The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliance including amplifiers that produce heat.
The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance. Precautions should be taken so that the grounding or polarization means of an appliance is not defeated. Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point where they exit from the appliance.
The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. The user should not attempt to service the appliance beyond that is described in the Operating Instructions. All other servicing should be referred to qualified service personnel.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of hard work delivered by our engineering team to reach a very ambitious goal: To produce a compact mixer, which fully satisfies your and our expectations and delivers a superior sound quality, easy operation and technical specifications.
In addition to that the mixer is affordable for almost every musician. It also meant a lot of work and night shifts to accomplish this goal. But it was fun, too. In return, we guarantee you uncompromising quality manufactured under the ISO certified management system as well as excellent technical and audio properties at an extremely favorable price.
All of this will enable you to fully unfold your creativity without being hampered by budget constraints. We are often asked how we can make it to produce such high-grade devices at such unbelievably low prices.
Many satisfied customers means large sales volumes enabling us to get better conditions of purchase for components, etc.
Because we know that your success is our success, too! Everybody has made very personal contributions, starting from the designers of the unit via the many staff members in my company to you, the user of BEHRINGER products. Before you begin Input level setting Aux sends Fading and panning Stereo aux returns Desk normalization Selecting inputs Initializing channels for gain setting Auditioning a signal and setting up a channel Recording levels Learn to play it well.
Keep them turned over, laying to the left of the text pages, while studying the manual. All functions will be numbered consistently throughout the manual, whether they be in the text or on an illustration.
Most specialist subjects are not really all that difficult provided you understand the language used, and the vocabulary of mixing is pretty straightforward. Nevertheless it is as well to be clear about what certain terms mean. I will attempt to be as unambiguous as possible with terms, since much confusion can arise from sloppy definitions. Stereo input channels A further 8 Line inputs on the MXA are configured as 4 stereo input channels.
These are ideal for multitrack tape returns, or for accepting outputs from MIDI and other electronic instruments. Channel outputs A high-quality true logarithmic 60 mm fader feeds the Main Mix or Alt bus via the channel Pan. These can be routed to the cue send i.
Main Mix output Main Mix output level is via a pair of high-quality true-log 60 mm stereo faders and is monitored by a pair of accurate segment bargraph peak meters, surrounded by 4 status LEDs. The meters should average around 0 dB during loud passages. Perhaps the PFL sequence should be repeated. There are four mono channels, four stereo channels and two stereo Aux Returns. In addition there is a 2-Track input routable to the Main Mix.
A channel is always routed to the Main Mix outs unless Alt is selected, in which case its signal is sent to outputs 3 and 4 instead. Outputs 3 and 4 may be blended with the Main Mix at the Control Room output via a switch. Every mixer has numerous Line level operational amplifiers op-amps inside. When being driven hard, many desks begin to show signs of stress due to power supply limitations.
The sound will always stay clean and crisp right up to the operating limits of the op-amps themselves, thanks to our generous 40 W external Power Supply Unit. Lastly switch on desk by on the back panel. Or use our online registration option available on the Internet at www. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage which may have occurred in transit.
Shipping claims must be made by the consignee. If you want to make your MXA a rack mixer, losen the screws on the side panels and use them to fix the rack ears note, that there is a left and a right one. When switched on, parts of the desk and the power supply unit will become very warm, this is normal during operation.
The crucial operating 8 2. For level-setting as opposed to localized listening select the mono PFL bus rather than the post-fader postchannel pan stereo Solo bus Channel Mode global switch up.
It follows that Aux Sends must also be unaffected, since they contribute directly to the Main Mix. You do not want the overload light to come on except very intermittently during a take or a mix.
There is a steep Lo Cut high pass filter sives, woolly bottom end etc. The upper , mid 80 Hz respectively. Aux Send 1 can be taken from a point before or after the channel fader, i. Aux Send 2 is always wired post-fader.
For almost all FX send purposes, you will want Aux Sends to be post-fader, so that when a fader level is adjusted, any reverb send from that channel follows the fader.
Otherwise, when the fader is pulled down, the reverb from that channel would still be audible. For cueing purposes, Aux Sends will usually be set pre-fader, i. Most reverbs etc. Such a high boost is usually only appropriate where the channel fader is set around dB or lower. In most consoles, such a wet mix requires the use of a pre-setting for the channel Aux Send, losing fader control. When only the left input is connected, the channel operates in mono. Remember that there is 15 dB gain on both the channel as well as master fader.
The equalizer is has exactly the same parameters as on the mono channels, in stereo. A stereo equalizer is generally preferable to using two mono equalizers when EQ-ing a stereo signal, as often discrepancies between left and right settings can occur. Note that a mono sum is taken from the stereo input. These controls have a centre detent indicating unity gain.
Aux Return 1 is permanently assigned to the Main Mix. If you connect a jack to the left socket only, the Aux Return 1 operates in mono. This enables you to provide a wet signal with effect i. This feature is primarily useful when you are using one effect for the Main Mix and for the foldback speakers. The connection from Aux Return 2 to Aux Send 1 could cause feedback.
