be properly driven. Each aux send has a SOLO button, and, as with other areas of the mixer, a local SOLO light, which starts flashing when any of the aux master sends aresolo-ed.

(This is to help you see exactly what has beensolo-ed.Any experienced engineer will have had occasion to painstakingly search throughevery solo button on his / her console trying to find out why one of the main solo lights was flashing, while the control room monitors remained silent!)

Aux returns

Across from the aux sends are the stereo aux returns. These can be thought of as eight extra line inputs, configured as four 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-levell/Os from the EURODESK are wired permanently to a patchbay (see section 9: “PATCHBAY”).

Aux returns 1 & 2

Aux returns 1 and 2 have full group 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-switches, LEVEL, BALANCEand SOLO. Level controls the amount of signal being blended into the mix or a group, while balance controls the relative amounts of left and right processed signal. Be sure to have BALANCE control incenter-position,if you’re not actually working with it.

+As always, there are exceptions to the rule above. Some short stereo delay effects (say 30 ms to left, 50 ms to right) cause a psycho acoustic effect where the earlier delay seems louder. A similar effect is noticeable when harmonizing in stereo: a slight pitch shift upwards will seem louder than one that goes down. In both cases use BALANCE to compensate. (An analogy comes from greece: the columns of the Parthenon in Athens are slightly bowed so as to appear straight.)

When carrying out the setup mentioned above or any other stereo imaging exercise, don’t just rely on the control room monitors. Get a pair of headphones and listen in stereo and in reverse stereo, to allow for any hearing discrepancy between your ears.

Aux returns 3 & 4

Aux returns 3 and 4 are the poor relations, with only a LEVEL pot and SOLO switcheach. These are always assigned to the main bus.

Solo

Below the aux returns 1/3 and 2/4 lies a local Solo LED . This flashes whenever a solo button in the column above is pressed.

14	6. MAIN SECTION

EURODESK MX3282A

+There is no absolute reason why the send from aux 1 should feed into a processor whose outputs are sent to the aux return 1. The processor could just as easily be patched into the aux return 3, or even a pair of channels. For many purposes, however, it is sensible to set up a default patch where the aux sends and returns correspond. It is logical to put your premier FX units into the aux 1 and aux 2 loops, since these returns enable you to record to tape without repatching.

+Sometimes an engineer wants to narrow the stereo width of a reverb field. To do this you will have to come back on channels, because they have full panorama facilities.

6.2Monitoring

Though most of you will want to audition the main mix most of the time there are exceptions. These include Solo/PFL and 2-TRACKplayback. The bargraph meters follow whatever source is being auditioned (the meters won’t make much sense if more than one source is selected).

+Altering what goes into the control room monitors does not affect the signal from the main mix recording outputs. That offers to you the opportunity to do a quick solo during a mix whenever you want without having to start again!

The MONITOR/CTRL LEVEL pot sets the level to the control room monitors. This is sourced post the main mix stereo fader setting. Your fades couldn’t be heard otherwise.

Don’t rely on a single pair of loudspeakers to audition your mix. You’d better use a variety of different speakers.

Lastly, there is a MONO button , useful for checking the phase correlation and/or coherence of a stereo signal. Again, this does not affect the main mix output.

6.3Headphones

The headphones may be sourced from the monitor/control room mix					, and/or from pre-fader
aux sends 1/2	or switchable pre/post aux sends 5/6	for artist cueing. Two headphones sockets are
					provided on the back panel.

The headphone mix level is controlled by a LEVEL pot , and the gain is sufficient to drive headphones directly. This is fine for a MIDI suite with overdub booth, but for the bigger studio’s headphone network using a separate headphones distribution amplifier like the BEHRINGER POWERPLAY PRO HA4600 is recommended. This can offer the added advantage of independent headphones level control for every performer.

6.4Solo/PFL

Solo

Solo is short for Solo-in-Place,and is the preferred method for auditioning an isolated signal, or group of signals. Whenever a Solo button is pressed, all unselected channels are muted in the monitors. Stereo panning is maintained. The solo bus is derived from the output of the channel pans, aux sends, stereo line inputs and subgroups, and is alwayspost-fader.

PFL

Pressing the channel mode switch once disengages the stereo solo bus, and replaces it with a separate mono PFL(Pre-FaderListen) bus. Now any channel which issolo-ed,isn’t. It isPFL-edinstead. PFL should always be used forgain-setting.

The channel mode (PFL or Solo) is indicated by a pair of status LEDs (located below the bargraph meter ), potcontrols the solo level, which will normally be set to unity gain (center detent) to match thein-the-mixlevel (see also the essential section 8: “SETTING UP”).

6.52-TrackInput and Output

The 2-trackinput is on unbalanced RCA phono plugs, and is primarily made for auditioning mix playback from tape. The2-TRACKswitchroutes this signal to the control room monitors.

