Behringer MX9000 User Manual
Page 45
45
Channels
Source
FOH
FX
Wedges / monitoring
1
Kick
Subgroups 1 and 2 / MIX-B
-
Aux send 1 and 2
2
Snare
Subgroups 1 and 2 / MIX-B
Aux send 4
Aux send 1 and 2
3
Hi Hat
Subgroups 1 and 2 / MIX-B
-
Aux send 1 and 2
4
Tom 1
Subgroups 1 and 2 / MIX-B
Aux send 4
-
5
Tom 2
Subgroups 1 and 2 / MIX-B
Aux send 4
-
6
Tom 3
Subgroups 1 and 2 / MIX-B
Aux send 4
-
7
Tom 4
Subgroups 1 and 2 / MIX-B
Aux send 4
-
8
Cymbals (overheads) Subgroups 1 and 2 / MIX-B
-
-
9
Keyboards L
Subgroups 3 and 4 / MIX-B
-
Aux send 1 and 2
10
Keyboards R
Subgroups 3 and 4 / MIX-B
-
Aux send 1 and 2
11
Bass DI
Main mix / MIX-B
-
Aux send 1 and 2
12
Trumpet
Subgroups 5 and 6 / MIX-B
Aux send 5
Aux send 2
13
Trombone
Subgroups 5 and 6 / MIX-B
Aux send 5
Aux send 2
14
Sax
Subgroups 5 and 6 / MIX-B
Aux send 5
Aux send 2
15
BVs 1
Subgroups 7 and 8 / MIX-B Aux send 5 and 6
Aux send 1 and 2
16
BVs 2
Subgroups 7 and 8 / MIX-B Aux send 5 and 6
Aux send 1 and 2
17
BVs 3
Subgroups 7 and 8 / MIX-B Aux send 5 and 6
Aux send 1 and 2
18
Conga L
Main mix / MIX-B
-
Aux send 2
19
Conga R
Main mix / MIX-B
-
Aux send 2
20
Guitar 1 microphone
Main mix / MIX-B
-
Aux send 1 and 2
21
Guitar 2 microphone
Main mix / MIX-B
-
Aux send 1 and 2
22
Lead vocal
Main mix / MIX-B
Aux send 5 and 6
Aux send 1 and 2
23
FX 1 L
Main mix / MIX-B
-
-
24
FX 1 R
Main mix / MIX-B
-
-
Tab. 17.1: Channel assignments 2-track
Every B-channel has its own LEVEL, PAN and HIGH and LOW EQ. MIX-B in fact is acting here like a totally
independent separate mixer, albeit with fewer facilities than the main mix. The primary stereo reverb/echo
unit's outputs have been patched into A-channels rather than an aux return, to enable them to be sent to the
MAIN MIX and MIX-B independently.
+
S48 is UP, i.e. MIX-B is NOT blended into the main mix.
+
Bringing the DAT back on aux 1 return P49 (as opposed to the 2-track or external inputs)
enables not only auditioning of DAT playback, but also balancing playback level against the
main mix, in case you also want to use it to play a pre-recorded intro tape to set the scene for
the coming performance.
+
Be sure to have aux return 1 turned all the way down or de-assigned when recording to DAT.
Otherwise expect massive and terminal (as far as the P.A. and gig are concerned) howlround.