Behringer EURORACK MX1804X User manual

EURORACK® MX1804X
www.behringer.com
Version 1.1 March 2001
User’s Manual
ENGLISH

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EURORACKMX1804X
Thissymbol,whereveritappears,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.
SAFETY INSTRUCTIONS
CAUTION: To reduce therisk ofelectrical shock, donot remove
thecover(orback).Nouserserviceable parts inside;
referservicing to qualified personnel.
WARNING: To reduce the risk of fire or electrical shock, do not
expose this appliance to rain or moisture.
DETAILEDSAFETYINSTRUCTIONS:
Allthe safety and operation instructionsshould be read before theappliance is operated.
RetainInstructions:
Thesafetyandoperatinginstructionsshouldberetainedforfuturereference.
Heed Warnings:
Allwarnings on theappliance and in the operating instructions should be adhered to.
Followinstructions:
Alloperationand user instructions should be followed.
Water and Moisture:
Theappliance should not beusednearwater (e.g. near abathtub,washbowl,kitchen sink, laundry tub,inawet
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-in installation, such as a bookcase or cabinet that may impede the
flowofairthrough the ventilation openings.
Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliance(includingamplifiers)thatproduceheat.
Power Source:
Theapplianceshould be connected to apowersupply only of the typedescribedin the operating instructions
or as marked on the appliance.
Grounding or Polarization:
Precautionsshould be taken so that the grounding or polarization means of an appliance is not defeated.
Power-Cord Protection:
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
wherethey exit from the appliance.
Cleaning:
Theapplianceshouldbecleanedonly as recommended by the manufacturer.
Non-usePeriods:
Thepower cord oftheapplianceshould be unpluggedfromtheoutlet when leftunusedfora long periodoftime.
Object and Liquid Entry:
Careshouldbetaken so that objects do not fall and liquids are not spilled into the enclosurethroughopenings.
Damage Requiring Service:
Theapplianceshould be serviced by qualified service personnel when:
-The power supply cord or theplug has been damaged; or
- Objects have fallen, or liquid has been spilled into the appliance; or
-The appliance has been exposed to rain; or
-Theappliance does not appear to operatenormally or exhibits a marked change inperformance; or
-Theappliancehasbeendropped,ortheenclosuredamaged.
Servicing:
Theusershould not attempt to service the appliance beyond thatisdescribedintheOperatingInstructions.All
otherservicing should be referred to qualifiedservicepersonnel.

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EURORACKMX1804X
FOREWORD
DearCustomer,
Welcome to the team of EURORACK users and thank you very much for expressing your confidence in
BEHRINGERproducts by purchasing this unit.
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: To produce a compact mixer,
which fully satisfies your and our expectations and delivers a superior sound quality, easy operation and
technical specifications. In addition to that the mixer is affordable for almost every musician. The task to
designtheEURORACKcertainlymeant a great deal of responsibility, which we assumed byfocusingonyou,
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 what a great feeling it is when
everybody who participated in such a project can be proud of what we’ve achieved.
Itisour philosophy to share our joy with you,becauseyouarethemostimportantmember 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 favorable price. All of this will enable you to fully unfold your creativity without being hampered by
budgetconstraints.
Weareoften asked how we can makeit to produce such high-grade devices atsuch unbelievably low prices.
The answer is quite simple: it’s you, our customers! Many satisfied customers means large sales volumes
enablingus to getbetter 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 the following people, whose help on “Project EURORACK MX1804X” has made it all
possible:
▲The existing users of BEHRINGER equipment (whose comments and suggestions have made them the
mostimportantmembersoftheBEHRINGERdesignteam),
▲Thorsten(forthis marvellous manual layout),
▲Bernhard(Rammi)(whosetechnicalingenuityisunique),
▲C.W.forthefinemechanics(key-phrase“Toolingmodification”),
▲andalltheothers,whohave made very personal contributions.
Myfriends, it’s been worth the trouble!
Thankyouverymuch,
UliBehringer

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EURORACKMX1804X
EURORACK
MX1804X
Ultra low-noise 18-channel 4-bus mi er with integrated VIRTUALIZER multi-effects processor
s6monoinput channels with balanced XLR and TRSconnectorsand inserts
sUltralow-noisediscretemicrophonepreamps with +48 V phantom power
s4stereoinput channels with balanced TRS connectors
s2additionalmulti-functionalstereochannelswith 60-mm faders
s24-bit stereo multi-effects processor with ultra-high resolution 24-bit AD/DA converters, for internal and
externaluse
s32originalVIRTUALIZERpresetsincluding16differentreverbs,delays,chorus,flanger,pitchshifter,speaker
simulationandvariouscombinations
sSwitchable7-bandgraphicequalizer for ultimate main mix equalization
sAlt 3-4 bus routable to main mix and control room with insert, PFL and 60-mm master fader
sExtremelyhigh headroom—offering more dynamicrange
sBalanced inputs and main outputs for highest signal integrity
sUltra-musical4-bandEQ(stereochannels)and3-band EQ with sweepable mid band (mono channels)
sPeak LEDs and switchable low-cut filter on all mono channels
s2auxsends (aux 1 pre/post) per channel—for internalor external effects and monitoring
sMaster aux sends with gain control and PFL
sMute/Alt3-4,Solo-In-PlaceandPre-Fader-Listen function on all channels.
