Behringer QX1832USB User Manual [ru]

User Manual

XENYX

QX2442USB

Premium 24-Input 4/2-Bus Mixer with XENYX Mic Preamps & Compressors,
KLARK TEKNIK Multi-FX Processor, Wireless Option and USB/Audio Interface

QX2222USB

Premium 22-Input 2/2-Bus Mixer with XENYX Mic Preamps & Compressors,
KLARK TEKNIK Multi-FX Processor, Wireless Option and USB/Audio Interface

QX1832USB

Premium 18-Input 3/2-Bus Mixer with XENYX Mic Preamps & Compressors,
KLARK TEKNIK Multi-FX Processor, Wireless Option and USB/Audio Interface

QX1622USB

Premium 16-Input 2/2-Bus Mixer with XENYX Mic Preamps & Compressors,
KLARK TEKNIK Multi-FX Processor, Wireless Option and USB/Audio Interface

2 XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB User Manual

Table of Contents

Thank you .......................................................................2

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited warranty ............................................................ 3

1. Introduction ............................................................... 4

1.1 General mixing console functions ................................ 4

1.2 The user’s manual ............................................................... 5

1.3 Before you get started ...................................................... 5

2. Control Elements and Connectors .......................... 5

2.1 Mono channels .................................................................... 5

2.2 Stereo channels ................................................................... 7

2.3 Interface panel and main section ................................. 8

3. Graphic 9-Band Equalizer (QX1832USB only) ....... 12

4. Digital Eects Processor ......................................... 13

5. Rear Panel Connectors ............................................ 16

5.1 Main mix outputs, insert points and control

room outputs ............................................................................. 16

5.2 Subgroup outputs ............................................................ 16

5.3 Inserts ................................................................................... 16

5.4 USB input/output .............................................................16

5.5 Voltage supply, phantom power supply

and fuse ........................................................................................ 17

6. Installation ............................................................... 17

6.1 Cable connections ............................................................ 17

7. Specications ........................................................... 19

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 eects 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.

3 XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB User Manual

9. Do not defeat the safety purpose of the polarized

TO BIND MUSICGROUP BY ANY EXPRESS OR IMPLIED

Important Safety Instructions

Terminals marked with this symbol carry
electrical current of su cient magnitude

to constitute risk of electric shock.
Use only high-quality professional speaker cables with
¼" TS or twist-locking 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 ser vice 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.

or 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.

10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.

11. Use only attachments/accessories speci ed by
themanufacturer.

12. Use only with the
cart, stand, tripod, bracket,
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.

13. Unplug this apparatus during lightning storms or
when unused for long periods of time.

14. Refer all servicing to quali ed service personnel.
Servicing is 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.

15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.

UNDERTAKING OR REPRESENTATION. THIS MANUAL
IS COPYRIGHTED. NO PART OF THIS MANUAL MAY
BE REPRODUCED OR TRANSMITTED IN ANY FORM
OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,
INCLUDING PHOTOCOPYING AND RECORDING OF ANY
KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS
WRITTEN PERMISSION OF MUSICGROUPIPLTD.

ALL RIGHTS RESERVED.
© 2013 MUSICGroupIPLtd.
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands

LIMITED WARRANTY

For the applicable warranty terms and conditions
and additional information regarding MUSIC Group’s
Limited Warranty, please see complete details online at
www.music-group.com/warranty.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including ampli ers) that produce heat.

LEGAL DISCLAIMER

TECHNICAL SPECIFICATIONS AND APPEARANCES
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND
ACCURACY IS NOT GUARANTEED. BEHRINGER,
KLARKTEKNIK, MIDAS, BUGERA, AND TURBOSOUND
ARE PART OF THE MUSIC GROUP MUSICGROUP.COM.
ALL TRADEMARKS ARE THE PROPERTY OF THEIR
RESPECTIVE OWNERS. MUSICGROUP ACCEPTS NO
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED
BY ANY PERSON WHO RELIES EITHER WHOLLY OR
IN PART UPON ANY DESCRIPTION, PHOTOGRAPH
OR STATEMENT CONTAINED HEREIN. COLORS AND
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.
MUSIC GROUP PRODUCTS ARE SOLD THROUGH
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.
FULLFILLERSAND RESELLERS ARE NOT AGENTS OF
MUSICGROUP AND HAVE ABSOLUTELY NO AUTHORITY

4 XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB User Manual

1. Introduction

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 finest 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.

