Behringer MX3282A - Manual (Page 23)

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EURODESK MX3282A
In patchbay 3 , modules 1 through 16 are for the channel insert. These modules are half-normalled, so that
you have an additional route for the channel signals. The same applies to the insert paths of the subgroups and
the master output. The headphones amp is connected to 23 & 24, which are normalled and connected to the
control room outputs of the mixing console. Of course, you can also use pre-fader aux paths for the headphones
mix.
Patchbay 4 manages the dynamics and frequency-processing devices in an open configuration (modules 1
through 16). Multigates and Compressors should be used here, in particular. Modules 17 through 24 are used
to provide a “parallel split”, i.e. two modules are patched to each other on the rear with one patch cord, so that
you can split up a signal applied on the front panel to several destinations. These modules have a parallel
configuration.
It should be noted that patchbays should be placed one below the other in such a way that the patch cords
won’t hang all over the patchbays. In our example you don’t have to span great distances, for instance, to patch
the dynamics and EQ’s to the insert paths.
9.6 Looming Problems
Loom wiring is an art unto itself, and it is worth taking time out to get it right. First off, it is important to avoid
earth loops (a looped wire acts an aerial, picking up hum and electromagnetic radiation). Think of a tree. Every
part of that tree is connected to every other part, but only by one route. That’s how the total earth picture for
your entire studio should look. Don’t take the earth off your power cable plug to reduce audible
50 Hz mains hum. Rather you should be looking at disconnecting the signal screen somewhere (one or several
audio cables).
It is good practice to ensure that all screens are commoned at the patchbay, in which case all unearthed
equipment would pick up earth from this point via a single screen (more than one route = an earth loop), while
mains-earthed equipment would have all screens cut at the equipment end.
Some quality equipment has an independent signal and mains earth. In this case at least one screen should
carry earth to the equipment. Sometimes the only way to find out is “suck and see”.
Take care to ensure that using the patchbay does not disturb the studio’s earth architecture. Always use short
as possible patch leads with the screen connected at both ends.
Having designed mains hum out of the system, make up your cable looms from the patchbays outwards, and
use cable ties, flexible sheaths, multicores, etc. to keep the back of your racks tidy.
10. APPLICATIONS
10.1 Keyboard Submixing
MIDI keyboard sub-mixing, live or in the studio, sequenced and/or played. This is relatively simple to achieve.
Simply use the line inputs to mix stereo or mono outputs from your keyboards. Subgrouping may be useful
en route to the mix, e.g. to control the level of drums versus music. Aux sends may be used either to feed
on-stage monitors, artists headphones or effects units. You might want to use the stereo aux inputs for
instruments with built-in EQ, since there is no EQ on these inputs. Effects could be brought back on any line
input. The main L R output should feed the front-of-house or main studio console.
10.2 Live Concert with Simultaneous 8-Track Recording
Here some or all mono channels are likely to be tied up with stage mics. Carefully choose the right position so
as to minimize feedback. Try to keep the stage volume as low as possible, as stage sound can cause a muddy
front-of-house (FOH) sound. Don’t forget to notch out troublesome frequencies using a graphic or parametric
equalizer, or Feedback Destroyer (see the BEHRINGER FEEDBACK DESTROYER PRO DSP1124P and the
BEHRINGER ULTRA-CURVE PRO DSP8024 which does all of these and more.)
The effects used in the FOH mix will not be recorded to multitrack. These can be added later during mixdown.
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Use the LO CUT filters to eliminate floor rumble, mics popping etc.
10. APPLICATIONS