sSeparatemain mix, Alt 3-4, control room and headphones outputs
s2-trackinputs assignable to main mix or control room/headphones outputs
sHighlyaccurate12-segment bargraph meters
sHigh-precision60-mmfaders and sealed potentiometers
sRuggeddesignpowersupplyensuressuperiortransientresponse
sState-of-the-art4580ICs and high-quality components for crystal-clear audio performance
sExtremelyruggedconstructionensures long life even under the most demandingconditions
sManufacturedunderISO9000 certified management system

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EURORACKMX1804X
TABLE OF CONTENTS
1. INTRODUCTION.....................................................................................................................7
1.1 Concept .......................................................................................................................................... 7
1.1.1 Architecture .......................................................................................................................... 7
1.2 Beforeyou begin ............................................................................................................................. 8
1.2.1 Metering ............................................................................................................................... 8
1.2.2 PSU (power supply unit) ....................................................................................................... 8
1.2.3 Warranty............................................................................................................................... 8
1.2.4 Packing ................................................................................................................................8
1.2.4 RackmountingtheMX1804X ................................................................................................ 9
2. OPERATION............................................................................................................................9
2.1 Mono input channel......................................................................................................................... 9
2.1.1 Input level setting .................................................................................................................. 9
2.1.2 Equalizer .............................................................................................................................. 9
2.1.3 Aux sends ............................................................................................................................ 9
2.1.4 Routing,fadingand muting.................................................................................................. 10
2.2 Stereoinput channel ..................................................................................................................... 10
2.2.1 Inputlevel............................................................................................................................ 10
2.2.2 Equalizer ............................................................................................................................ 10
2.2.3 Aux sends .......................................................................................................................... 10
2.2.4 Routing ................................................................................................................................11
2.3 Inserting .........................................................................................................................................11
2.3.1 Mono channels ....................................................................................................................11
2.3.2 Stereochannels...................................................................................................................11
2.3.3 Main mix..............................................................................................................................11
2.3.4 Alt 3-4..................................................................................................................................11
2.4 Main section ..................................................................................................................................11
2.4.1 Aux sends ...........................................................................................................................11
2.4.2 Additional stereoline inputs ................................................................................................ 12
2.4.3 Metering ............................................................................................................................. 12
2.4.4 Channelmode..................................................................................................................... 12
2.4.5 2-track input andoutput ...................................................................................................... 12
2.4.6 Monitor section ................................................................................................................... 13
2.4.7 Alt 3-4 output ...................................................................................................................... 13
2.4.8 Graphicequalizer ................................................................................................................ 13
2.4.9 Digitaleffectsprocessor...................................................................................................... 13
2.4.10Talkback, communication with musicians in a studio .......................................................... 15
3. PRACTICE .............................................................................................................................15
3.1 Selectinginputs ............................................................................................................................ 15
3.2 Initializing channels forgain setting ............................................................................................... 15
3.3 Auditioning a signal and setting up a channels.............................................................................. 16
3.4 Desknormalization ....................................................................................................................... 16
3.5 Multitrack initialization .................................................................................................................. 16
3.6 Recordinglevels ............................................................................................................................ 16
3.7 Track sheet................................................................................................................................... 16

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EURORACKMX1804X
4. APPLICATIONS .....................................................................................................................17
4.1 Livegigwithsimultaneous2-trackrecording .................................................................................17
4.2 MIDIproject studio ........................................................................................................................ 17
4.3 Patchbay ...................................................................................................................................... 18
4.3.1 Patchbayconfiguration........................................................................................................ 18
4.3.2 Parallel ............................................................................................................................... 18
4.3.3 Half-normalled ..................................................................................................................... 19
4.3.4 Normalled ........................................................................................................................... 19
4.3.5 Open................................................................................................................................... 19
4.3.6 Patchbay organization ........................................................................................................ 20
4.3.7 Loomingproblems .............................................................................................................. 21
4.4 Expanding..................................................................................................................................... 21
5. TECHNICAL BACKGROUND ..............................................................................................22
5.1 Mixing........................................................................................................................................... 22
5.1.1 Equalization........................................................................................................................ 22
5.1.2 Gainoptimization................................................................................................................ 22
6. INSTALLATION .....................................................................................................................23
6.1 Mains connection.......................................................................................................................... 23
6.2 Audioconnections ........................................................................................................................ 23
7. SPECIFICATIONS .................................................................................................................25
8. MODIFICATIONS ..................................................................................................................26
9. WARRANTY ...........................................................................................................................27

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EURORACKMX1804X
1. INTRODUCTION
Congratulations.In purchasing our EURORACK MX1804X youhaveacquiredamixerwhose small size belies
its incredible versatility and audio performance. Your EURORACK is built to the same outstanding quality as
ourtop-of-the range console, the BEHRINGEREURODESKMX9000.
Oneof theoutstandingfeaturesof the MX1804Xisitsintegrated, digital24-biteffectsprocessor. We developed
an extremely compact module that provides the highly acclaimed VIRTUALIZER sound using the same
algorithms,24-bitAD/DAconverters,a24-bitDSPand46kHzsampling rate. This means that 32 presets with
first-classroomsimulations,delayandmodulationeffectsareatyourdisposal.MoreovertheMX1804Xpossesses
an additional Alt 3-4 bus, a 7-band graphic equalizer and a choice of routing options which facilitate the work
withyourMX1804X.
Later we will see how adding the BEHRINGER ULTRALINK PRO MX882 to your system can inexpensively
expandthecapacity and flexibility of you mixingpowereven further. First of all, however,wewant to take you
ona guided tour of yournewrack-mountedconsole—theBEHRINGEREURORACK MX1804X.
Werecommend that you experiment withyourEURORACKawayfromthe pressures of a recordingsessionor
live concert, in order to get a feel for it. It is a musical instrument. Learn to play it well.
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. We will attempt to be as unambiguous as possible with terms, since much confusion can arise from
sloppydefinitions.
On an extra sheet you will find drawings showing the front and rear panel of your EURORACK respectively.
Always use this extra sheet, while studying the manual.
All functions will be numbered consistently throughout the manual, whether they be in the text or on an
illustration. Note that some functions are exactly the same for both mono and stereo channels (e.g. the aux
sends). In this case only the mono channel´s functions are numbered.
1.1 Concept
Theconfiguration of theMX1804Xis“18 into 4(2+2)into2”. There aresixmonochannels, fourstereochannels
andtwo additional stereo lineinputs(auxandFX return). In additionthereisa2-track input routable tothemain
mix.Everychannel is always routed to the main mixunlessthe ALT 3-4 switch is pushed. In thiscasethe
signal is sent to the Alt 3-4 bus instead. Alt 3-4 may be blended with the main mix at the control room output
via a switch. In addition to that the Alt 3-4 signal can be integrated in the main mix when you press the
ALT3-4 TO MIX switch .