KLARK TEKNIK Eects Processor

Additionally, your XENYX mixing console has an eects processor
designed by KLARK TEKNIK that has 24-bit A/D and D/A converters
included, which gives you 32presets producing rst-class reverb,
delay and modulation eects plus numerous multi-eects in

excellent audio quality.

 CAUTION!

◊ We should like to draw your attention to the fac t that extreme volumes

may damage your hearing and/or your headphones or loudspeakers.
Turn the MAIN MIX faders and phones control in the main sec tion
fully down before you switch on the unit. Always be careful to set the
appropriate volume.

1.1 General mixing console functions

A mixing console fulls three main functions:

• Signal processing:

Preamplication

Microphones convert sound waves into voltage that has to be amplied
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 amplied 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 amplication
using an amplier 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 preamplication level could aect signal quality
and purity, and would then be passed on to all other devices, resulting in
inaccurate sounding program during recording or playback.

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.

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 eciency 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 QX1832USB 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 QX1832USB:
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.

Frequency response correction

Using the equalizers found in each channel strip, you can simply, quickly and
eectively adjust the way a signal sounds.

Eects mixing

In addition to the eec ts 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 eects processors or fed
back to the internal eects 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.

5 XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB User Manual

• 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/amplier).

The control surface of BEHRINGER mixing consoles is optimized in such a way
that these functions become easy to fulll while the signal path remains
simple to follow.

1.2 The user’s manual

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 specic issues,
please visit our website at http://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.

1.3 Before you get started

1.3.1 Shipment

2. Control Elements and Connectors

This chapter describes the various control elements of your mixing console.
Allcontrols, switches and connectors will be discussed in detail.

2.1 Mono channels

2.1.1 Microphone and line inputs

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.

1.3.2 Initial operation

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 qualified people install and operate the

mixing console. During installation and operation, the user must have
sufficient electrical contact to earth, otherwise electrostatic discharges
might affect the operation of the unit.

QX2222USB

Fig. 2.1: Connector s and controls of mic /line inputs

MIC

Each mono input channel oers 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.

LINE IN

Each mono input also has a balanced line input on a ¼" jack. You can also connect
unbalanced devices using mono cables 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.

QX2442USB

◊ Unlike the QX2442USB, the QX1622USB, QX1832USB and QX2222USB

have their insert points located on the rear of the console.

6 XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB User Manual

WIRELESS INPUT

This connector accepts a USB receiver for use with BEHRINGER ULM wireless
microphones. Note that only one source may be used per channel, either the
wireless connection, XLR input, or the ¼" input.

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 dierent value ranges: the rst value range (+10 to +60 dB)
refers to the MIC input and shows the amplication for the signals fed in there.

The second value range (-10 to +40 dBu) refers to the line input and shows
its sensitivity. The settings for equipment with standard 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, low-frequency signal components
(75Hz, 18 dB/octave).

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.

2.1.3 Monitor and eects busses (Aux Sends)

QX1622USB

Fig. 2.3: Aux Sen d control MON and FX in t he channel strip s

QX2442USB

Monitor and eects 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 - QX1832USB)
and then routed, for example, to an active monitor speaker or external eects
device. Inthe latter case, the eects return can then be brought back into the
console via the aux return connectors.

COMPRESSOR

Each mono channel features a built-in compressor which lowers the dynamic
range of the signal and increases its perceived loudness. The loud peaks are
squashed down and the quiet sections are boosted.

Turn the COMP knob clockwise to add more compression eect. The adjacent LED
with light when the eect is engaged.

2.1.2 Equalizer

All mono input channels have a 3-band equalizer with semi-parametric mid
bands. All bands provide boost or cut of up to 15 dB. In the central position,
theequalizer is o (at).

The circuitry of the British EQ is based on the technology used in the best-known
top-of-the-line consoles and providing a warm sound without any unwanted
side eects. The result are extremely musical equalizers which, unlike simple
equalizers, cause no side eects such as phase shifting or bandwidth limitation,
even with extreme gain settings of ±15 dB.

All monitor and eects busses are mono, are tapped into post EQ and oer
amplication of up to +15 dB.

