Behringer Eurorack MX2642A, Руководство пользователя

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EURORACK MX2642A
8. SETTING UP
8.1 Selecting 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).
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The mic inputs are more sensitive than the line inputs. Do not connect mics with phantom
power switched on. NEVER use unbalanced mic cables with the phantom power switched on
ever! Sh48 V to earth can cause serious damage.
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
sources including MIDI instruments and tape returns from multitrack.
3) Stereo line inputs are primarily designed for returning effects units, though these too may be given over to
multitrack returns or MIDI instrument outputs.
8.2 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) Where applicable, set Lo Cut switch (S2) “On” for most mics, “Off” for signals with desired very low frequency
content.
4) Set channel mode to PFL (S37 up).
5) Depress SOLO/PFL (S14) switch.
8.3 Auditioning a Signal and Setting up a Channel
1) Make a typical noise, or roll the tape. There should also be some activity at the main L/R bargraph meters,
indicating the PFL level.
2) For Mic/Line inputs: Adjust the GAIN control (P1) until transient peaks are regularly h6 dB. Continuous
signals should not exceed 0 dB.
3) For stereo line inputs: Adjust the GAIN control (P22) until transient peaks are regularly h6 dB.
Continuous signals should not exceed 0 dB.
4) If EQ is used, repeat steps 8.2 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 effect. If it does not have a bypass switch or equivalent, you will have to keep
connecting and disconnecting the device until you complete the following procedure: Adjust the processor’s
output level so that effected and bypassed signals are of comparable level, ie “unity” gain.
6) SOLO/PFL switch (S14) up. Move onto next channel.
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) EQ’s set flat and switched out, trimpots and channel aux sends turned fully
counterclockwise etc. Many controls have a natural initial setting. For EQ cut and boost this is centre position.
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.
8.5 Multitrack Initialization
Set up the multitrack so that any track in “record ready” condition has its 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.) Check that the input levels to each track are optimized
before recording commences.
8. SETTING UP
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