1.1.1 Architecture
Mono input channels
The channels 1 to 4 are mono, with a choice of balanced microphone or line inputs. The vintage-style high-
current discrete microphone preamps are of the same incredible quality as those found on the acclaimed
BEHRINGEREURODESKMX9000,whilealargeexternalpowersupplyensureslownoiseandsuperiortransient
responseatall times. Due to the inserts themono channels offer a similar functionality as“big”consoles. The
insert points double up as direct outputs when wired to a normalized pair of in/out sockets on a standard
patchbay(seechapter 4.3 “Patchbay”).
Stereo input channels
Afurther 8 line inputs on the MX1804Xareconfiguredas4balanced stereo input channels. These areidealfor
multitracktape returns, or for acceptingoutputs from MIDI and other electronic instruments.
Channel outputs
Ahigh-quality true-logarithmic 60-mm fader feeds the main mix or Alt 3-4 bus via the channel pan.
Aux/FX sends
There are two aux send buses on the MX1804X. The second one is called FX send and leads to the internal
multi-effects processor. But you can also use the FX send for external effects devices.
1. INTRODUCTION

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EURORACKMX1804X
Stereo aux/FX returns (additional stereo line inputs)
TheMX1804Xfeaturestwobalancedauxreturns.Theseinputsareperfectlysuitedforeffect returns and tape
returnsfrommultitrack machines. The aux returnsmay also be used for mixingin extra MIDI instruments etc.
Thesecondreturnusually serves for the internal effects device. But you can also use it as additional line input.
Main mix output
Themainmixoutputleveliscontrolledviaapairofhigh-qualitytrue-log60-mmstereofadersandismonitored
by a pair of accurate 12 segment bargraph peak meters, surrounded by 4 status LEDs.
24-bit digital effects processor
The integrated 24-bit digital effects processor offers first-class algorithms, which are also used in our
VIRTUALIZER.Theeffectsdevicefeaturesallstandard effects(reverb,chorus, flanger,delay,etc.)and—dueto
its excellent quality—it can be used for mix down situations and live applications as well.
7-band graphic equalizer
Asaspecialfeature the MX1804X owns a 7-band graphic equalizer. The equalizer allows for quicklyproviding
thefinishingtouch to your overall sound in liveperformancesor mix down.
Additionally,yourMX1804Xprovidesan adjustable headphones output, a separate 2-track in-/output and the
above mentioned Alt 3-4 output. There are inserts for the mono channels, the Alt 3-4 and the main mix bus.
1.2 Before you begin
1.2.1 Metering
The channels 1 to 6 have peak LEDs, while the L and R outputs have 12 segment bargraph meters. The
L/R meters double up as mono PFL or stereo solo meters.
Themetersshouldaveragearound0dBduringloudpassages.Iftheyreadpersistentlyhigher,orarepeaking
above+10 dB, reduce either themainL/Rfadersand/or channel faders, or(asalastresort) channel input gain.
Maybe it’s time to do a round of PFL metering.
1.2.2 PSU (power supply unit)
Anyamplifiercircuitislimitedinitstransientresponsebytheavailablecurrent.Everymixerhasnumerouslinelevel
operationalamplifiers(op-amps)inside.Whenbeingdrivenhard,manydesksbegintoshowsignsofstressdueto
powersupplylimitations.NotsowiththeEURORACKMX1804X.The soundwill alwaysstaycleanandcrispright
up to the operating limits of the op-amps themselves, thanks to our generous 40 W external power supply unit.
Pleaseconnectthe PSU with the EURORACK MX1804XPSU connector on the rear panel ofyour mixer
andswitchon your MX1804X with thepower switch .
+Do not connect the PSU to the EURORACK while the PSU is connected to the mains supply.
Connect switched-off desk and PSU first before you connect the PSU to the mains supply.
Lastly switch on desk.
1.2.3 Warranty
Please take the time to have the warranty card filled out completely by your specialized dealer, and return it
within14days after the date of purchase,soas to be entitled to benefitfromour extended warranty. You may
alsouseour online registration option availableonthe Internet at www.behringer.com. Youwillfind the serial
number ofyourMX1804X on the rear panel.
1.2.4 Packing
Your BEHRINGER EURORACK was carefully packed in the factory and the packaging was designed to
protecttheunit from rough handling. Nevertheless, we recommendthatyou carefully examine the packaging
and its contents for any signs of physical damage, which may have occurred in transit.
+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.
1. INTRODUCTION

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EURORACKMX1804X
1.2.4 Rack mounting the MX1804X
Enclosedinthe shipping box you will find a19"rackmountkit.Ifyouwantto make your MX1804X a rack mixer,
loosen the screws from the side panels and use them to fix the rack ears (note, that there is a left and a right
one).
+Be sure that there is enough space around the unit for cooling and please do not place the
MX1804X on high temperature devices such as power amplifiers etc. to avoid overheating.
+When switched on, parts of the desk and the power supply unit will become very warm, which
is normal during operation.
2. OPERATION
2.1 Mono input channel
Each channel comes with a balanced line input on 1/4" TRS connector , and an XLR microphone input
. Phantom powering for the use of condenser microphone is switchable from the rear panel with switch
. The gain circuit has an unusually wide range, obviating the need for mic/line switching. The crucial
operatinglevels+4 dBu and -10 dBV areclearly and accurately legended.
+Whenusing the microphone input please make sure nothing is connected to the samechannel’s
line input, and vice versa.
2.1.1 Input level setting
Channel input level is determined by the GAIN control . Use the PFL/SOLO switch to bring the
channelinputontotheleftandrightbargraphmeters respectively.Thisalsosendsthesolo/PFL-edsignal
to the left and right speakers.
Forlevel-setting (as opposed to localizedlistening)choosetousethe mono PFL busratherthanthepost-fader
(post-channel Pan) stereo solo bus (CHANNEL MODE switch UP).
Solo/PFL never interrupts the mix at the main recording outputs. It follows that aux sends must also be
unaffected, since they contribute directly to the main mix.
Inaddition to switchable PFL/solo metering , achannel LED illuminates when a channel isgoing into
overload.Youdonot want the peak light to come onexceptveryintermittently during a take or a mix. Ifitdoes
light persistently, reduce input gain.
There is a steep low-cut filter , slope at 18 dB/oct., -3 dB at 75 Hz, for reducing floor rumble, explosives,
woolly bottom end, etc.