6. MAIN SECTION

15

EURODESK MX3282A

With the MON/CTR LEVEL control fully clockwise, your2-trackinput will be matched to the semiprofessional level-10dBV. For higher output recording sources (e.g. +4 dBu) turn the level ofdown.

+The 2-trackinput could usefully be connected to the output of ahi-fipre-ampor integrated amplifier, allowing you to easily audition a variety of sources (e.g. CD, phono etc.).

2-trackoutput

A pair of balanced XLR and jack connectors deliver the mix output to your 2-trackrecorder (or PA system) at +4 dBu. Alternative RCA phono(-10dBV) connectors are provided, too.

Level to tape is ultimately determined by precision faders . Main mix insert points are provided for patching a gate, a compressor etc.pre-fader.This is important: Connecting a compressor or gate after the2-trackoutput would disrupt any attempt to acquiring a smooth fade using the output faders.

Although the 2-trackoutput is primarily designed for recording, it can also be used as a PA feed, or as a send to the input of your sampler. In fact up to three simultaneous destinations can be serviced without resorting to a patchbay or splitterleads—thereare three separate2-trackoutputs on your EURODESK!

6.6 Talkback

The built-inflush-mountedmicis activated by depressing thenon-latchingTALK switchjust above the MAIN MIX faders. Engaging talkback dims the control room monitors, (not lights!) by-20dBto avoid feedback. This does not affect the other talkback routes.

Talkback level is set by , and the mic can be routed to any or all of auxes 1/2, 5/6 or 7/8 (,)—inother words every possiblepre-fader(cue) auxsend—toenable you to talk to artists remotely through their headphones or personal stage mixes.

Sometimes you will want a much higher rejection of feedback than a flush-mountedtalkback mic could ever provide. When running a live concert mix, a dynamic mic plugged into a spare channel and routed to all thepre-fadersends only will do the job.

7. CONNECTIONS

7.1 EURODESK MX3282A Back Panel

DC power in

This circular multiway connector distributes the different DC operating voltages delivered by the PSU: +/-18V (audio circuits), +48 V (mic phantom power), +12 V (lamp) and +5 V (LEDs).

Phantom power switch

When using capacitor mics, +48 V DC can be switched globally on or off by (also see “Mic inputs”).

7.2 Patchfield and Plug Wiring Scheme

Most of the inputs (inserts being the major exception) are balanced. Refer to section 9 “PATCHBAY” if you are not sure what this means.

+Unbalanced equipment may be connected to balanced inputs/outputs. Either use mono 1/4' jacks or connect ring and barrel of TRS jacks (or pin 1 and 3 of XLR plugs).

Mono input channels 1 - 24

Insert points: unbalanced send and return on a single 1/4' TRS socket, wired tip = send, ring = return, sleeve = ground/screen.

Line inputs: balanced 1/4' TRS sockets, wired tip = hot (+ve), ring = cold(-ve),sleeve = ground/screen.

Mic inputs:XLR-typeconnectors, wired pin 1 = ground/screen, 2= hot (+ve), 3 = coid(-ve),for balanced lowlevel operation.

EURODESK MX3282A

+Care should be taken NOT to plug mics into the console (or stagebox) while the phantom power is on. Also mute the monitor / PA speakers when turning phantom power on or off. Allow 1 minute after powering up for the system to equilibrate before setting input gains.

Stereo input channels 25 - 32

Four stereo pairs. Unbalanced 1/4' TRS sockets, wired tip = hot (+ve), sleeve = ground/screen.

Aux sends

Unbalanced 1/4' TRS sockets, wired tip = hot (+ve), sleeve = ground/screen.

Stereo aux returns

Four stereo pairs on balanced 1/4' sockets, wired tip = hot (+ve), ring = cold (-ve),sleeve = ground/ screen.

Subgroup inserts

For inserting into a subgroup signal. Unbalanced send and return on a single 1/4' TRS socket, wired tip = send, ring = return, sleeve = ground/screen.

Subgroup outputs

Primarily designed for feeding a multitrack recorder. Unbalanced 1/4' TRS sockets, wired tip = hot (+ve), sleeve = ground/screen.

2-trackin / out

RCA sockets for use with tape recorders etc., signal = main mix. Use custom-madeRCA cables for the2-Trackin/out traffic (center post = signal (+ve), sleeve = ground/screen).

Monitor & control room outputs

Will feed a pair of speakers (via an amp, of course). Balanced 1/4' TRS sockets, wired tip = hot (+ve), ring = cold (-ve),sleeve = ground/screen.

Phones outputs

Will feed two headphones. 1/4' TRS socket, wired tip = left signal, ring = right signal, sleeve = ground/screen.

Main inserts

For inserting into the main mix signal. Unbalanced send and return on a single 1/4' TRS socket, wired tip = send (out), ring = return (in), sleeve = ground/screen.

Main output (TRS sockets)

Unbalanced 1/4' TRS sockets, wired tip = hot (+ve), sleeve = ground/screen.

