Behringer 2442FX, 1622FX, 1832FX User Manual
ENGLISH
9/10
11/12
MAIN MIX
PREMIUM 16-INPUT 2/2-BUS MIXER
8%.98-)#02%!-03s"2)4)3(%13
24-BIT MULTI-FX PROCESSOR
User Manual
XENYX 1622FX/1832FX/
2222FX/2442FX
Premium 16/18/22/24-Input
2/2, 3/2, 4/2-Bus Mixer with
XENYX Mic Preamps, British
EQs, 24-Bit Multi-FX Processor
and USB/Audio Interface
Thank you
Congratulations! In purchasing the BEHRINGER XENYX you
have acquired a mixer whose small size belies its incredible
versatility and audio performance.
The XENYX Series represents a milestone in the
development of mixing console technology. With the
new XENYX microphone preamps including phantom
power as an option, balanced line inputs and a powerful
eects section, the mixing consoles in the XENYX Series
are optimally equipped for live and studio applications.
Owing to state-of-the-art circuitry your XENYX console
produces a warm analog sound that is unrivalled. With the
addition of the latest digital technology these best-in-class
consoles combine the advantages of both analog and digital
technology.
This manual is available in English, German, French, Spanish, Italian, Russian,
Polish, Dutch, Finnish, Swedish, Danish, Portuguese, Greek, Japanese
and Chinese. There may also be more current versions of this document.
Download them by going to the appropriate product page at:
Table of Contents
Thank you ..................................................................... 1
Important Safety Instructions ................................... 2
1. INTRODUCTION ...................................................... 3
2. CONTROL ELEMENTS AND CONNECTORS .......... 5
3. GRAPHIC 9-BAND EQUALIZER (1832FX only) ... 13
4. DIGITAL EFFECTS PROCESSOR ............................ 14
5. REAR PANEL CONNECTORS ................................. 14
6. INSTALLATION ....................................................... 16
7. SPECIFICATIONS.................................................... 18
Limited Warranty ....................................................... 20
Legal Disclaimer ........................................................ 21
www.behringer.com
A50-00000-02999
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*
Terminals marked with this symbol carry electrical current of
su cient magnitude to constitute risk of electric shock. Use
only high-quality commercially-available speaker cables with ¼" TS
plugs pre-installed. All other installation or modi cation should be
performed only by quali ed personnel.
*
This symbol, wherever it appears, alerts you to the presence of
uninsulated dangerous voltage inside the enclosure - voltage that
may be su cient to constitute a risk of shock.
!
This symbol, wherever it appears, alerts you to important operating
and maintenance instructions in the accompanying literature.
Please read the manual.
Caution !
To reduce the risk of electric shock, do not remove the top cover
(or the rear section). No user serviceable parts inside. Refer servicing
to quali ed personnel.
Caution !
To reduce the risk of re or electric shock, do not expose this
appliance to rain and moisture. The apparatus shall not be exposed
to dripping or splashing liquids and no objects lled with liquids,
such as vases, shall be placed on the apparatus.
Caution !
These service instructions are for use by quali ed service personnel
only. To reduce the risk of electric shock do not perform any
servicing other than that contained in the operation instructions.
Repairs have to be performed by quali ed service personnel.
Read these instructions.
[1]�
Keep these instructions.[2]�
Heed all warnings.[3]�
Follow all instructions.[4]�
Do not use this apparatus near water.[5]�
Clean only with dry cloth.[6]�
Do not block any ventilation openings. Install in accordance [7]�
with the manufacturer’s instructions.
Do not install near any heat sources such as radiators, heat
[8]�
registers, stoves, or other apparatus (including ampli ers) that
produce heat.
Do not defeat the safety purpose of the polarized or
[9]�
grounding- type plug. A polarized plug has two blades with one
wider than the other. A grounding-type plug has two blades
and a third grounding prong. The wide blade or the third prong
are provided for your safety. If the provided plug does not t
into your outlet, consult an electrician for replacement of the
obsolete outlet.
Place the power cord so that it is protected from being walked
{10}�
on and sharp edges. Be sure that the power cord is protected
particularly at plugs, convenience receptacles and the point
where it exits from the apparatus.
The apparatus shall be connected to a MAINS socket outlet
{11}�
with a protective earthing connection.
Where the MAINS plug or an appliance coupler is used as
{12}�
the disconnect device, the disconnect device shall remain
readily operable.