2.1.2 Equalizer
All mono input channels are fitted with three-band EQ and the above mentioned switchable low-cut filter for
eliminatingunwantedsubsonics. All three bands have up to 15 dB of cutandboost,withacentredetentforoff.
Theupper andlower shelvingcontrolshavetheirfrequenciesfixedat12kHzand80Hzrespectively.
Onthe MX1804X, the midrange control is semi-parametricwith a peaking response, Qfixed at 1 octave,
sweepable from 100 Hz to 8 kHz .
2.1.3 Auxsends
Bothauxsends are mono and post-EQ. Auxsend1 can be taken from a pointbefore or after the channel
fader, i.e. pre or post by switch . Aux send 2 is always wired post-fader. You can use the
1/4"connector to receive the signal ofaux send 1. The control of aux 2, whichis called FX, you cansend
signalsfromallchannelstothe internal effects processor. Of course, you can use theauxsend2alsoto head
forexternaleffectsdevices.Forthatyoucan use the FX send and the FX return jack on the top of the
mixer. As a result the internal effects processor is no longer provided with an input signal.
For almost all effects send purposes, you will want aux sends to be post-fader, so that when a fader level is
2. OPERATION

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EURORACKMX1804X
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.independentofthe channel fader and mute.
Mostreverbs etc. sum internally the left andrightinputs.Theveryfew that don’t may be driven intruestereoby
using 2 aux sends.
There is +15 dB of gain on every aux send. Such a high boost is usually only appropriate where the channel
fader is set around -15 dB or lower. Here, an almost exclusively wet signal will be heard. In most consoles,
such a wet mix required the use of a pre-setting for the channel aux send, losing fader control. With the
EURORACKyoucan have a virtually wet mixwith fader control.
2.1.4 Routing, fading and muting
Level to the main mix and Alt 3-4 buses is ultimately determined by the channel faders . These are
speciallymanufactured for BEHRINGER mixingconsoles,andare designed togiveasmoothlogarithmic taper
of a type more usually associated with megabuck consoles. The low level performance particularly is far
smootherthanthat of a normal budget fader.
Channel pan positions the output of the channel in the stereo field. Its constant-power design ensures
there are no level discrepancies whether a signal is hard-panned, centre-stage, or somewhere in-between.
Such pin-point accuracy will be a revelation if you have been working on consoles with lower quality circuits.
Solo/PFL we encountered in section 2.1.1. Solo also follows channel pan.
TheMUTE/ALT3-4 button is ergonomically placed immediately abovethechannelfader.Engagingmute,
indicated by , is equivalent to setting a fader level of minus infinity.
On the MX1804X the button serves two functions. When mixing directly to stereo, it acts as a normal
mute. However, this button also acts as a routing button to the ALT 3-4 outputs. In other words, you select
between the main mix and Alt 3-4 stereo buses via switch .
This is very useful when submixing live or recording to multitrack, as we shall see later (see chapter
4“APPLICATIONS”).
2.2 Stereo input channel
Eachstereo channel comes with twobalanced line level inputson 1/4" TRS connectors , forleft and right
signals. When only the left input is connected, the channel operates in mono.
2.2.1 Input level
The stereo channels of the MX1804X are designed for typical line level signals. With the help of the PFL
functionyoucancontrolthelevel of the input signal in the stereo channels. If it isnecessaryyoucanadaptthe
outputlevelof the connected device (MIDI instruments,effectsdevices, etc.) via its output level control.
2.2.2 Equalizer
Thestereoinputchannelsare fitted with four-band EQ.
Theupper ,highmidrange ,lowmidrange andlower shelvingcontrolshavetheirfrequencies
fixed at 12 kHz, 3 kHz, 500 Hz and 80 Hz respectively.
All bands have up to 15 dB of cut and boost, with a centre detent for off.
Astereoequalizerisgenerally preferable to using two mono equalizers when EQ-ing a stereosignal,asoften
discrepancies between left and right settings can occur.
2.2.3 Auxsends
These are the same as for mono channels (see 2.1.3). Note that a mono sum is taken from the stereo input.
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EURORACKMX1804X
2.2.4 Routing
Theonlydifference here from the mono channel described isintheimplementationofthebalancecontrol .
Whenachannelis run in stereo, this control functions as a balance control, determining the relativebalanceof
theleftand right channel signals being sent tothe left and right main mix buses(orAlt 3-4). For example, with
thebalancecontrol turned fully clockwise, only the right portionofthe channel’s stereo signal will be routedto
the main mix.
Balance also determines the relative amount of left and right channel signals being sent to buses 3 and 4
respectivelywhenswitchMUTE/ALT3-4isengaged.
When you push the PFL/SOLO button the PFL/solo control LED will light up.
2.3 Inserting
Insertpointsare useful for adding dynamicprocessing or equalization to a channelor 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,fedthrough the dynamics processor and/or EQ, then returned totheconsoleatthesamepointwhere
it left. The insert point is normalized, i.e. the signal is only interrupted when a jack is plugged into it (see
chapter4.3“Patchbay”).
2.3.1 Mono channels
Allmonoinputchannelshavegotinsertpoints.Eachinsertpointisaccommodatedona single TRS connector
socket
3
wiredtip=send,ring= return, sleeve = ground/ screen. Inserts are always pre-fader, and also pre-
EQand pre-aux sends.
Insertpointsmay also be used as pre-EQdirectoutputswithoutinterruptingthesignal flow. Note that if you are
using the EURORACK insert as a direct output, and you want to maintain the signal flow down the channel,
youshoulduseaTRSconnectorwithtip and ring connected. Note that this is not the same as for unbalancing
abalancedlead,where the ring and sleeve would be connected (see chapter 6 “INSTALLATION”).
Youcanextend the functionality of your insert points by wiringthemontoajackfieldpatchbay,wheresend and
seturn can be accessed on separate sockets (see chapter 4.3).
2.3.2 Stereo channels
Ifyouwant to insert a dynamics processor etc.intoastereoinputchannelorone of the other stereo line inputs,
it must be done between the source output and the EURORACK input, as these channels have no bona-fide
insertpoint.
2.3.3 Main mix
For the main mix there are two insert jacks on the rear panel.