Main outputs (XLR)

Balanced XLR, wired pin 1 ground/screen, pin 2 hot (+ve), pin 3 cold (-ve).Maximum level is +28 dBu.

7.2.1 Soldering Guide

Fig. 7.1 shows how to solder your plugs correctly. Please read sections 7 “CONNECTIONS” and 13 “MODIFICATIONS” before you start heating your soldering iron!

+All outputs are ground-compensated(decoupled from the mains supply earth) to eliminate the possibility of ground loops.

+Please make sure that every part of your equipment is connected to the mains earth. To avoid any risk of electric shock never disconnect the mains earth from any part of your equipment!

EURODESK MX3282A

Fig. 7.1: Different plugs (overview)

18	7. CONNECTIONS

EURODESK MX3282A

8. SETTING UP

8.1Selecting Inputs

1) Mono channels accept mic or line inputs.

If you are using the mic input, make sure nothing is connected to the line input (and vice-versa).Please note that mic inputs are many times more sensitive than line inputs!

+Do not connect mics with phantom power switched on. NEVER use unbalanced mic cables with the phantom power switched on ever! Shorting +48 V DC to earth can cause serious damage.

2) Stereo channels accept line level signals. Any stereo channel can be run in mono simply by connecting into the left jack socket only.

+This feature is disabled if all line level in-/outputsfrom the EURODESK are wired permanently to a patchbay (see section 9 “PATCHBAY”).

The stereo channels are suitable for a variety of line-levelsources including MIDI instruments, effects outputs, and tape returns from multitrack.

3) Stereo aux inputs are primarily designed for returning effects units, though these too may be given over to multitrack returns or MIDI instrument outputs.

8.2Initializing Channels for Gain Setting

1)Set gain to minimum and all aux sends to “off” (fully counterclockwise).

2)Set EQ to flat (all knobs at 12 o’clock).

3)Where applicable, set LO CUT switch on for most mics, off for signals with desired very low frequency content.

4)Set CHANNEL MODE to PFL ( up).

Behringer Mx 2804 Manually Driver

5)Depress SOLO switch .

8.3Auditioning a Signal and Setting Up a Channel

1)Make a typical noise, or roll the tape. There should now be some activity at the main bargraph meters, indicating the PFL level.

2)Adjust the GAIN control until transient peaks are regularly hitting +2 dB. Continuous signals should not exceed 0 dB.

3)With FX units, MIDI instruments and multitrack tape recorders (pro +4 dBu, semi-pro-10dBV), it is important to match the operating level of the desk to that of your machine. If you are not sure which level your external equipment requires, try a 0 dB setting first. If the signal is too low, turn the GAIN pot to the right.

+A -10dBV nominal operating level for an effects processor is almost certainly referenced to 0 dB on the unit’s input or output meter. If the FX processor has indication only for input level, ensure that the output gives comparable, i.e. ‘unity’, gain.

4)If EQ is adjusted at any time, repeat steps 8.3 1) & 2).

5)If an insert is used to patch in a compressor, gate, EQ etc., use the outboard processor’s bypass or effect off switch to A/B monitor the effected and bypassed signals, which should be level matched. (If the unit does not have a bypass switch or equivalent, you will have to keep connecting and disconnecting the device until you achieve unity gain.)

6)SOLO switch up. Move onto next channel.

EURODESK MX3282A

8.4 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, trimpots and channel aux sends turned fully anticlockwise etc. Many controls have a natural initial setting. For EQ cut and boost this is unity gain. 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 engineer’s preferred way of working.

9. 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 smaller studio configurations will benefit from less sophisticated patchbay solutions.

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-use24-patchbayoffering 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):

9.1 Parallel

Fig. 9.1: Patchbay mode “parallel”

In this mode, all terminals of one module are interconnected. This configuration doesn’t 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).

9.2 Half-normalled

Fig. 9.2: 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.

EURODESK MX3282A

9.3Normalled

Fig. 9.3: 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.

9.4Open

Fig. 9.4: 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-trackscan be configured this way, so the inputs and outputs are positioned on top of each other.

Basically, the inputs are routed to the bottom and the outputs to the top rear-wallconnectors. 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 digitalsignal-relatedfunctions.

Microphone inputs operate at a level several orders of magnitude lower than line levels (+4 dBu or -10dBV). Therefore, they should never be routed via a patchbay. In any case, patching in a field with 48 V DC (phantom power) flying about is to be avoided at all costs. It is best to plug mics directly into the mixing console or via specialXLR-typewall boxes connected to the mic inputs of the console bygood-qualitybalanced multicore cables(2-cond.+ shield).

9.5Patchbay 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-trackrecorder (digital or analog), a few pieces of outboard equipment (FX, dynamics & EQ’s), a CD player, tape deck, HiFi system and a headphones amp:

EURODESK MX3282A

1

2

3

4

Fig. 9.5: 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 halfnormalled and 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-trackinputs of the mixing console. So it always is possible to control the recorded data on the2-trackfrom 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 inputs—ifthe 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.