Only use attachments/accessories speci ed by the
{13}�
manufacturer.
Use only with the cart, stand, tripod, bracket,
{14}�
or table speci ed by the manufacturer, or
sold with the apparatus. When a cart is used,
use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
Unplug this apparatus during lightning
{15}�
storms or when unused for long periods of time.
Refer all servicing to quali ed service personnel. Servicing is
{16}�
required when the apparatus has been damaged in any way,
such as power supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus
has been exposed to rain or moisture, does not operate
normally, or has been dropped.
EN
Important Safety Instructions
INTRODUCTION1.
XENYX Mic Preamp
The microphone channels feature high-end XENYX Mic
Preamps that compare well with costly outboard preamps
in terms of sound quality and dynamics and boast the
following features:
130 dB dynamic range for an incredible amount of ◊
headroom
A bandwidth ranging from below 10 Hz to over 200 ◊
kHz for crystal-clear reproduction of even the nest
nuances
The extremely low-noise and distortion-free circuitry ◊
guarantees absolutely natural and transparent signal
reproduction
They are perfectly matched to every conceivable ◊
microphone with up to 60 dB gain and +48 volt
phantom power supply
They enable you to use the greatly extended dynamic ◊
range of your 24-bit/192-kHz HD recorder to the full,
thereby maintaining optimal audio quality
“British EQ”
The equalizers used for the XENYX Series are based on
the legendary circuitry of top-notch consoles made in
Britain, which are renowned throughout the world for their
incredibly warm and musical sound character. Even with
extreme gain settings these equalizers ensure outstanding
audio properties.
Multi-eects processor
Additionally, your XENYX mixing console has an
eects processor with 24-bit A/D and D/A
converters included, which gives you 100 presets
producing rst-class reverb, delay and
modulation eects plus numerous multi-eects in excellent
audio quality.
The XENYX mixing consoles are equipped with a
state-of-the-art switched-mode power supply
(SMPS). Unlike conventional circuitry an SMPS
provides an optimum supply current regardless of
the input voltage. And thanks to its considerably higher
eciency a switched-mode power supply uses less energy
than conventional power supplies.
FBQ Feedback Detection System
The FBQ Feedback Detection System integrated
into the graphic EQ of your 1832FX is one of this
mixer’s most outstanding features.
This ingenious circuitry lets you immediately recognize
and eliminate feedback frequencies. The FBQ Feedback
Detection System uses the LEDs in the frequency band
faders of the graphic EQ to indicate the critical frequencies.
This way, what once used to be a labor-intensive search for
feedback frequencies is now an activity that even a child
could master.
Voice Canceller
We have added another useful feature to the
XENYX 1832FX: the Voice Canceller.
The Voice Canceller is a lter circuitry that lters
out vocal portions from a track. Therefore, this mixing
console is ideally suited for use as a karaoke machine. This
feature is also an optimal solution for singers who need
accompanying music for their rehearsals.
USB/Audio interface
The USB interface supplied with the unit is a perfect match for
the XENYX Series and serves as a powerful recording interface
to your PC or MAC®. It supports the digital transmission of
signals on up to four channels with max. 48 kHz and extremely
low latency. When wired to the CD/TAPE INPUT and OUTPUT
connectors, the interface transfers the stereo mix from the
console directly to a computer. Both the recording signal and
the playback signal from the computer can be monitored at the
same time. In this way, you can use several recording runs to
produce complete multi-track recordings.
CAUTION! !
We should like to draw your attention to the fact that ◊
extreme volumes may damage your hearing and/or
your headphones or loudspeakers. Turn the MAIN MIX
faders and phones control in the main section fully
down before you switch on the unit. Always be careful
to set the appropriate volume.
General mixing console functions1.1
A mixing console fulls three main functions:
Signal processing: •
Preamplication
Microphones convert sound waves into voltage that has
to be amplied several-fold; then, this voltage is turned
into sound that is reproduced in a loudspeaker. Because
micro phone capsules are very delicate in their construction, output voltage is very low and therefore susceptible
to interference. Therefore, mic signal voltage is amplied
directly at the mixer input to a higher signal level that is
less prone to interference. This higher, interference-safe
signal level has to be achieved through amplication
using an amplier of the highest quality in order to
amplify the signal and add as little noise to it as possible.