2.3.4 Alt3-4
On the rear panel of your MX1804X you can also find insert jacks for the Alt 3-4 bus.
2.4 Main section
2.4.1 Auxsends
Master aux send levels are determined by and . These controls have a centre detent indicating unity
gain.Don’tworry ifyoureffectsunithasnoinputgaincontrol—youhaveafurther+15 dBavailablefrom these
outputs.ThePFL buttons and offer you the possibility tocontrolthe signals routed to the auxbusses
via the control room output .
2. OPERATION

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EURORACKMX1804X
2.4.2 Additional stereo line inputs
Therearetwoadditionalstereolineinputs(auxreturn andFXreturn )onyourMX1804X.Auxreturn1
operates in mono if only the left channel socket has a jack connected.
Levelcanbeadjustedby the faders and . The returns are permanently assigned to the main mix. The
aux return 2 (FX return) is usually reserved for the internal effects processor. But you can also use the
FXreturninputconnectors toreturn signals from external devices. As a result you canalsouseFX return
as an additional stereo line input.
Theauxreturns have been cleverly designed to be multifunctional.Theymaybeusedforreturningthe outputs
ofeffectsunits. You can use them as tapereturnsfrom a multitrack recorder. They may alsobeused as extra
instrument inputs, especially if your MIDI keyboard or rack supplies a pre-mixed stereo signal.
Certainstereoeffectsproduceaperceived imbalance between the left and right channel levels. Tocorrectfor
this you will have to bring your stereo effect back on a stereo channel, which has a balance control.
Viatheswitches and you can choose between the twodifferentoperating level settings -10 dBV and
+4 dBu.
2.4.3 Metering
Mainmix/solo/PFLlevelisdisplayed on a pair of highly-accurate 12 segment bargraph peak meters . Four
additionalLEDsindicatepoweron ,+48V phantom power present , and whether the mono pre-fader-
listen bus or the stereo solo bus is engaged.
2.4.4 Channel mode
The CHANNEL MODE switch determines whether Solo-In-Place or Pre-Fader-Listen is assigned to the
channelsolobuttons.
Solo
Solois the preferred method for auditioningan isolated signal, or groupof signals. Whenever a solobutton 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 and stereo line inputs. It is always post-fader.
PFL
Pressing once disengages the stereo solo bus, and replaces it with a separate mono PFL (Pre-Fader-
Listen)bus.Nowany channel which is solo-ed, isn’t. It is PFL-edinstead.PFL should always be used for gain
setting(seealsochapter3 “PRACTICE”).
2.4.5 2-track input and output
Input
A2-trackinput,onRCAconnectors ,provideseasyconnection toDAT recordersandothersemi-professional
audioequipment.
The 2-track input is primarily for auditioning mix playback from tape. Switch 2 TK TO CONTROL ROOM
routes this signal to the monitors and/or phones.
However, it can also be routed to the main mix via button 2 TK TO MIX and will act as an additional input
fortapeplayback, MIDI instruments etc. Here switch should bedisengaged,or you will be listening to the
2-tracksignaltwiceover!
With depressedyouhaveanother stereo line input available to the mix, useful e.g. for adding theoutputof
asecond EURORACK oraBEHRINGERULTRALINKPRO MX882 toyourmix(see chapter 4.4“Expanding”).
Output
The main mix output is delivered by XLR connectors and TRS connectors and on the front and
back panel as well as by RCA connectors on the front.
Level is ultimately determined by a pair of precision faders .
+If you connect a compressor or a noise gate to the 2-track outputs smooth fades are no longer
possible.
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EURORACKMX1804X
Althoughthe 2-track output is primarilydesigned for recording, it canalso be used as aPA feed, or as a send
to the input of your sampler. Depressing on the rear panel will lower the level at the XLR connectors by
20 dB.
2.4.6 Monitor section
Though most of you will want to audition the main mix most of the time there are exceptions. These
include the Alt 3-4 bus and 2-track playback .
A single volume control sends the level to the headphones and main monitors. The bargraph meter
showsthelevelof the chosen signal. You can connect your headphones to the headphones connector on
thefrontpanel.
Theoutputsignal of the main mix remainsuntouchedwhen you choose different sources formonitoring.
Ifyouwant to audition external sources very often, you coulddoworsethanconnectyour2-trackinput to a hi-fi
pre-amp, allowing you to monitor a variety of extra sources such as vinyl, cassette recorder, CD player, etc.
2.4.7 Alt 3-4 output
Bydepressingthe MUTE/ALT 3-4 button a channel’soutput will be routed to theAlt 3-4 output instead of
the main mix.
LeveltotheAlt3-4outputs (TRS connectors on the back panel) is adjusted by the fader . Use to have
the signal PFL-ed ( and up).
Alt 3-4 is likely to bewilder newcomers. We want to illustrate how this feature may be used most effectively.
Subgroups are commonly used as a mixing aid both live and in the studio, e.g. to control the outputs from all
drum channels with just 1 or 2 submaster faders. They are also used to route to multitrack recorders.
Therearenofully-fledgedsubgroupsontheMX1804X.However,theAlt3-4busoffersyouasecond independent
stereo submix with its own submaster stereo fader. Combining the Alt 3-4 outputs with the main mix may be
effectedbypressingtheswitchALT 3-4 TO MIX . To take advantage of the extra routing option you should
use the possibility to send signals to the Alt 3-4 outputs .
By depressing the ALT 3-4 PFL switch you can control the Alt 3-4 signal separately.
+Remember that when Alt 3-4 is in use, you do not have a channel mute facility on your desk:
you will have to pull down the fader to silence any channel.
2.4.8 Graphic equalizer
The graphic equalizer processes the main mix signal. This way you can adapt the main mix signal to the
roomacoustics or your personal taste. Each individual frequency band has up to 10 dB boost orcut. You can
engage the equalizer with the EQ IN switch , this is indicated by the illumination of the faders.
