Behringer MX9000 - Manual (Page 48)

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19. EXPANDING THE EURODESK MX9000
19.1 Connections
The EXPANDER PORT is input only, and provides access to all but the PFL/SOLO buses. Since the nominal
internal operating level of your EURODESK MX9000 is 0 dB, and that at the jack outputs +4 dB, the sends
from the outputs of console 2 must be attenuated by +4 dB if unity gain between it and the primary console is
to be maintained. Wiring is as follows:
EURODESK 2
> -4 dB > EURODESK 1
Subgroup outputs 1 to 8 > -4 dB > EXPANDER PORT subgroup inputs 1 to 8
Aux outputs 1 to 6 > -4 dB > EXPANDER PORT aux inputs 1 to 6
Main mix output > -4 dB > EXPANDER PORT main mix inputs
MIX-B output > -4 dB > EXPANDER PORT MIX-B input
Another manufacturer’s desk > -X dB > EURODESK 1
Subgroup outputs 1 to 8 > -X dB > EXPANDER PORT subgroup inputs 1 to 8
Aux outputs 1 to 6 > -X dB > EXPANDER PORT aux inputs 1 to 6
Main mix output > -X dB > EXPANDER PORT main mix inputs
MIX-B output > -X dB > EXPANDER PORT MIX-B input
19.2 Alignment
To find out the value of “X” align the consoles in the following way. Patch a 1 kHz sine tone (or play a sustained
B above middle C on a keyboard) into a channel on each console. Set up each console so that the signal
produces unity gain (0 dB) at every output (use each console's PFL or equivalent function to do this). Now,
connect the outputs of the second console into the EURODESK EXPANDER PORT. Mute the channel on the
EURODESK carrying the signal, and look at the EURODESK outputs. Systematically adjust the reading on
each bus until they all read 0 dB by adjusting the master send levels of console 2 (i.e.: master aux send
controls, main mix master faders, subgroup faders, etc.).
20. TIMECODE
In analog multitrack recording timecode usually goes down on the edge of the tape: track 8, 16 or 24, with the
adjacent track left clear (GUARD BAND) to stop bleeding between recorded tracks and code. Digital formats
do not waste any audio tracks on timecode: a separate sync is provided.
Ideally, timecode should be patched from the multitrack out directly into the synchronizer input. Normally, a 24
track tape is striped with timecode before a session commences. Any sequenced music, click track, mix
automation is then referenced to it.
Always check sync before laying down any sequenced music: record a click track, then check to see that a
“live” playback doesn't drift. Timecode comes in various formats. The general rule is: format (and make/
model) of timecode generator must be matched to the reader. This shouldn't be a problem if recording and
mixing take place in-house and under one roof. It's when tapes move around that problems arise (be sure to
include every conceivable technical detail on a tracksheet accompanying the master tape). Fortunately, there
are ways to generate fresh in-sync timecode even where none existed in the first place, otherwise most
remixes would never happen. You (and I) would rather not have to, though, since it takes time, effort, and an
intelligent “learning” synchronizer to do it.
If the gain from the recorder is too low to drive the sync unit,
1) re-stripe at a higher level or
2) amplify the recorded timecode somehow, possibly via a desk channel not routed to any of the main buses.
In this case use the channel's direct out to drive the synchronizer's input, in order to keep the timecode as
remote as possible from the audio (timecode crosses over like nothing else I know).