However, there are exceptions: For instance if you deliberately want to send one effect into another, e.
The Aux Returns are multi-functional. They may be used for returning the outputs of effect units. You can use them as Tape Returns from a multitrack recorder. They may also be used as extra instrument inputs, especially if your MIDI keyboard or rack supplies a pre-mixed stereo signal.
To correct for this you will have to bring your stereo effect back on a stereo channel, which has a Balance control. When applying short left and right delays, the shortest one will always seem loudest.
When pitch shifting up and down in wide stereo to thicken a sound, the signal shifted upwards will seem louder than one that goes down. In both cases use the Balance control to compensate an analogy comes from Greece: the columns of the Parthenon in Athens are slightly bowed so as to appear straight.
Get a pair of headphones and listen in stereo and in reverse stereo, just in case you have any significant hearing discrepancies between your ears. Sometimes an engineer wants to narrow the stereo width of a reverb field. To do this you will have to come back on two mono channels to get independent pan for the left and right signals.
Whenever a Solo button is pressed, all unselected channels are muted in the monitors. Stereo panning is maintained. It is always post-fader.
Here should be disengaged, or you will be listening to the 2-Track signal twice over! With depressed you have another stereo Line input available to the mix, useful e. Level is ultimately determined by a pair of precision faders. Although the 2-Track output is primarily designed for recording, it can also be used as a PA feed, or as a send to the input of your sampler.
A single volume control sends the level to the headphones and main monitors there are exceptions. If you want to audition external sources very often, you could connect a hi-fi pre-amp or tape out to your 2-Track input, allowing you to monitor a variety of extra sources such as vinyl, cassette, CD etc.
Use to have the Signal Alt is likely to bewilder newcomers. We want to illustrate how this feature may be used most effectively. Subgroups are commonly used as a mixing aid both live and in the studio, e.
They are also used to route to multitrack recorders. There are no fully-fledged subgroups on the MXA. However, the Alt bus offers you a second independent stereo submix with its own submaster stereo fader. Combining the Alt outputs with the Main Mix may be effected by activating the Alt to Mix switch. Engaging mute on any input channel routes to the Alt bus.
Many controls have a natural initial setting. For EQ cut and boost this is centre position. However, some settings, such as selecting pre or post for channel Aux Sends, will depend on the operating environment e. If you are using the Mic input, make sure nothing is connected to the Line input and vice-versa.
Do not connect mics with Phantom Power switched on. Never use unbalanced mic cables with the Phantom Power switched on ever!!! Shorting 48 V to earth can cause serious damage. Any stereo channel can be run in mono simply by connecting into the left jack socket only.
These channels are suitable for a variety of line-level sources including MIDI instruments and Tape Returns from multitrack. Continuous signals should not exceed 0 dB. Move onto next channel. Once a recording has been made, these tracks should automatically switch to tape playback. Check that the input levels to each track are optimized before recording commences.
Most not all, esp. This is because, unlike with analogue, the onset of digital distortion is as sudden as it is horrible. How to do it? Well, you could run a tone at 0 dB from the mixer and use that as your DAT or digital multitrack recorder reference.
But your DAT or multitrack recorder 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. Also, VU meters tend to progressively under-read above 1 kHz, due to their sluggish response time.
Peak meters read more-or-less independent of frequency. Aim for 0 dB recording level for all signals. Keep tom-toms together, etc. Work out a scheme that suits you and stick to it. A common order is: kick drum, snare, hi-hat, tom-toms as the audience sees the kit , cymbals ditto , bass, guitars, keyboards, other instruments, vocals. From session to session and gig to gig you will soon know where you are without hardly ever having to look at your tracksheet.
A patchfield will facilitate patching and repatching considerably. Simply use the Line inputs to mix stereo or mono outputs from your keyboards. It may be useful to use the Alt outs e. Aux Sends may be used either to feed on-stage monitors, artists headphones or effects units. A typical comprehensive live setup is shown below. Carefully position these so as to minimize feedback.
Try to keep the stage volume as low as possible, as stage sound can interfere with and muddy FOH sound, as well as causing a reduction in feedback thresholds. Use the Lo Cut filters to eliminate floor rumble, mics popping etc.
With largely computer-generated music you will want to have plenty of line inputs, and an ability to take vocals quickly, efficiently, and with minimal desk disturbance. Often a vocal line is added after the music is almost complete. For this we try not to use a valuable Aux Send as a cue feed. If you intend to take several tracks in quick succession, you can route the channel via the Alt bus simultaneously into all tape tracks via a simple junction box, splitter lead, line mixer like our MX, or patchbay.
Note: When using Alt to send to tape, you can either audition the signal via the tape recorder track, or by assigning Alt to the control room monitors , or both. If you are auditioning the vocalist via both routes, the voice should appear louder to you and the singer during a take, but be set properly in the mix during playback. By a benign twist of fate, this is usually exactly what you and they want.
Note that there are 2 Aux Sends and 2 stereo Aux Returns. Few people buying a mixer will need to be told how an Equalizer works.
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