2.4.9 Digital effects processor
A special feature of the MX1804X is its integrated effects processor, which supplies the same quality, as our
well-known19"effects processor VIRTUALIZER. This effects moduleoffers 32 different standard effects like
reverb, chorus, flanger, delay, pitch shifter and various combination effects. With the FX sends in each
channelsin combination with the FX master send you can feed the signal to theeffects processor. Make
surethatthe LED level display on the effectsmodulealways displays a sufficiently high level,withoutthe
CLIP LED lighting up. With the two UP and DOWN buttons you can choose the desired preset. The
rate of change can be accelerated by pressing the opposite button while holding down the first. In order to
activate the selected preset, you press the ENTER button . The display shows the activated preset
number. You can choose the appropriate preset from the list to the right of the level display of the effects
module. By using the FX PROCESSOR DIRECT IN inputs , you can also connect an external signal
directly with the effect processor.
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EURORACKMX1804X
No. Preset name No. Preset name
1 Cathedral 1 17 Echo
2 Cathedral 2 18 Short Gated Reverb
3 Medium Plate 19 Medium Gated Reverb
4 Bright Plate 20 Slow Chorus
5 Small Hall 21 Medium Chorus
6 Medium Hall 22 Fast Chorus
7 Room 23 Medium Flanger
8 Medium Studio 24 Bright Flanger
9 Large Studio 25 Delay & Reverb
10 Medium Concert 26 Chorus & Medium Reverb
11 Large Concert 27 Chorus & Large Reverb
12 Stage 28 Flanger & Medium Reverb
13 Vocal 29 Flanger & Large Reverb
14 Percussion 30 Radio Speaker
15 Short Delay 31 Distortion
16 Medium Delay 32 Magic Pitch
Tab. 2.1: Presets of the internal effects processor
Cathedral:Reverbprogram thatgenerates longand densereverberation, muchlike thenatural reverbambience
foundin churches or cathedrals. Particularlysuitable for solo instrumentsand voices.
Plate: Thesoundof early reverb plates. A classicreverb program for drums and solovoices.
Hall: Simulation of a small, highly reverberating hall. Use short reverb times (Small Hall) to process drum
instruments or medium reverb times (Medium Hall) to enhance wind instruments.
Room: Youcan clearly hear the wallsofthisroomas they are reflecting thesound.Ausefulprogram for reverb
thatisn’tdirectlynoticable(rap, hip hop vocals) or to make dry recordingsofinstrumentssound natural again.
Veryall-roundeffect.
Studio: Middletolarge rooms. Creates a naturaland multipurpose sound.
Concert: Youcanchoosebetweenasmalltheater(Medium Concert)or large concert hall (Large Concert).
Stage: Wonderful reverb, for example, to provide keyboard pads or acoustic guitars with width and depth.
Designedforliveapplications and mixdown.
Vocal: Richanddensereverb with middle reverb times giving solo voices theirfinishingtouch.
Percussion: Thisdense reverb ischaracterizedbypronounced earlyreflectionswhichmake it verysuitablefor
dynamic signals (drums, percussion, slap bass, etc.).
Delay:Here, the input signal is delayed with several feedbacks.
Echo: Much like the delay effect, echo repeats the input signal with decaying intensity. However, here the
echoeslosebrilliancewith each repetition, which simulates the trendy “vintage”effectproducedbytapeecho
units that were widely used in the pre-digital era.
Gated Reverb: Phil Collins’song “In the airtonight”made this effect famous: areverb is cut off abruptly after
a certain time.
Flanger: An LFO constantly modulates the effect signal’s pitch by a few cents up and down. Flanger effects
are primarily used for guitars, but there are also lots of other useful applications: voices, cymbals, bass,
remixes, etc.
Chorus:Though similar to the flanger, chorus uses a delay function instead of feedback. Combined with the
pitchshifting feature, the delay producesaverypleasantdetune effect. Chorus effects areusedsooftenand in
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EURORACKMX1804X
such a variety of applications that any recommendation would mean a limitation of their use.
Pitch Shifter: This effect transposes the input signal to create harmonies or simply to widen the sound of a
singlevoice. The pitch shifter effect can also be used to produce a cartoon character type voice effect.
Delay & Reverb: Probablythemostpopularcombinationusedforvocals, solo guitars, etc. This program uses
abrightroom reverb which can be used for avarietyof applications.
Chorus & Reverb: Thisalgorithmcombines the popular chorus effect with the reverb effect.
Flanger & Reverb: In this program the flanger is combined with the reverb effect.
Radio speaker: This effect simulates a radio speaker. As a result you can manipulate the sound of your
music.
Distortion:Aclearlyup-to-date programforlo-fieffects applied tovocalsor drum loops,combinedwith a delay.
As a little extra the distortion circuit also includes an LFO-controlled notch filter which audibly wanders back
andforth with maximum distortion.
2.4.10Talkback, communication with musicians in a studio
As there is no talkback mic in the EURORACK, you will have to use a mono (mic) channel and a separate
microphone,routedvia the cue feeds to theartists headphones.
Thecuefeedwould benormallytaken fromAuxSend1,set topre-fader.The BEHRINGERPOWERPLAY PRO
HA4600headphone distribution amplifier provides up to fourseparateheadphonesmixesforperformers.
3. PRACTICE
3.1 Selecting inputs
1) Monochannels accept microphone or line inputs. If you areusingthemicrophoneinput,makesurenothing
isconnectedto the line input (and vice-versa).
Themic inputs are more sensitive thanthe line inputs. Do not connectmics with phantom power switched
on.
2) Stereo channels accept -10 dBV or +4 dBu line level signals. Any stereo channel can be run in mono
simply by connecting into the left jack socket only. These channels are suitable for a variety of line-level
sourcesincludingMIDIinstruments and Tape Returns from multitrack.
3) Stereoline inputsare primarily designed for returning effectsunits, though these too may begivenover to
multitrackreturns or MIDI instrument outputs.
3.2 Initializing 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) Whereapplicable, set LOW-CUT switch ON for most mics, OFFforsignalswithdesiredverylowfrequency
content.
4) Set CHANNEL MODE to PFL.
5) DepressPFL/SOLO switch.
3. PRACTICE

3.3 Auditioning a signal and setting up a channels
1) Makea typicalnoise,or roll the tape. There should alsobesome activity at the main L/Rbargraphmeters,
indicatingthePFLlevel.
