Behringer Eurorack MX3242X - Track Sheet Usage

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3) Set the LO CUT button to OFF, unless you need the frequencies below 75 Hz (18 dB/Oct., -3 dB).
4) Set CHANNEL MODE to PFL and LEVEL to 12 oclock for SOLO function.
5) Press the PFL/SOLO button in the channel you wish to adjust.
3.3 Auditioning a signal and setting up a channel
1) Make a typical noise, or roll the tape. The peak meter should read a PFL level.
2) Main input channels: Adjust the Gain control until transient peaks are regularly hitting +10 dB. Continuous
signals should not exceed 0 dB.
3) If EQ is used, repeat steps 1) & 2).
4) If an insert is used to patch in a Compressor, Gate, Equalizer, etc., use the outboard processors Bypass
or Effect Off switch to A/B monitor the effect. If it does not have a bypass switch or equivalent, you will
have to keep connecting and disconnecting the device until you complete the following procedure: adjust
the processors output level so that effected and bypassed signals are of comparable level, i.e. unity gain.
5) Route the channel as desired, then switch off all PFL/SOLO buttons. Now set up the next channel.
3.4 Desk normalization
All board settings should be set to the normal default conditions before or after every session. Usually, faders
are set to zero (minus infinity), EQs set flat and switched out, Aux Sends turned fully counterclockwise, etc.
Many controls have a natural initial setting. For EQ cut and boost this is center position. However, some
settings, such as selecting PRE or POST for channel Aux Sends, will depend on the operating environment
(e.g. studio or live), or on a particular engineers preferred way of working.
3.5 Multi-track initialization
Set up the multi-track recorder so that any track in record ready condition has its input monitored when the
tape is stationary (once a recording has been made, these tracks should automatically switch to tape play-
back). Check that the input levels to each track are optimized before recording commences.
3.6 Recording levels
When recording to digital, its a good idea to keep the recorders peak meters below 0 dB. Most (not all,
especially 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 the 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-hats. 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.
3.7 Track sheet
When laying out channels for recording or mixing, try to be sensible. Keep tom-toms together, always use the
same channels for kick drum, snare, hi-hat, bass, etc. After some time, you will know where you are without
hardly ever having to look at a track sheet (which is still a good idea to be able to figure out channel
3. PRACTISE