Pre-fader/post-fader

When using eects on a channel signal, it is usual to have the aux send post fader
so that the balance between eect and dry signal stays constant even when
the channel fader is altered. If this were not the case, the eects signal of the
channel would remain audible even when the channel fader is turned all the way
down. For monitoring, the aux sends are 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 oers a direct route to the built-in eects processor and
is therefore post-fader and post-mute. Please refer to chapter 4 “Digital Eects
Processor” for detailed information.

◊ If you are using the built-in effects processor, make sure that

STEREO AUX RETURN 3 has nothing plugged into it (QX2442USB and
QX2222USB), otherwise the internal effects return will be muted.
This is not relevant if you use the FX OUT jack to drive an external
effects device.

◊ QX1622USB and QX1832USB: On these consoles, the above note refers

to the STEREO AUX RETURN 2 jacks as these models do not have a
dedicated effect output.

All Models

Fig. 2.2: Equalizer of the input channels

7 XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB User Manual

2.1.4 Routing switch, PAN, SOLO and channel fader

QX2442USB

Fig. 2.4: The pano rama and routing co ntrols and the chann el 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 lef t
will route the signal to group output 3 only, and panning hard right will route to
group output 4 only.

MUTE

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).

2.2 Stereo channels

2.2.1 Channel inputs

QX2222USB QX2442USB QX2442USB

Fig. 2.5: The various stereo channel inputs

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 SOLO 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 aecting 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
QX2442USB has 4 subgroups (1-2 and 3-4).

Each stereo channel has two balanced line level inputs on jacks for left and right
channels. Channels 9/10 and 11/12 on the QX2442USB 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 QX2442USB,
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
(QX2442USB only).

LEVEL

For level matching, the stereo inputs on the QX1622USB, QX1832USB and
QX2222USB 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).

8 XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB User Manual

2.2.2 Equalizer stereo channels

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 discrepanc y between left and right channels.

2.2.3 Aux sends stereo channels

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.

2.2.4 Routing switch, solo and channel fader

Fig. 2.6: Balan ce control and mute s witch

BAL

The BAL(ANCE) control has a similar function to the PAN control in the
monochannels.

The balance control determines the levels of the left and right input signals
relative to each other before both signals are routed to the left/right main mix
bus (or odd/even subgroup).

The remaining control elements in the stereo channels perform the same
functions as their counterparts in the mono channels (MUTE switch, MUTE and
CLIP LEDs, SOLO switch, SUB and MAIN switches and channel fader).

2.3 Interface panel and main section

AUX SEND 1, 2 and 4

The AUX SEND 1 control governs the master send level of the mix created by the
individual channel AUX 1 sends.

Likewise, the AUX SEND 2 control is the master control for the aux 2 bus,
and AUX SEND 4 controls the AUX 4 bus.

QX2442USB

Fig. 2.7: The AUX SEND cont rols of the main sec tion

AUX SEND 3 (FX)

The FX control determines the signal level for eects processing, i.e. regulates
the level to an external (or the internal) eects device.

QX1622USB and QX1832USB: On these consoles, this func tion is performed by the
AUX SEND 2 control (FX).

SOLO

You can use the SOLO switch to separately monitor the aux sends via the CONTROL
ROOM/PHONES outputs and check these with the level meters.

◊ If you want to monitor the signal of just one AUX bus, none of the other

SOLO SWITCHES should be pressed and the MODE switch should be in
the SOLO position (not depressed).

Where it was useful to trace the signal ow from top to bottom in order to gain
an understanding of the channel strips, we now look at the mixing console from
left to right. The signals are, so to speak, collected from the same point on each of
the channel strips and then routed to the main section all together.

2.3 .1 MON control, aux sends 1, 2 and 3 (FX)

Turning up the AUX 1 control in a channel routes the signal to the aux send bus 1.

◊ As the QX1832USB is equipped with an additional monitor path, its first

aux control in the channel strips is named MON. The console also has a
dedicated master fader (MON SEND) for this aux path.

2.3.2 Aux send jacks

QX2442USB

Fig. 2.8: Aux se nd jacks

QX1832USB

AUX SEND jacks

The AUX SEND jack should be used when hooking up a monitor power amp or
active monitor speaker system. The relevant aux path should be set pre-fader.

◊ On the QX2222USB, aux send 1 is hard wired as pre-fader and hence

called MON. Model QX1832USB has a dedicated monitor output
(MON OUT jack), cf. chapter 2.3.4.

As already mentioned, the aux sends in the channels— if set post-fader—
canbe used to connect to external eects devices.