2) For mic/line inputs: Adjust the GAIN control until transient peaks are regularly hitting +6 dB. Continuous
signals should not exceed 0 dB.
3) Forstereo line inputs: Adjustthesource’soutput gainuntiltransientsare regularly hitting +6dB.Continuous
signals should not exceed 0 dB.
4) If EQ is used, repeat steps 1) & 2).
5) If an insert is used to patch in a compressor, gate, EQ etc, use the outboard processor’s bypass or effect
offswitch to A/B monitor the effect. If it doesnot have a bypassswitch or equivalent, you will have to keep
connectingand disconnecting the deviceuntilyoucomplete the following procedure:Adjusttheprocessor’s
outputlevel so that effected and bypassed signals are ofcomparable level, i.e. unitygain.
6) PFL/SOLO switch UP. Move onto next channel.
3.4 Desk normalization
Allboard settings should besettothenormal default condition beforeoraftereverysession. Usually faders are
set to zero (minus infinity) EQ’s set flat and switched out, trimpots and channel aux sends turned fully
counterclockwiseetc.Manycontrolshave a natural initial setting. For EQ cut and boostthisiscentreposition.
However, some settings, such as selecting pre or post for channel aux sends, will depend on the operating
environment(e.g.studioorlive),oronaparticularengineer’spreferred way of working.
3.5 Multitrack initialization
Set up the multitrack so that any track in “record ready”condition has its input monitored when the tape is
stationary.Placealltrackstoberecordedinto“recordready”status.(Oncearecordinghas been made, these
tracks should automatically switch to tape playback.) Check that the input levels to each track are optimized
beforerecording commences.
3.6 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 withsomeheadroomleft. This is because,unlikewithanalog, the onset ofdigitaldistortion
is as sudden as it is horrible. If you really want to take your recording level to the limit (and fully exploit 16-bit
digital’s 96 dB dynamic range), you’ll have to do some calibrating. How to do it? Well, you could run a tone at
0dB from the mixer and use thatas your DAT reference. But your DAT may be way under its maximum input
limit.Probably a better way to workout just how hard youcan drive your recorder is toincrementally increase
the record level until the onset of digital distortion, subtract, say, 5 or 10 dB, and never exceed that level.
Engage“peakhold”onyourrecorderbefore recording if you want to confirm that youhaven’t.
Whenrecordingto analog, the tape machine’s VU metersshouldshowaround+3dBonbass,butonly around
-10dB for hihat.Althoughanalog distortionismorelike compression atmodestoverloadlevels (often desirable
on bottom end), higher frequencies cause saturation even at modest levels (an unpleasant “crunchiness”).
Also, VU meters tend to progressively under-read above 1 kHz, due to their sluggish response time. Hi-hats
shouldreadabout-10 dB on a VU meter, as against 0 dB for a typicalsnaredrum,and+3dBormoreforakick
drum.
Peakmetersreadmore-or-less independent of frequency. Aim for 0dBrecording level for all signals.
3.7 Track sheet
When laying out channels for recording or mixing, try to be sensible. Keep toms together, etc. Work out a
scheme that suits you and stick to it. A common order is: kick drum, snare, hi-hat, toms (as the audience
sees the kit), cymbals (ditto), bass, guitars, keyboards, other instruments, vocals. From session to session
and gig to gig you will soon know where you are without hardly ever having to look at your tracksheet.
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EURORACKMX1804X
4. APPLICATIONS
4.1 Live gig with simultaneous 2-track recording
Here some or all mono channels are likely to be tied up with stage mics. Carefully position these so as to
minimize feedback. Try to keep the stage volume as low as possible, as stage sound can interfere with and
muddyFOH sound,aswell ascausinga reductioninfeedback thresholds.Don’tforgettonotchouttroublesome
frequencies using a graphic (e.g. our ULTRA-GRAPH PRO GEQ3102) or parametric equalizer (e.g. our
ULTRA-Q PROPEQ2200), or our FEEDBACK DESTROYER DSP1124P.
Use the low-cut filters to eliminate floor rumble, mics popping etc.
Tryusing a compressor and noise gate on vocals, bass, guitar and even drums via channel insert.
Input Source Routing Mic/Line Mono/Stereo
1 Vocals Main Mix Mic Mono
2 Bass Drum Alt 3-4 Mic Mono
3 Snare Drum Alt 3-4 Mic Mono
4 Overhead L Alt 3-4 Mic Mono
5 Overhead R Alt 3-4 Mic Mono
6 Bass Main Mix Mic Mono
7/8 Keyboard 1 Main Mix Line Stereo
9/10 Keyboard 2 Main Mix Line Stereo
11/12 Keyboard 3 Main Mix Line Stereo
13/14 Keyboard 4 Main Mix Line Stereo
Aux Return 1 Playback from MTR Stereo
FX Return Effects Return Stereo
Tab. 4.1: Use of the inputs of your MX1804X
Output Application
Alt 3-4 Drum Submix
Aux Send 1 Headphones (pre-fader)
FX Send int. Effect (post-fader)
Main Mix Recording DAT
Control Room out Poweramp. (FOH mix)
Tab. 4.2: Use of the outputs of your MX1804X
4.2 MIDI project studio
8-track MIDI project studio with sampler, 8-track recording system, one vocal mic and two effects units:
Withlargelycomputer-generated music you will want to haveplentyofLineinputs,andan ability to take vocals
quickly, efficiently, and with minimal desk disturbance. Often a vocal line is added after the music is almost
complete. For this we try not to use a valuable aux send as a cue feed. In general, the mix in the artist’s
headphones can be the same as that going into the control room monitors: basically a stereo mix with 1) the
vocalchannelraisedabovethe“mix”levelinvolumeand2)anyoff-puttingchannelsmuted.
If you intend to take several tracks in quick succession, you can route the channel via the Alt 3-4 bus
simultaneously into all tape tracks via a simple junction box, splitter lead, line mixer like our
ULTRALINK PRO MX882,or patchbay,likeourULTRAPATCH PROPX2000.
Note: When using Alt 3-4 to send to tape, you can either audition the signal via the tape recorder track, or by
assigning Alt 3-4 to the control room monitors, or both. If you are auditioning the vocalist via both routes, the
voiceshould appear louder toyou(andthesinger) during a take,butbeset properly in themixduringplayback.
