Behringer MX3282A - Manual (Page 29)

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EURODESK MX3282A
Check that the input levels to each track are optimized before recording commences.
10.6 Recording Levels
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 frequencies 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.
10.7 Track Sheet
When laying out channels for recording or mixing, try to be sensible. 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 (dito), 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.
11. TECHNICAL BACKGROUND
11.1 Mixing
11.1.1 Equalization
In the beginning, EQ was an instrument for removing unwanted frequencies, or compensating for imperfect
microphone response curves, or bumps in a studio’s acoustic. It was a corrective device. Tamla Motown turned
that notion upside down in the sixties with the novel idea that you try to find for each instrument a characteristic
frequency not shared by the other instruments in the mix. Then you whack up its gain. This makes individual
voices punch through a mix in a slightly unnatural but exciting way.
In general, corrective EQ usually involves broadband (slope) contouring, together with narrowband notching of
unwanted resonances. The narrower the notch or “Q”, the less the total signal will be affected.
Finding bad resonances is made easier by first frequency sweeping in BOOST mode.
“Motown” EQ is achieved by applying boost in a fairly broadband way. The broader the band, the more
musical but less instrument-specific the effect. Applying boost over a narrow bandwidth will sound “honky”.
For sounds which require drastic corrective EQ, it is advisable to have a couple of channels of fully comprehensive
parametric equalization in your rack. (You can always bounce tracks through the outboard EQ, freeing up the
unit for the next task).
Check out the BEHRINGER ULTRA-CURVE PRO DSP8024, a superlative digital stereo equalizer and much,
much more. Or our ULTRA-Q PRO PEQ2200 5-band constant-Q state-variable analog EQ.
For “advanced equalization”, EQ might be applied to a signal as follows: First, trim the LF and HF shelves to
achieve the required slope or “loudness”. Now use a parametric EQ band to boost the most significant frequency
for each instrument or tape track. Over all channels, if two or more of these frequencies coincide, then you
might have to settle for second best in some cases, if you want to achieve optimum separation in the mix.
Really nasty frequencies will need notching out.
11. TECHNICAL BACKGROUND