Behringer MX9000 - Manual (Page 37)

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13.1.2 Initializing channel for gain-setting
1) Set GAIN (P2) and all aux sends (P12,13,14 and 15) to OFF (fully counterclockwise).
2) EQ switch (S10) UP (off).
3) LOW CUT switch (S11) ON for microphones, OFF for signals with desired low frequency content.
4) CHANNEL MODE set to PFL (S95 UP).
5) Channel PFL/SOLO (S26) switch UP (L26 off).
6) Check that main PFL/SOLO LED (L95) is not lit.
7) Channel PFL/SOLO switch (S26) DOWN (L26 and L95 should light).
13.1.3 Auditioning a signal
1) Make a typical noise, or roll the tape. The -20 dB light should flicker, showing that a signal is present.
There should also be some activity at the MAIN MIX bargraph meters, indicating the SOLOed level.
2) For LINE INPUTS: Adjust GAIN control (P2) until transient peaks are regularly hitting 0 dB.
3) For MIC INPUTS: If your meters are reading 0 dB although the GAIN control is completely turned
counterclockwise, push the PAD switch (S1a) to lower the input signal by 20 dB before you continue the
gain adjustment.
4) TAPE inputs do not pass through the GAIN pot (P2). This is why it is important to match the operating level
of the desk (-10 dBV or +4 dBu) to that of your machine. If the signal is low (due to incorrect operating
level setting or too low a level having been recorded to tape), try the -10 dBV setting. If too high, try
+4 dBu. If neither gives a good level, try patching the tape track output into a line input and repeat steps
13.1.1 and 13.1.2.
5) lf EQ is used, repeat steps 13.1.1 & 13.1.2.
6) If an insert is used to patch in a compressor, gate, EQ, etc., use any outboard processor’s BYPASS or
EFFECT OFF switch to A/B monitor the effect. Adjust the processor’s output level so that effected and
bypassed signals are level matched.
7) Channel PFL/SOLO switch (S26) UP. Move onto next channel.
13.2 Desk/tape setting up procedures
13.2.1Desk 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), EQs set flat and switched out, trimpots and channel aux sends turned fully
anticlockwise etc. The natural initial setting for some pots, e.g. master aux sends, is unity gain. However,
some settings, such as selecting PRE or POST for channel aux sends and whether TAPE or MIC/LINE is
flipped onto B-channel etc. will depend on the operating environment, whether in a MIDI or A/V suite, 24-track
studio or live venue, or even just on the engineer’s preferred way of working. Ultimately, the object of the
excercise is:
13.2.2 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.
13.2.3 Recording levels
When recording to digital, it’s a good idea to keep the recorder’s PEAK READING meters below 0 dB. Engage
“peak hold” on your recorder if you want to confirm that you haven’t inadvertently overstepped the mark during
a take or mix. Most digital recorders (though not 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, and the manufacturers