EURODESK MX3282A

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-faderaux paths for the headphones mix.

Patchbay 4 manages the dynamics and frequency-processingdevices 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 won’t hang all over the patchbays. In our example you don’t have to span great distances, for instance, to patch the dynamics and EQ’s to the insert paths.

9.6Looming 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. That’s how the total earth picture for your entire studio should look. Don’t 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-earthedequipment 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 studio’s 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.

10. APPLICATIONS

10.1 Keyboard Submixing

MIDI keyboard sub-mixing,live or in the studio, sequenced and/or played. This is relatively simple to achieve. Simply use the line inputs to mix stereo or mono outputs from your keyboards. Subgrouping may be usefulen route to the mix, e.g. to control the level of drums versus music. Aux sends may be used either to feedon-stagemonitors, artists headphones or effects units. You might want to use the stereo aux inputs for instruments withbuilt-inEQ, since there is no EQ on these inputs. Effects could be brought back on any line input. The main L R output should feed thefront-of-houseor main studio console.

10.2 Live Concert with Simultaneous 8-TrackRecording

Here some or all mono channels are likely to be tied up with stage mics. Carefully choose the right position so as to minimize feedback. Try to keep the stage volume as low as possible, as stage sound can cause a muddy front-of-house(FOH) sound. Don’t forget to notch out troublesome frequencies using a graphic or parametric equalizer, or Feedback Destroyer (see the BEHRINGER FEEDBACK DESTROYER PRO DSP1124P and the BEHRINGERULTRA-CURVEPRO DSP8024 which does all of these and more.)

The effects used in the FOH mix will not be recorded to multitrack. These can be added later during mixdown.

+Use the LO CUT filters to eliminate floor rumble, mics popping etc.

EURODESK MX3282A

Behringer Eurorack Mx 2804 Manual

+Try using a compressor and noise gate on vocals, bass guitar and even drums via channel insert.

+Effects may be a little over-the-topfor a live band (not so for a dance act!). You might want to have 2 effects sends, but six independent cue feeds foron-stagemonitoring.

+Record the FOH mix to DAT (or to 1 or 2 channels of the multitrack) as a listening aid during mixdown (or to blend with dry submixes).

Channel Inputs	Source	Subgroup/Track	Mic/Line	mono/stereo
1	Vocals	1	M	m
2	Backing Vocals	2	M	m
3	Backing Vocals	2	M	m
4	Backing Vocals	2	M	m
5	Kick Drum	3&4 (Stereo Mix)	M	m
6	Snare Drum	3&4 (Stereo Mix)	M	m
7	Hi-Hat	3&4 (Stereo Mix)	M	m
8	Tom 1 Coleman b600bpl60v air compressor manual. I got one just like it from Menards, painted yellow, don't know the brand stuck on it (Pro-Force?), but the only thing Coleman (formerly Sanborn, about 40 miles from me) does with these is buy those low end models by the container & stick a label on them. I got it for the other location we own - it was $49.99 a year ago. That is a China compressor.	3&4 (Stereo Mix)	M	m
9	Tom 2	3&4 (Stereo Mix)	M	m
10	Tom 3	3&4 (Stereo Mix)	M	m
11	Tom 4	3&4 (Stereo Mix)	M	m
12	Overhead L	3&4 (Stereo Mix)	M	m
13	Overhead R	3&4 (Stereo Mix)	M	m
14	Bass Guitar	5	M	m
15	Bass Guit. DI	5	L	m
16	Guitar	6	M	m
17	Brass 1	7	M	m
18	Brass 2	7	M	m
19	Brass 3	7	M	m
20	Brass 4	7	M	m
21	Keyboards 1	8	L	m
22	Keyboards 2	8	L	m
23	Keyboards 3	8	L	m
24	Keyboards 4	8	L	m
25/26	Effects 1	Mix (stereo)	L	s
27/28	Effects 2	Mix (stereo)	L	s
29/30	Intro Tape	Mix (stereo)	L	s
31/32	CD	Mix (stereo)	L	s
Aux Return 1	Effects 3	Mix (stereo)	L	s
Aux Return 2	Effects 4	Mix (stereo)	L	s
Aux Return 3	Effects 5	Mix (stereo)	L	s
Aux Return 4	Effects 6	Mix (stereo)	L	s
Subgroup Outputs	> Main Mix / tracks 1to 8
Aux Output 1	> Cue 1 (pre fader) > Floor monitors 1
Aux Output 2	> Cue 2 (pre fader) > Floor monitors 2
Aux Output 3	> Effects 1
Aux Output 4	> Effects 2
Aux Output 5	> Effects 3
Aux Output 6	> Effects 4
Aux Output 7	> Effects 5
Aux Output 8	> Effects 6
Mix Output L	> Graphic EQ (Insert) > FOH
Mix Output R	> Graphic EQ (Insert) > FOH
Monitor Out L	> Sidefills (Main Stereo Feed)
Monitor Out R	> Sidefills (Main Stereo Feed)
Tab. 10.1: MX3282A tracksheet for live concert and simultaneous recording
24	10. APPLICATIONS

EURODESK MX3282A

10.3 8-TrackStudio Recording

8-trackMIDI project studio with sampler,8-trackrecording system, one vocal mic and several effects units. With largelycomputer-generateddance 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.