The XENYX Mic Preamp performs this role beautifully,
leaving no traces of noise or sound coloration. Interference that could take place at the preamplication level
could aect signal quality and purity, and would then
be passed on to all other devices, resulting in inaccurate
sounding program during recording or playback.
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XENYX2222FX XENYX2442FX
Level-setting
Signals fed into the mixer using a DI-box (Direct
Injection) or the output of a sound card or a keyboard,
often have to be adjusted to the operating level of your
mixing console.
Frequency response correction
Using the equalizers found in each channel strip, you can
simply, quickly and eectively adjust the way a signal
sounds.
Eects mixing
In addition to the eects processor contained in your
mixer, using the insert connectors on the mono channels
and both aux busses lets you insert additional signal
processors into your signal path.
Signal distribution• :
Individual signals adjusted at each channel strip are laid
out at the aux sends and returns, and are either fed into
external eects processors or fed back to the internal
eects processor. Then, the signals are brought back into
the main mix either via the aux return connectors or via
direct internal wiring. The mix for the on-stage musicians
is also created using the aux sends (monitor mix).
Similarly, for example, signals for recording equipment,
power ampli ers, headphones and 2-track outputs can
also be taken.
Mix• :
All other mixing console functions fall under this vital category.
Creating a mix means primarily adjusting the volume
levels of individual instruments and voices to one another
as well as giving them the appropriate weight within the
overall frequency spectrum. Likewise, you’ll have to sensibly
spread individual voices across the stereo image of a signal.
At the end of this process, adjusting the level of the entire
mix to other equipment in the signal path is required (e. g.
recorder/crossover/amplier).
The control surface of BEHRINGER mixing consoles is
opti-mized in such a way that these functions become easy
to full while the signal path remains simple to follow.
The user’s manual1.2
The user’s manual is designed to give you both an overview
of the controls, as well as detailed information on how to use
them. In order to help you understand the links between
the controls, we have arranged them in groups according
to their function. If you need to know more about specic
issues, please visit our website at http://www.behringer.com.
Additional information and explanations about various
music industry/audio technology terminology can be found
on individual product pages as well as in the glossary.
The block diagram supplied with the mixing console ◊
gives you an overview of the connections between the
inputs and outputs, as well as the associated switches
and controls.
Before you get started1.3
Shipment1.3.1
Your mixing console was carefully packed in the factory to
guarantee safe transport. Nevertheless, we recommend
that you carefully examine the packaging and its contents
for any signs of physical damage, which may have
occurred during transit.
If the unit is damaged, please do NOT return it to us, ◊
but notify your dealer and the shipping company
immediately, otherwise claims for damage or
replacement may not be granted.
Initial operation1.3.2
Be sure that there is enough space around the unit for
cooling purposes and to avoid over-heating please do not
place your mixing console on high-temperature devices
such as radiators or power amps. The console is connected
to the mains via the supplied cable. The console meets
the required safety standards. Blown fuses must only be
replaced by fuses of the same type and rating.
Please note that all units must be properly grounded. ◊
For your own safety, you should never remove any
ground connectors from electrical devices or power
cables, or render them in operative.
Please ensure that only qualied people install and ◊
operate the mixing console. During installation and
operation, the user must have sucient electrical
contact to earth, otherwise electrostatic discharges
might aect the operation of the unit.
Online registration1.3.3
Please do remember to register your new BEHRINGER
equipment right after your purchase by visiting
www.behringer.com (alternatively www.behringer.de) and
kindly read the terms and conditions of our warranty carefully.
Should your BEHRINGER product malfunction, our goal
is to have it repaired as quickly as possible. To arrange for
warranty service, please contact the retailer from whom the
equipment was purchased. Should your BEHRINGER dealer
not be located in your vicinity, you may directly contact
one of our subsidiaries. Corresponding contact information
is included in the original equipment packaging (Global
Contact Information/European Contact Information). Should
your country not be listed, please contact the distributor
nearest you. A list of distributors can be found in the support
area of our website (www.behringer.com).
Registering your purchase and equipment with us helps us
process your repair claims quicker and more eciently.
Thank you for your cooperation!
CONTROL ELEMENTS AND 2.
CONNECTORS
This chapter describes the various control elements of your
mixing console. All controls, switches and connectors will be
discussed in detail.
Mono channels2.1
Microphone and line inputs2.1.1
Fig. 2.1: Connectors and controls of mic/line inputs
MIC
Each mono input channel oers a balanced microphone
input via the XLR connector and also features switchable
+48 V phantom power supply for condenser microphones.
