Xenyx Eurodesk SX3282 User Manual - Multitrack Initialization
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EURODESK SX3282 User Manual
21
Channel
Inputs
Source
Subgroup/Track
Mic/Line
mono/
stereo
24
Effects 2
mix
L
s
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)
The layout shown in tab. 10.4 corresponds to the music overdub
situation once all bass & drum takes have been completed. We
have re-patched tape 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 1-24 won’t work properly (live mics picking up extrane-
ous 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-ups like percus-
sion parts.
(Tab. 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-
toms and overhead mics.
Multitrack Initialization
10.5
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.
Recording Levels
10.6
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-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 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 -10 dB for hi hat.
Although analog distortion is more like compression at modest
overload levels (often desirable on bottom end), higher frequen-
cies 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 should
read about -10 dB 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-less independent of frequency. Aim for
0 dB recording level for all signals.
Track Sheet
10.7
When laying out channels for recording or mixing, try to be sen-
sible. Keep tom-toms together, 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 (ditto), 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.
Tab. 10.4: SX3282 example: 16-track studio recording “overdubs”