Once you have finished taking vocals, the subgroups may be used to submix keyboards, drums etc. into the main mix. You might want, for instance, to apply creative keyed gating to a portion of the mix. Use a subgroup insert to do this.

Auxless headphones mix

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 also not unusual for a vocalist to be drafted in to add some colour to the mix at a late stage. The simplest solution here is to feed the main mix into the artist’s cans. If you (or they) are uncomfortable working with the mix, try using a simple line mixer (like the BEHRINGER ULTRALINK PRO MX882) to blend the output of the mic channel (via a subgroup; possibly via a dedicated FX unit to keep the vocalist happy) with the main mix, the combined stereo signal then being fed into the vocalists cans.

If you need to hear the harmonies, but they’re putting the vocalist off key, you’ll want to be able to delete channels from the headphone mix. If you still don’t 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 subgroup pair, omitting the offending channels, and use that output instead of the main mix to drive the headphones either directly or via a line mixer as illustrated above.

+In all cases the wet/dry balance of the supplementary vocal signal takes place within the FX processor.

EURODESK MX3282A

Channel Input	Source	Subgroup/Track	Mic/Line	mono/stereo
1	Tape 1
2	Tape 2	Mix	L	M
3	Tape 3	Mix	L	M
4	Tape 4	Mix	L	M
5	Tape 5	Mix	L	M
6	Tape 6	Mix	L	M
7	Tape 7	Mix	L	M
8	Tape 8	Mix	L	M
9	Sampler 1	Mix	L	M
10	Sampler 2	Mix	L	M
11	Sampler 3	Mix	L	M
12	Sampler 4	Mix	L	M
13	Sampler 5	Mix	L	M
14	Sampler 6	Mix	L	M
15	Sampler 7	Mix	L	M
16	Sampler 8	Mix	L	M
17	Drum Computer Kick	Mix	L	M
18	Drum Computer Snare	Mix	L	M
19	Drum Computer Hi-Hat	Mix	L	M
20	Drum Computer Clap	Mix	L	M
21	Synthesizer 1	Mix	L	M
22	Synthesizer 2	Mix	L	M
23	Synthesizer 3	Mix	L	M
24	Vocal Mic	all 8 Subgroups	M	M
25/26	Effect 1	Mix	L	S
27/28	Effect 2	Mix	L	S
29/30	Effect 3	Mix	L	S
31/32	Effect 4	Mix	L	S
Aux Return 1	Effect 5	Mix	L	S
Aux Return 2	Effect 6	Mix	L	S
Aux Return 3	Effect 7	Mix	L	S
Aux Return 4	Effect 8	Mix	L	S
Subgroup Outputs	> Main Mix/Tracks 1 to 8
Aux Output 1	Effect 1
Aux Output 2	Effect 2
Aux Output 3	Effect 3
Aux Output 4	Effect 4
Aux Output 5	Effect 5
Aux Output 6	Effect 6
Aux Output 7	Effect 7
Aux Output 8	Effect 8
Mix Output L	> DAT
Mix Output R	> DAT
Monitor Out L	> CTRL-R./Headphones
Monitor Out R	> CTRL-R./Headphones

Tab. 10.2: 8-trackstudio recording

EURODESK MX3282A

10.4 16-TrackStudio Recording

This set-upis for a multipurpose studio capable of recording live bands. The following layout is for a bass & drum take while other artists also perform guides to give correct feel for the song. Mic channels are used to record to tape, eight tracks at a time (max.) via the subgroup outputs. Since there are no tape returns to monitor from tape when input channels are unavailable, you might have to temporarily patch the tape outputs into other line inputs, e.g. stereo input channels, if you want to audition a take before placing tape tracks onto their final destination desk channels. We suggest that during playback you audition in monoas listening tohard-pannedkick and snare drum will be irritating. If you are using analogue tape with timecode, leave track 15 free as a guard band. Place timecode on track 16.