The XENYX preamps provide undistorted and noise-free gain
as is typically known only from costly outboard preamps.
Please mute your monitor system before you switch ◊
on phantom power. Otherwise potentially damaging
thumps will be sent to your speakers. Please also
note the instructions in chapter 5.5 “Voltage supply,
phantom power and fuse”.
LINE IN
Each mono input also has a balanced line input on a ¼" jack.
You can also connect unbalanced devices using mono jacks
to these inputs.
Please remember that you can use either the ◊
microphone input or the line input of a channel, but
not both at the same time!
INSERT
Insert points enable the processing of a signal with ◊
dynamic processors or equalizers. They are sourced
pre-fader, pre-EQ and pre-aux send. Detailed
information on using insert points can be found in
chapter 5.3.
Unlike the 2442FX, the 1622FX, 1832FX and 2222FX ◊
have their insert points located on the rear of the
console.
GAIN
Use the GAIN control to adjust the input gain. This control
should always be turned fully counter-clockwise whenever
you connect or disconnect a signal source to one of the
inputs.
The scale has 2 dierent value ranges: the rst value range
(+10 to +60 dB) refers to the MIC input and shows the
amplication for the signals fed in there.
The second value range (+10 to -40 dB) refers to the line
input and shows its sensitivity. The settings for equipment
with st andard line-level signals (-10 dBV or +4 dBu) look
like this: While the GAIN control is turned all the way down,
connect your equipment. Set the GAIN control to the
external devices’ standard output level. If that unit has an
output signal level display, it should show 0 dB during signal
peaks. For +4 dBu, turn up GAIN slightly, for -10 dBV a bit
more. Fine-tuning of a signal being fed in is done using the
level meter. To route the channel signal to the level meter,
you have to press the SOLO switch and set the MODE switch
in the main section to PFL (LEVEL SET).
Using the GAIN control, drive the signal to the 0-dB mark.
This way you have a vast amount of drive headroom for use
with very dynamic signals. The CLIP display should light up
only rarely, preferably never. While ne-tuning, the equalizer
should be set to neutral.
LOW CUT
Additionally, the mono channels of the mixing consoles have
a high-slope LOW CUT lter for eliminating unwanted, lowfrequency signal components (75 Hz, 18 dB/octave).
Equalizer2.1.2
All mono input channels have a 3-band equalizer with semiparametric mid bands. All bands provide boost or cut of up
to15 dB. In the central position, the equalizer is o (at).
The circuitry of the British EQs is based on the technology
used in the best-known top-of-the-line consoles and
providing a warm sound without any unwanted side eects.
The result are extremely musical equalizers which, unlike
simple equalizers, cause no side eects such as phase
shifting or bandwidth limitation, even with extreme gain
settings of ±15 dB.
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All Models
XENYX1622FX XENYX2442FX
XENYX2442FX
XENYX2222FX XENYX2442FXXENYX2442FX
Fig. 2.2: Equalizer of the input channels
The upper (HIGH) and the lower (LOW) bands are shelving
lters that increase or decrease all frequencies above or
below their cut-o frequency. The cut-o frequencies
of the upper and lower bands are 12 kHz and 80 Hz
respectively. For the mid range, the console features a
semi-parametric equalizer with a lter quality (Q) of 1
octave, tunable from 100 Hz to 8 kHz. Use the MID control
to set the amount of boost or cut, and the FREQ control to
determine the central frequency.
Monitor and eects busses (Aux sends)2.1.3
generally pre-fader, i.e. they operate independently of the
position of the channel fader.
PRE
When the PRE switch is pressed down, the associated aux
send is taken pre-fader.
FX
The aux send marked FX oers a direct route to the built-in
eects processor and is therefore post-fader and post-mute.
Please refer to chapter 4 “DIGITAL EFFECTS PROCESSOR” for
detailed information.
If you are using the built-in eects processor, make ◊
sure that STEREO AUX RETURN 3 has nothing plugged
into it (2442FX and 2222FX), otherwise the internal
eects return will be muted. This is not relevant if you
use the FX OUT jack to drive an external eects device.
1622FX and 1832FX: On these consoles, the above ◊
note refers to the STEREO AUX RETURN 2 jacks as these
models do not have a dedicated eect output.
