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17 EURODESK SX3282 User Manual
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. Theheadphones 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-fader aux paths for the headphones mix.
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.
9.5 Looming Problems
Loom wiring is an art unto itself, and it is worth taking time out to get it right.
First o, it is important to avoid earth loops (a looped wire acts an aerial,
pickingup 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
o 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,
inwhich case all unearthed equipment would pick up earth from this point via
a single screen (more than one route = an earth loop), while mains-earthed
equipment would have all screens cut at the equipment end.
Some quality equipment has an independent signal and mains earth. In this case
at least one screen should carry earth to the equipment. Sometimes the only way
to nd 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, exible 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. Thisis
relatively simple to achieve. Simply use the line inputs to mix stereo or mono
outputs from your keyboards. Subgrouping may be useful en route to the mix,
e.g. to control the level of drums versus music. Aux sends may be used either to
feed on-stage monitors, artists headphones or eects units. You might want
to use the stereo aux inputs for instruments with built-in EQ, since there is no
EQon these inputs. Eects could be brought back on any line input. The main L R
output should feed the front-of-house or main studio console.
10.2 Live Concert with Simultaneous
8-Track Recording
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 ULTRACURVE PRODEQ2496 which
does all of these and more.)
The eects used in the FOH mix will not be recorded to multitrack. These can be
added later during mixdown.
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 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 Eects 1 Mix (stereo) L s
27/28 Eects 2 Mix (stereo) L s
29/30 Intro Tape Mix (stereo) L s
31/32 CD Mix (stereo) L s
Aux Return 1 Eects 3 Mix (stereo) L s
Aux Return 2 Eects 4 Mix (stereo) L s
Aux Return 3 Eects 5 Mix (stereo) L s
Aux Return 4 Eects 6 Mix (stereo) L s
Subgroup
Outputs
— > Main Mix / tracks 1 to 8 — —
Aux Output 1 —
> Cue 1 (pre fader) >
Floor monitors 1
— —
Aux Output 2 —
> Cue 2 (pre fader) >
Floor monitors 2
— —
Aux Output 3 — > Eects 1 — —
Aux Output 4 — > Eects 2 — —
Aux Output 5 — > Eects 3 — —
Aux Output 6 — > Eects 4 — —
Aux Output 7 — > Eects 5 — —
Aux Output 8 — > Eects 6 — —
Mix Output L — > Graphic EQ (Insert) > FOH — —
Mix Output R — > Graphic EQ (Insert) > FOH — —
Monitor Out L — > Sidells (Main Stereo Feed) — —
Monitor Out R — > Sidells (Main Stereo Feed) — —
Tab. 10.1: SX3282 tracksheet for live concert and simultaneous recording
◊ Use the LO CUT filters ( 6 ) to eliminate floor rumble, mics popping etc.
◊ Try using a compressor and noise gate on vocals, bass guitar and even
drums via channel insert.
◊ Effects may be a little over-the-top for a live band (not so for a dance
act!). You might want to have 2 effects sends, but six independent cue
feeds for on-stage monitoring.
◊ 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).