Channel Input	Source	Subgroup/Track	Mic/Line	mono/stereo
1	Kick Drum	1	M	m
2	Snare Drum	2	M	m
3	Hi-Hat	3	M	m
4	Tom 1	4&5 (stereo mix)	M	m
5	Tom 2	4&5 (stereo mix)	M	m
6	Tom 3	4&5 (stereo mix)	M	m
7	Tom 4	4&5 (stereo mix)	M	m
8	Overheads L	6	M	m
9	Overheads R	7	M	m
10	Bass guitar	8	M	m
11	Bass guit. DI	8	L	m
12	Lead Vocal Guide	mix	M	m
13	Back Vocals Guide 1	mix	M	m
14	Back Vocals Guide 2	mix	M	m
15	Back Vocals Guide 3	mix	M	m
16	Guitar Guide	mix	M	m
17	Brass Guide 1	mix	M	m
18	Brass Guide 2	mix	M	m
19	Brass Guide 3	mix	M	m
20	Brass Guide 4	mix	M	m
21	Sequence Guide 1	mix	L	m
22	Sequence Guide 2	mix	L	m
23	Effect 1	mix	L	m
24	Effect 2	mix	L	m
25/26	Tape Monitor 1/2	mix	L	s
27/28	Tape Monitor 3/4	mix	L	s
29/30	Tape Monitor 5/6	mix	L	s
31/32	Tape Monitor 7/8	mix	L	s
AuxRtn1	Tape Monitor 9/10	mix	L	s
AuxRtn2	Tape Monitor 11/12	mix	L	s
AuxRtn3	Tape Monitor 13/14	mix	L	s
AuxRtn4	Tape Monitor 15/16	mix	L	s
Subgroup Out	> Main Mix / Tracks 1-16
Aux Output 1	> Cue 1
Aux Output 2	> Cue 2
Aux Output 3	Effect 1
Aux Output 4	Effect 2
Aux Output 5	> Cue 3
Aux Output 6	> Cue 4
Aux Output 7	> Cue 5
Aux Output 8	> Cue 6
Mix Output L	> DAT
Mix Output R	> DAT
Monitor Out L	> Control Room
Monitor Out R	> Control Room
Tab. 10.3: MX3282A example: 16-trackstudio recording, bass guitar and drum tracks
10. APPLICATIONS		27

EURODESK MX3282A

Channel Input	Source	Subgroup/Track	Mic/Line	mono/stereo
1	(Kick Dr.) Tape 1	mix*	L	m
2	(Snare Dr.) Tape 2	mix*	L	m
3	(Hi-Hat)Tape 3	mix*	L	m
4	(Tom 1) Tape 4	mix*	L	m
5	(etc.) Tape 5	mix*	L	m
6	Tape 6	mix*	L	m
7	Tape 7	mix*	L	m
8	Tape 8	mix*	L	m
9	Tape 9	mix*	L	m
10	Tape 10	mix*	L	m
11	Tape 11	mix*	L	m
12	Lead Vocals Guide	mix*	M	m
13	Back Vocals Guide 1	mix*	M	m
14	Back Vocals Guide 2	mix*	M	m
15	Back Vocals Guide 3	mix*	M	m
16	Guitar Guide	1 (Track 9)	M	m
17	Brass Guide 1	2&3 (Tracks 10&11)	M	m
18	Brass Guide 2	2&3 (Tracks 10&11)	M	m
19	Brass Guide 3	2&3 (Tracks 10&11)	M	m
20	Brass Guide 4	2&3 (Tracks 10&11)	M	m
21	Sequence Guide 1	mix	L	m
22	Sequence Guide 2	mix	L	m
23	Effects 1	mix	L	m
24	Effects 2	mix	L	m
25/26	Tape Mon 1/2	mix	L	s
27/28	Tape Mon 3/4	mix	L	s
29/30	Tape Mon 5/6	mix	L	s
31/32	Tape Mon 7/8	mix	L	s
AuxRtn1	Tape Monitor 9/10	mix	L	s
AuxRtn2	Tape Monitor 11/12	mix	L	s
AuxRtn3	Tape Monitor 13/14	mix	L	s
AuxRtn4	Tape Monitor 15/16	mix	L	s
Outputs remain unchanged	(temporary)

Tab. 10.4: MX3282A example: 16-trackstudio recording “overdubs”

The layout shown in fig. 10.4 corresponds to the music overdub situation once all bass & drum takes have been completed. We have re-patchedtape tracks onto main channels.

Remember to disconnect (from the wall boxes or desk XLR inputs) any microphones not in use. Otherwise the line inputs of channels 1-24won’t work properly (live mics picking up extraneous noise etc.).

*: The temporary tape monitor returns become redundant as and when tape tracks are able to be patched into main channels. You could begin to spread your FX and sequenced music returns over these stereo channels as they become available.

At last it is time for vocal overdubs and touch-upslike percussion parts.

(Fig. 10.4): Once overdubbing is complete the subgroups may be used in mono (or stereo pairs) as an aid to mixdown, e.g. to control multiple backing vocals, or drum kit tracks such as tom-tomsand overhead mics.

10.5 Multitrack Initialization

Set up the multitrack so that any track in “record ready” condition has it’s 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).

28	10. APPLICATIONS

EURODESK MX3282A

Behringer Mx 2804 Manually Download

Check that the input levels to each track are optimized before recording commences.

10.6 Recording Levels

When recording to digital, it’s a good idea to keep the recorder’s 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 16-bitdigital’s 96 dB dynamic range), you’ll 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 haven’t.