Routing switch, PAN, SOLO and 2.1.4
channel fader
MUTE
The MUTE switch breaks the signal path pre-channel fader,
hence muting that channel in the main mix. The aux sends
which are set to post-fader are likewise muted for that
channel, while the pre-fader monitor paths remain active
irrespective of whether the channel is muted or not.
MUTE LED
The MUTE LED indicates a muted channel.
CLIP-LED
The CLIP-LED lights up when the input signal is driven
too high. If this happens, back o the GAIN control and, if
necessary, check the setting of the channel EQ.
SOLO
The SO LO switch is used to route the channel signal to the
solo bus (Solo In Place) or to the PFL bus (Pre Fader Listen).
This enables you to listen to a channel signal without
aecting the main output signal. The signal you hear is
taken either before the pan control (PFL, mono) or after the
pan and channel fader (Solo, stereo) (cf. chap. 2.3.10 “Level
meters and monitoring”).
SUB (1-2 and 3-4)
The SUB switch routes the signal to the corresponding
subgroups. The 2442FX has 4 subgroups (1-2 and 3-4).
MAIN
The MAIN switch routes the signal to the main mix bus.
The channel fader determines the channel’s volume in the
main mix (or submix).
Stereo channels2.2
Channel inputs2.2.1
Each stereo channel has two balanced line level inputs on
jacks for left and right channels. Channels 9/10 and 11/12 on
the 2442FX feature an additional XLR microphone jack with
phantom power. If only the left jack (marked “L”) is used, the
channel operates in mono. The stereo channels are designed
to handle typical line level signals, and, depending on
model, have a level switch (+4 dBu or -10 dBV) and/or a line
GAIN control. Both jack inputs will also accept unbalanced
connectors.
LOW CUT and MIC GAIN
These two control elements operate on the XLR connectors
of the 2442FX, and are used to lter out frequencies below
75 Hz (LOW CUT) and to adjust microphone levels (MIC
GAIN).
LINE GAIN
Use this control to adjust the line signal levels on channels
13-16 (2442FX only).
LEVEL
For level matching, the stereo inputs on the 1622FX, 1832FX
and 2222FX have a LEVEL switch to select between +4 dBu
and -10 dBV. At -10 dBV (homerecording level), the input is
more sensitive than at +4 dBu (studio level).
Equalizer stereo channels2.2.2
The stereo channels contain a stereo EQ section. The cut-o
frequencies of the high and low bands are 12 kHz and 80 Hz
respectively, while the center frequencies of the high-mid
and low-mid bands are 3 kHz and 500 Hz respectively. The
HIGH and LOW controls have the same characteristics as the
EQ in the mono channels. Both mid range bands are of the
peak lter type. A stereo EQ is superior to two mono EQs on
a stereo signal as two separate EQs will usually result in a
discrepancy between left and right channels.
Fig. 2.3: Aux Send control MON and FX in the channel strips
Monitor and eects busses (AUX sends) source their signals via
a control from one or more channels and sum these signals to
a so-called bus. This bus signal is sent to an aux send connector
(for monitoring applications: MON OUT) and then routed,
for example, to an active monitor speaker or external eects
device. In the latter case, the eects return can then be brought
back into the console via the aux return connectors.
All monitor and eects busses are mono, are tapped into
post EQ and oer amplication of up to +15 dB.
Pre-fader/post-fader
When using eects on a channel signal, it is usual to have
the aux send post fader so that the balance between eect
and dry signal stays constant even when the channel fader
is altered. If this were not the case, the eects signal of the
channel would remain audible even when the channel fader
is turned all the way down. For monitoring, the aux sends are
Fig. 2.4: The panorama and routing controls and the channel fader
PAN
The PAN control determines the position of the channel
signal within the stereo image. When working with
subgroups, you can use the PAN control to assign the signal
to just one output, which gives you additional exibility
in recording situations. For example, when routing to
subgroups 3 and 4, panning hard left will route the signal
to group output 3 only, and panning hard right will route to
group output 4 only.
Aux sends stereo channels2.2.3
In principle, the aux sends of the stereo channels function
the same way as those of the mono channels. As the aux
sends are mono, the send from a stereo channel is rst
summed to mono before it reaches the aux bus.
Routing switch, solo and channel fader2.2.4
Fig. 2.6: Balance control and mute switch
Fig. 2.5: The various stereo channel inputs
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