Behringer UB1204FX-PRO - Manual (Page 8)

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EURORACK UB1204
-PRO
/UB1204FX
-PRO
2.3.4 Stereo aux return
Fig. 2.9: Stereo aux return controls
STEREO AUX RETURN 1
STEREO AUX RETURN 1 is a stereo control which determines
the level of the signal in the main mix. If STEREO AUX RETURN 1
is used as effects return, you can add the effects signal to any
“dry” channel signal.
+
In this instance, the effects device should be set at
100% effect.
STEREO AUX RETURN MON
The STEREO AUX RETURN MON control has a special
function: it can be used to add an effect to a monitor mix. For
example:
Monitor mix with effect
In this instance, the effects device should be set up as follows:
AUX SEND 2 is connected to the L/Mono input of your effects
device, while its outputs are connected to STEREO AUX RETURN
1. Connect the amplifier of your monitor system to AUX SEND 1.
The AUX SEND 1 master control determines the volume of the
monitor mix.
You can now use the STEREO AUX RETURN MON control to
adjust the level of the effects signal routed to the monitor mix.
You can easily use the headphones distribution amplifier
BEHRINGER POWERPLAY PRO HA4600/HA4700/HA8000 to
provide you with four (or eight with the HA8000) stereo
headphone mixes for your studio.
STEREO AUX RETURN 2 (FX)
The STEREO AUX RETURN 2 control determines the level of
signals fed into the AUX RETURN 2 connectors which are routed
to the main mix.
MAIN MIX/ALT 3-4
The MAIN MIX/ALT 3-4 switch routes the signal connected to
STEREO AUX RETURN 2 to either main mix (not pressed) or
submix (Alt 3-4, pressed).
2.3.5 Tape input / tape output
Fig. 2.10: 2-track connectors
TAPE INPUT
The TAPE INPUT RCA connectors are provided for connecting
a 2 track machine (e.g. DAT recorder). They can also be used as
stereo line input. Alternatively, the output signal of a second
EURORACK or BEHRINGER ULTRALINK PRO MX882 can also be
connected. If you connect a hi-fi amplifier with a source selection
switch to the TAPE INPUT, you can easily switch between
additional sources (e.g. cassette recorder, CD player, etc.).
TAPE OUTPUT
These connectors are wired in parallel with the MAIN OUT and
carry the main mix signal (unbalanced). Connect the TAPE
OUTPUT to the inputs of your recording device. The final output
level can be adjusted via the high-precision MAIN MIX fader.
+
If you connect a compressor or a noise gate after
the 2-track output, the faders will probably not be
able to create a satisfactory fade-out effect.
2.3.6 Level meter and monitoring
Fig. 2.11: Control room/phones section, level meter
TAPE
The TAPE switch routes the signal from the TAPE IN connectors
to the level meter, the CONTROL ROOM OUT outputs and the
PHONES connector—this is a simple way to check recorded
signals via monitor speakers or headphones.
ALT 3-4
Similarly, the ALT 3-4 switch routes the signal from the
Alt 3-4 bus to the same path for monitoring purposes.
MAIN MIX
The MAIN MIX switch sends the main mix signal to the above-
mentioned outputs and to the level meter.
CTRL R. & PHONES
Use this control to set control room output level and head-
phones volume respectively.
TAPE TO MAIN
When the TAPE TO MAIN switch is depressed, the 2-track
input is routed to the main mix and thus serves as an additional
input for tape machines. You can also connect MIDI instruments
or other signal sources here that do not require any further
processing. At the same time, this switch disables the main mix
to tape output link.
POWER
The blue POWER LED indicates that the device is switched
on.
+48 V
The red “+48 V” LED lights up when the phantom power supply
is switched on. The phantom power supply is necessary for
condenser microphones and is activated using the switch on
the rear of the device.
+
Please do not connect microphones to the mixer
(or the stagebox/wallbox) while the phantom
power supply is switched on. Connect micro-
phones before you switch on the power supply.
In addition, the monitor/PA loudspeakers should
be muted before you activate the phantom power
supply. After switching on, wait approx. one minute
to allow for system stabilization.
LEVEL METER
The high-precision level meter accurately displays the
appropriate signal level.
LEVEL SETTING:
When recording to a digital device, the recorder’s peak meter
should not exceed 0 dB. This is because, unlike analog recordings,
slightly excessive levels can create unpleasant digital distortion.
When recording to an analog device, the VU meters of the
recording machine should reach approx. +3 dB with low-
frequency signals (e.g. kick drum). Due to their inertia VU meters
tend to display too low a signal level at frequencies above 1 kHz.
This is why, for example, a Hi-Hat should only be driven as far
as -10 dB. Snare drums should be driven to approx. 0 dB.
2. CONTROL ELEMENTS AND CONNECTORS