When recording to analog, the tape machine’s VU meters should show around +3 dB 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 progressivelyunder-readabove 1 kHz, due to their sluggish response time.Hi-hatsshould read about-10dB 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-lessindependent of frequency. Aim for 0 dB recording level for all signals.

10.7 Track Sheet

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

11. TECHNICAL BACKGROUND

11.1 Mixing

11.1.1 Equalization

In the beginning, EQ was an instrument for removing unwanted frequencies, or compensating for imperfect microphone response curves, or bumps in a studio’s acoustic. It was a corrective device. Tamla Motown turned that notion upside down in the sixties with the novel idea that you try to find for each instrument a characteristic frequency not shared by the other instruments in the mix. Then you whack up its gain. This makes individual voices punch through a mix in a slightly unnatural but exciting way.

In general, corrective EQ usually involves broadband (slope) contouring, together with narrowband notching of unwanted resonances. The narrower the notch or “Q”, the less the total signal will be affected.

Finding bad resonances is made easier by first frequency sweeping in BOOST mode.

“Motown” EQ is achieved by applying boost in a fairly broadband way. The broader the band, the more musical but less instrument-specificthe 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 through the outboard EQ, freeing up the unit for the next task).

Check out the BEHRINGER ULTRA-CURVEPRO DSP8024, a superlative digital stereo equalizer and much, much more. Or ourULTRA-QPRO PEQ22005-bandconstant-Qstate-variableanalog 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.

11. TECHNICAL BACKGROUND

29

EURODESK MX3282A

A 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 you’ve got a de-esserpatchedpost-EQ.

+Use the low-cutfilter to tighten up channels in a mix: maybe remove it only for the bass, kick drum, toms, tablas, didgeridoo and other deliberate subsonics (when recording classical music ignore this advice).

With the LF set to boost and the low-cutswitch activated, you have got a peak response rather than shelving at the bottom. Good for tight but deep bass.

Remember EQ contouring can be done with cut as well as with boost. Cutting away the top and bottom, then pushing up the gain is equivalent to mid range boost! EQ is not a one way street!

Always reset a channel’s input gain (or external devices’ output level) after altering the amount of desk EQ cut or boost applied.

11.1.2Gain Optimization

PFL (Pre-Fader-Listen)is the way to set a desk level. Master aux send levels are fixed at unity gain. As the mix progresses, more and more channels are likely to be sending to effects via the aux buses, and it’s best to PFL all sends just before setting up for the final mix.

Outboard reverbs etc. should all be made to work hard. There’s no point in having an 85 dB dynamic range if the input meter of your reverb is barely flickering. On the other hand, digital distortion is not one of the nicer noises around. You’ll have to rely on your ears to detect digital distortion, since different outboard processors calibrate their meters differently.

If you hear distortion, turn down the input on the FX unit, and turn up the desk’s aux return input.

99 times out of 100 distortion in the aux send > FX > aux return loop will come from the FX unit (FX gain too high), and the same goes for a high noise level (FX gain too low).

Analog multitrack tape should be driven quite hard, since its dynamic range (without noise reduction) is likely to be 20 to 30 dB worse than other elements in the recording chain. Try to record bright. You can always mix back duller. Brightening up an off-tapesignal will bring up the level of tape noise. With digital tape or hard disk you have plenty of dynamic range, and treblepre-emphasisis not often necessary. Just don’t let the signal distort!

When mixing or recording, keep the channel fader levels around or below 0 dB. If you do find the faders creeping up or down, apply a suitable offset over all channel faders, and try to control your bad habit in future!

12. EXPANDING

When the EURODESK is your main mixer, you may find that you run out of inputs as your system expands. It is possible to expand your mixing system by combining two or more mixers.

Adding extra line inputs to your EURODESK

A small line mixer (such as the BEHRINGER ULTRALINK PRO MX882 8+2 Channel Mixer/Splitter/Signal Router) can inexpensively add extra line inputs to your console. With the ULTRALINK PRO, any stereo,

line-levelinput on your EURODESK can become a stereo line input plus a further 6pan-ablemono line inputs. Great for adding tape monitor returns etc.

The EURODESK outputs are essentially submixes of several channels of sound, and are therefore likely to be considerably higher than the typical source signals (coming from mics, MIDI instruments or tape) seen by the master console. Therefore, we recommend a reduction of gain in those channels of the master console that are fed by the EURODESK’s outputs.

Linking the EURODESK to a master console

Feed any or all of the main mix, subgroup outputs and aux outputs from your EURODESK into separate input channels of the master console. The aux outputs should be routed only to individual aux send buses on the master console. Now the aux sends from the EURODESK can access effects currently used by the master console.

EURODESK MX3282A

13. MODIFICATIONS

The following modifications require you to do some soldering. Only attempt that if you are experienced in using an iron on PCBs. Otherwise, refer to qualified personnel. After modification the BEHRINGER warranty becomes discretionary.

