OUR PART # SX4882
Whether recording in the studio, running live house sound, recording a live show, or for use as a stage monitor mixing board, the feature-packed SX4882 does it all. Designed with live performance versatility and recording necessities built in, this console combines years of every sound engineer’s wants and needs into one high-performance machine. It may not get you free beer or groupies, but it rocks for live-sound and recording.
What is an In-Line Mixer? And Why You Want One
An in-line mixer is a mixer within a mixer. That’s the reason you will notice this board is labeled Channels 1-24 AND Channels 25 – 48. It’s really two 24-channel mixers in one. This “embedded mixer,” called Mix B, is typically used in recording applications, but it has some useful live-sound features as well. In the studio, Mix B allows you to return all your multi-track tape channels back into channels on the board without losing any of your 24 main-input channels. This provides seamless playback and mixdown capabilites with just a few button pushes and no additional patching. In other words, no visible plumber-cracks or untimely delays. Live, Mix B can be used to send a totally separate 2-track mix to a recording device, separate speaker zone or out to a broadcast feed, plus it functions as an additional monitor or effects bus.
One reason you’ll really appreciate having the in-line mixer is simple: LIVE RECORDING. If you’ve ever tried to make a recording off of the board during a live show, you know how well that works (NOT!). Often input and output levels necessary for quality recording do not match the requirements of the live mix, where stage volumes factor in to the overall room sound. Getting around that issue used to require a splitter and second mixer just for recording. Now that is eliminated by having an in-line mixer in your live board.
Va-Va-Va-Versatility! No More “Creative Patching”
Input choices and routing options are not overrated. In fact, they are essential to managing technically complex instrumentation or multiple bands all patched into the same board. And while you may not need every patching option for every show, at least you know you have every input and output option you could ever need. You will be grateful to have features like Insert points on every channel input, all Subgroups and on the Main outs. Direct Outputs on each channel are very useful too and may even make you a hero for about 5 minutes when you can provide a seemingly improbable solution by taking a direct split off the console to feed some other input source.
Use your creativity where it matters most – in getting the sound and mix you want, not on brain-twisting patching compromises and channel routing puzzles. Complete versatility and accessibility is what it’s all about and the SX4882 does not disappoint.
All Channels Are Indeed Created Equal
There’s no scrimping and saving on this board. Every channel has every feature of every other channel. They are all the same! No more “if only” sighs of frustration to utter as you try to organize your inputs. As long as we’re talking about channel strips, you might as well know that this board has a big treat in store for you: TWO bands of semiparametric mid range controls. This is two more than many boards offer and at least one more than most live sound boards. Gone is the dilemma of EQ-ing out the honk at 600 or adding a little upper-mid crispness at 2k to bring out the clarity. Now you don’t have to compromise.There’s no scrimping and saving on this board. Every channel has every feature of every other channel. They are all the same! No more “if only” sighs of frustration to utter as you try to organize your inputs.
British EQ for Bloody Excellent Sound
Expensive British consoles have long been praised for having sweeter, smoother channel EQ than many other mixers provide. That’s why the EQ circuitry on the SX4882 is designed with British-style EQ, with wider curves and smoother phase characteristics. It maximizes effective frequency sculpting without harshness or gaping holes in the audio spectrum. This sweet feature will benefit your mixes – both live and in the studio. You may even start saying “Check One, Two” with a British accent. And it’s worth repeating that there are two sweepable EQ bands, not just one. That’s a must-have for many situations, and now you have it!
Mic Pre’s – the Muck Stops Here
The microphone preamp is one of the most important circuits in a mixing console. It boosts the low level microphone signal to a line-level operating level and it’s the first bit of processing applied to any mic signal. No doubt you’ve heard the phrase, “garbage in equals garbage out.” This is really true when it comes to mic preamps. Common issues with lower quality mic pres include noise, distortion, low headroom, and unimpressed fans. BEHRINGER uses high quality XENYX preamps in our professional mixers. These are ultra low noise, high headroom preamps that can hold their own, even against expensive standalone boutique-style preamps.
Having eight Subgroups give you so much flexibility you may just become a gymnast on the side. These Subgroups can be used to send eight individual tracks directly to your tape, digital interface or hard disk recorder, or they can be used as four stereo submixes. There are two parallel outputs on each subgroup, to feed up to 16 multi-track channels.
During a live show you could use four of the subgroups for instrument and vocal sub-mixing to the PA and the other four could be for a tape submix, if you choose not to use Mix B as your tape mix. For use with a stereo PA you still have 4 subgroups total to work with, and when used as a stage monitor console, the SX4882 can provide up to 16 independent monitor mixes by combining the subgroups, Aux busses, and L/R Mix B. Wicked!
In the studio, the eight Subgroups allow maximization of recording inputs by allowing several channels to be mixed down to a smaller number of recording tracks. By combining channel inputs into subgroups which go directly out to tape, you have the ability to record even more than 24 discreet inputs. Also, the outputs of the subgroups have selectable operating output levels (+4dB or -10dB) to match the inputs of your recording device.
Running live sound in houses of worship has become a truly professional pastime with the advent of affordable, quality sound gear and the rise of congregations that require bigger and more capable sound systems. The multiple input and auxiliary send options of the SX4882 are designed to accommodate a wide variety of performance needs, large and small. Worship services, choir, and music ensembles are easily mixed and recorded live. Go directly into your digital interface from the subgroup outs, Mix B or Main Out, right into your tracking software. CD’s or DVDs can then be distributed to members of the congregation who may have trouble attending services. Caution: your status may be elevated in the church from sound grunt to near-savior.
Corporate AV is a truly multi-media experience, where there may be many different input sources - from a laptop, MP3, CD, DVD, television, projector, or camera. The SX4882 has RCA tape in and two external 1/4" 2-track inputs, plus each channel has the choice of balanced or unbalanced, +4dB or -10dB input levels. Mix B provides additional input options for routing audio sources into the console. With 48 total channels and 82 total inputs, even the largest conventions can be accommodated. Corporate presentations often require sound reinforcement to a large room, typically with several pairs of speakers scattered throughout the auditorium. With eight subgroup outs, you have 4 sets of individual stereo controls, in addition to the main L/R out. Mix B provides an additional stereo mix, for a total of 6 separate stereo output options.
PFL/SOLO capability on:
o Every channel, pre- or post-fader option
o Aux bus sends
o Aux returns
o All subgroups
o Headphone mixes
Routing Matrix Buttons & More:
o Select switch that assigns Mix B input OR mic/line input to Main Channel strip
o Mic/Line input select button
o Aux Send Mix B- sends Mix B input source to Aux send
o B-channel Flip switches Mix B input source to mirror main channel input
o Mix B operating input level, +4dB or -10 db
o Channel low-cut fi lter
o Phantom power On, independent 8-channel blocks
o Subgroup and Main Mix assignment
o Channel mutes - on all channels 1-48, including all Mix B channels