Xenyx Eurodesk SX3282 User Manual - Monitoring
ENGLISH
EURODESK SX3282 User Manual
11
When carrying out the setup mentioned above or any other
stereo imaging exercise, don’t just rely on the control room moni-
tors. 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
(44)
and Solo switch
(43)
each. These are always assigned to the
main bus.
Solo
Below the aux returns
1
/
3
and
2
/
4
lies a local Solo LED
(42)
. This
flashes whenever a solo button in the column above is pressed.
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.
Monitoring
6.2
Though most of you will want to audition the main mix most
of the time, there are exceptions. These include Solo/PFL and
2-track playback
(30)
. 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
(28)
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
(29)
, useful for checking the phase
correlation and/or coherence of a stereo signal. Again, this does
not affect the main mix output.
Headphones
6.3
The headphones may be sourced from the monitor/control room
mix
(27)
, and/or from pre-fader aux sends ½
(26)
or switchable pre/
post aux sends ∕
6
(25)
for artist cueing. Two headphones sockets
are provided on the back panel.
The headphone mix level is controlled by a LEVEL pot
(24)
, 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-XL HA4700 is
recommended. This can offer the added advantage of indepen-
dent headphones level control for every performer.
Solo/PFL
6.4
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 always post-fader.
PFL
Pressing the channel mode switch
(38)
once disengages the stereo
solo bus, and replaces it with a separate mono PFL (Pre-Fader
Listen) bus. Now any channel which is solo-ed, isn’t. It is PFL-ed
instead. PFL should always be used for gain-setting.
The channel mode (PFL or Solo) is indicated by a pair of status
LEDs (located below the bargraph meter
(40)
), pot
(39)
controls
the solo level, which will normally be set to unity gain (center
detent) to match the in-the-mix level (see also the essential
section 8 “Setting up”).
2-Track Input and Output
6.5
The 2-track input is on unbalanced RCA phono plugs, and is
primarily made for auditioning mix playback from tape. The
2-TRACK switch
(30)
routes this signal to the control room
monitors.
With the MON/CTR Level control
(28)
fully clockwise, your
2-track input will be matched to the semi-professional level -
10 dBV. For higher output recording sources (e.g. +4 dBu) turn
the level of
(28)
down.
The 2-track input could usefully be connected to the output
◊
of a hi-fi pre-amp or integrated amplifier, allowing you to
easily audition a variety of sources (e.g. CD, phono etc.).
2-track output
A pair of balanced XLR and jack connectors deliver the mix
output to your 2-track recorder (or PA system) at +4 dBu. Alter-
native RCA phono (-10 dBV) connectors are provided, too.
Level to tape is ultimately determined by precision faders
(31)
. Main mix insert points are provided for patching a gate,