Links should not be threaded into holes on the PCB. They should be soldered to the tinned areas around the holes, and bowed slightly upwards in between.

Aux sends > pre EQ

All channel aux sends are post-EQ.If you want to convert them, carry out the modification described below to each channel. The right PCB area is indicated by a yellow printing (see figures below).

1)Disconnect power supply.

2)Cut the ‘post’ track.

3)Add in a ‘pre’ link.

4)Repeat for all channels you want to be modified.

Modification on Mono Channels
AUX	AUX
PRE	PRE
Add a ´pre´ link
Cut the ´post´ track	POST	POST
JPn	JPn
%HIRUH	$IWHU

Fig. 13.1: Aux send > pre-EQ-modificationon channels 1 to 24

Fig. 13.2: Aux send > pre-EQ-modificationon channels 25/26 to 31/32

EURODESK MX3282A

14. SPECIFICATIONS

Input channels
Mic input	Electronically balanced, discrete input configuration
Mic E.I.N. (22 Hz - 22 kHz)	129.0 dBu, 150 Ohm source
117.3 dBqp, 150 Ohm source
132.0 dBu, input shorted
122.0 dBqp, input shorted
Distortion (THD&N)	0,007% @ +4 dBu, 1 kHz, bandwidth 80 kHz
Gain range	+10 dB to +60 dB
Max input (Mic)	+12 dBu
Line input	Electronically balanced
gain range	Unity to +40 dB
Max input (line)	+22 dBu
Channel fader range	+10 dB to -85dB
Aux send gain range	off to Unity to +15 dB
Equalization
Hi shelving	12 kHz +/-15dB, Q fixed at 2 oct.
Hi mid bell (Ch 25-32)	3 kHz +/-15dB, Q fixed at 2 oct.
Mid sweep (Ch 1-24)	100 Hz - 8 kHz +/-15dB, Q fixed at 1 oct.
Lo mid bell (Ch 25-32)	500 Hz +/-15dB, Q fixed at 2 oct.
Lo shelving	80 Hz +/-15dB, Q fixed at 2 oct.
Low-cut(high pass) filter	75 Hz, 18 dB/oct.
Channel insert
Max in / out	+22 dBu
Channel to channel crosstalk	-95dB @ 1 kHz
Subgroup section
Noise	Bus noise @ fader 0 dB: -105.0dBr (ref.: +4 dBu);
-92.0dBr (ref.: +4 dBu, all input channels assigned,
Unity gain, channels muted);
-87.0dBr (ref.: +4 dBu, all input channels assigned, Unity gain)
Submaster output
Max. output	+22 dBu balanced/unbalanced
Fader range	+10 dB to -85dB/off
Main mix section
Noise	Bus noise @ fader 0 dB: -102.0dBr (ref.: +4 dBu);
-92.0dBr (ref.: +4 dBu. all input channels assigned, Unity gain,
channels muted);
-87.0dBr (ref. +4 dBu, all input channels assigned, Unity gain)
Max output	+28 dBu balanced, +22 dBu unbalanced
Aux returns
Gain range	off to Unity to +20 dB
Aux sends
Max. output	+22 dBu
General
Distortion (THD & N)	0.007 %, @ +4 dBu, 1 kHz, bandwidth 80 kHz
Frequency response	20 Hz - 40 kHz +/-1dB any input to any output; 10 Hz-120kHz+/-3dB
Physical dimensions
(H * W * D) Mixer	approx. 3 3/4' (90 mm) * 40' (1015 mm) * 20 3/4' (527 mm)
Weight	approx. 17,7 kg
(H * W * D) Power Supply Unit	approx. 3 1/2' (86 mm) * 17 1/8' (435 mm) * 9 3/4' (246 mm)
Weight	6,2 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 prior notice. Specifications and appearance may differ from those listed or shown.

EURODESK MX3282A

15.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

Behringer Mx 2804 Manually Reset

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.

Behringer Mx 2804 Manually Manual

3.Shipments without freight prepaid will not be accepted.

§4 WARRANTY REGULATIONS

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:

smisuse, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals.

sconnection 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.

sdamages/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 buyer’s 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

1.Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer’s 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.

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 buyer’s 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.

The information contained in this manual is subject to change without notice. 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 expressed written permission of BEHRINGER Spezielle Studiotechnik GmbH.

Behringer Mx 2804 Manual

BEHRINGER, EURORACK, EURODESK, ULTRA-DYNE,ULTRA-CURVE,ULTRA-Q,ULTRAPATCH, POWERPLAY and FEEDBACK DESTROYER are registered trademarks. ALL RIGHTS RESERVED.

Behringer Mx 2804

© 2001 BEHRINGER Spezielle Studiotechnik GmbH.

BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str.36-38,47877Willich-MünchheideII, Germany

Tel. +49 (0) 21 54 / 92 06-0,Fax +49 (0) 21 54 / 9206-30