Behringer MX2642A - Manual (Page 10)

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EURORACK MX2642A
4.3 Aux Sends
These are the same as for mono channels (see 3.3). Note that a mono sum is taken from the stereo input.
4.4 Routing
The only difference here from the mono channel described in 3.4 is in the implementation of the BALANCE
control. When a channel is run in stereo, this control functions as a BALANCE control, determining the relative
balance of the left and right channel signals being sent to the left and right main mix buses (or maybe odd and
even group buses). For example, with the BALANCE control turned fully clockwise, only the right portion of the
channel’s stereo signal will be routed to the main mix or to any or all of buses chosen.
5. SUBGROUPS, DIRECT OUTPUTS AND INSERTS
5.1 Subgroups
The principal routes to multitrack are via the subgroup outputs. There are 2 stereo (or 4 mono) subgroups. All
channels can access all of them. Subgroup level is determined by the subgroup faders (F67, F68). PFL is
supported (S33, S34).
Subgroups outputs can also be assigned to the main mix in pairs during mixdown (S35). If you want to run a
subgroup in mono, it should not be fed into the main mix by the MAIN MIX switch (S35). Rather it should be
brought back on a mono channel (or via e.g. a BEHRINGER ULTRALINK PRO MX882) so that it can be
panned.
If you want to insert a dynamics processor between any of the four subgroups and the main mix, the group
output should be used as a send, return being effected through another desk input. Here, remember to
de-assign the subgroup pair from the main mix (S35).
The 2-track stereo input is particularly suitable for returning processed subgroup signals. Since this input
cannot be routed back to any subgroup, a feedback loop is impossible. Four subgroup returns may easily be
blended in stereo into this input simply by using the BEHRINGER ULTRALINK PRO MX882, greatly extending
the functionality of your EURORACK.
Try inserting compression / de-essing / an exciter / a gate across grouped signals (e.g. backing vocals, drums,
layered synths).
Try merging a dry signal with a little wet, then compressing the sum heavily. Though the reverb proportion wilt
be low when a signal is present, the resultant reverb tail pumped up by the compressor during pauses in
programme material will give the illusion that the reverb was massive all the time. (The listener wilt be left
wondering how the singer could sound so clear in such a wet acoustic!)
5.2 Multitracking
The principal routes to multitrack are via the main mix and mic channel direct outputs. You can also use any
of the aux outputs to send to tape.
5.3 Direct Outputs
Each mono channel on your EURORACK has its own direct output, which is taken from a point immediately
after the fader (i.e. post EQ and after the aux sends). This can feed a tape track directly, enabling up to 14
tracks to be recorded simultaneously when using the aux sends to send to tape, without having to resort to
using the subgroups). Direct outputs to tape provide the shortest possible recording signal path, and therefore
highest fidelity.
5. SUBGROUPS, DIRECT OUTPUTS AND INSERTS