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EURORACKMX1804X
By a benign twist of fate, this is usually exactly want you (and they) want.
Input Source Routing Mic/Line Mono/Stereo
1 Vocals Alt 3-4 Mic Mono
2 Tape Main Mix Line Mono
3 Tape Main Mix Line Mono
4 Tape Main Mix Line Mono
5 Tape Main Mix Line Mono
6 Tape Main Mix Line Mono
7/8 Sampler 1 Main Mix Line Stereo
9/10 Sampler 2 Main Mix Line Stereo
11/12 Sampler 2 Main Mix Line Stereo
13/14 Sampler 4 Main Mix Line Stereo
Aux Return 1 ext. Effect Stereo
FX Return int. Effect Stereo
Tab. 4.3: Use of the inputs of your MX1804X
Input Application
Recording (multitrack) Alt 3-4
Aux Send 1 ext. Effect
FX Send int. Effect
Main Mix Recording (DAT)
Control Room out Monitor Speaker
Tab. 4.4: Use of the outputs of your MX1804X
4.3 Patchbay
Apatchbayallowsto patch the audio signals of most componentsinyourstudio from a central point and send
them to other units, which makes your entire cabling better structured and is indispensable for professional
work. Ifyouwantto use your studio as effectively as possible thenitispreferable to use a complete patchbay
wiringscheme, but even less sophisticated patchbay solutions will benefit smaller studio configurations.
4.3.1 Patchbay configuration
Themajorityofcommerciallyavailablepatchbaysincludetworowswith 24 phone jacks each in a 19" 1 U rack
panel.Ontherear, either a corresponding number of phone jacks or contacts for soldering signal leads can be
found.Each groupoffourof these phonejacksforms one module.Theconfigurationof somePatchbayscanbe
changedbyinsertingjumpersorturningindividualmodules.
WiththehelpofourULTRAPATCHPRO PX2000,aneasy-to-use 24-patchbayofferingphonejacksthroughout,
youcaneasilyunderstandthefourdifferentmodes.WiththeULTRAPATCHPROyoucanselectbetweenthe
fourdifferent operating modes simply bysetting a switch on theupper panel (example: module 17):
4.3.2 Parallel
Fig.4.1:Patchbay mode “parallel”
Inthismode,allterminals ofonemoduleareinterconnected.Thisconfigurationdoesn’tmakesenseatfirstglance
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EURORACKMX1804X
but is used to split up and send one audio signal (e.g. Aux Send) to several destinations (e.g. effects devices).
4.3.3 Half-normalled
Fig.4.2:Patchbaymode“half-normalled”
Inthis configuration,thecontacts ofthetwojacks ontherear areinterconnected.When youinsertaplug intothe
upperfront jack,thesignalrouted through therearpathis notinterrupted.Onlywhen the lowerfrontjackis 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.Thisconfigurationis called“inputbreak”andis usedmainlyforinsertpaths. So youcaneasilypatchthe
signal from a mixing console channel at the Patchbay without interrupting the signal flow in the channel.
4.3.4 Normalled
Fig.4.3:Patchbay mode “normalled”
Here,andincontrasttothe“half-normalled”setup,the signal route of the rear phone jacks isinterruptedwhen
you insert a plug both into the upper and lower front jacks.
4.3.5 Open
Fig.4.4: Patchbay mode “open”
Thismode is used toconnectdevicessuch as soundmodulesorCDplayers having noinputsoftheirown. This
saves space, as you can route the left and right outputs to one module (left - top; right - bottom) or patch two
devicesto one module (top andbottom).Effectsdevicesand2-tracks can be configuredthisway,sotheinputs
andoutputs are positioned on top of eachother.
Basically, the inputs are routed to the bottom and the outputs to the top rear-wall connectors. Avoid routing
digital signals over a patchbay as the pulse signal used for the transmission of such signals causes heavy
interferencein analog signals. Additionally, normal patchbayschangetheimpedanceofthe digital cable route,
which causes interference in the digital path. Use the BEHRINGER ULTRAMATCH SRC2000 specifically
designedforthisand other digital signal-related functions.
Microphone inputs operate at a level several orders of magnitude lower than line levels (+4 dBu or -10 dBV).
Therefore,theyshouldneverberoutedviaapatchbay.Inanycase,patchinginafieldwith48VDC(phantompower)
flyingaboutistobeavoidedatallcosts.ItisbesttoplugmicsdirectlyintothemixingconsoleorviaspecialXLR-type
wallboxesconnectedtothemicinputsoftheconsolebygood-qualitybalancedmulticorecables(2-cond.+shield).
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EURORACKMX1804X
4.3.6 Patchbay organization
Let us give you an example configuration that shows how you can most effectively use your patchbays. We
assume you own a mixing console with 16 mic/line inputs plus inserts, 8 direct outputs, 8 subgroups with 4
inserts,4auxpathswith 2 stereo returns and one stereo master output including insert jacks. Added to this we
have an 8-track recorder (digital or analog), a few pieces of outboard equipment (FX, dynamics & EQ’s), a
CD player, tape deck, HiFi system and a headphones amp:
1
2
3
4
Fig. 4.1: 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
differenttrack of the multitrack. Tosavespaceandprovidea clearly structured configuration, thedirectoutputs
areconnected both tothe top and bottom jacks. Modules 17 & 18 are the stereo master output, which is half-
normalled 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-track inputs of the mixing console. So it always is possible to control the recorded data on the 2-track from
the mixing console. The CD player and the HiFi system are connected to modules 23 & 24, which are open,
because they only serve as a source.
In patchbay
2
the first 16 modules are normalled (1 through 8 IN could also be used to connect the
correspondingmonitor inputs—iftheconsolehasaseparate monitor section). MIDIdevicessuchassamplers,
expanders,keyboards, etc.areusuallyset upineverycorner oftheroom.To makethecablingbetter structured
we route these units to modules 9 through 16. This allows further workmanship of the MIDI devices at the
mixingconsole. Modules17through20 arenormalledandhave the FXinputsand the auxsendsconnected,21
through 24 are also normalled and are patched to the two stereo aux returns with the FX outputs.
4. APPLICATIONS