Behringer MX2442A - Manual (Page 20)

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EURODESK MX2442A
9. MIXING TOPICS
9.2 Gain Optimization
PFL (Pre-Fader-Listening) is the way to set a desk level. Setting up the channel input gain is discussed in the
essential sections 3 & 4. Optimum master aux send levels will be dependent on the sensitivity of the FX device
being driven, but unity gain is a useful starting point. As the mix progresses, more and more channels are likely
to be sending to effects via the aux buses, and it’s best to PFL all sends (aux, subgroup) just before setting up
for the final mix.
Outboard reverbs etc. should all be made to work hard. There’s no point in having an 85 dB dynamic range if the
input meter of your reverb is barely flickering. On the other hand, digital distortion is not one of the nicer noises
around. Fortunately, you can SOLO the FX returns. Here, you’ll have to trust your ears to detect digital
distortion, since different outboard processors calibrate their meters differently, and their dynamic range is not
sufficient to allow, say, 15 dB of headroom (as is the case with DAT etc.). The PFL/SOLO meter, on the other
hand, looks only at the desk’s analog aux input level, if you hear distortion, but the meter says you’re just
hitting 0 dB, then it must be coming from the aux send amp or the FX unit. If PFL on the aux send reveals
nothing amiss, turn down the input on the FX unit, and turn up the desk’s aux return.
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In most of the cases, distortion in the aux send > FX > aux return loop will come from the FX
unit (FX GAIN TOO HIGH), and the same goes for a high noise level (FX GAIN TOO LOW).
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Noisy FX (or synth) returns can be greatly improved by the addition of single-ended noise
reduction between FX output and aux (or channel) returns. The BEHRINGER DENOISER SNR2000
is ideally suited for this purpose.
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We’ve found that using analog single ended noise reduction can help warm the sound of
certain digital reverbs which sound too cold/metallic, and also give that “Echoplex” sound to
digital delay decays.
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Analog multitrack tape should be driven quite hard, since its dynamic range (without noise
reduction) is likely to be 20 to 30 dB worse than other elements in the recording chain. Try to
record bright. You can always mix back duller. Brightening up an off-tape signal will bring up
the level of tape noise.
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When mixing or recording, keep the channel fader levels around or below 0 dB. If you do find
the faders creeping up or down, apply a suitable offset over all channel faders, and try to
control your bad habit in future!