Behringer SX2442FX Brochure

Large Format Mixers

EURODESK
SX2442

EURODESK 24-Channel Analog Mixer
With 16 XENYX Mic Preamps and
99 Digital Eect Presets

Premium ultra-low noise,
high-headroom analog mixer

16 state-of-the-art XENYX Mic
Preamps comparable to stand-alone
boutique preamps

Neo-classic “British” 3-band EQs with
semi-parametric mid band for warm
and musical sound

2 independent studio-grade
24-bit stereo FX processors with
99 awesome presets including reverb,
chorus, anger, delay, pitch shifter
and various multi-eects

High-precision 9-band stereo graphic
EQ allows precise frequency
correction of monitor or main mixes

Revolutionary FBQ Feedback
Detection system instantly reveals
critical frequencies

Peak LEDs, Mute, Main mix and
subgroup routing switches, Solo and
PFL functions on all channels

If you want classic analog handling but
can’t skimp on superior digital eects and
studio-grade mic preamps, the SX2442FX
is your new best friend. This mixer’s 16
mic inputs, 8 stereo inputs and 4 buses
give you enough leeway to handle
anything from a graduation speech to a
small orchestra.

Classic control, state-of-the-art sound

Each of the SX2442FX’s 16 mic
inputs connects to our world-famous,
studio-grade XENYX mic preamps.
They are legendary for their high
headroom, warm natural timbre
and utter lack of background
noise. Plug in a large-diaphragm
condenser mic and track a vocal to
hear XENYX’s rich detail and spaciousness.
Plug in a dynamic mic and stick it

inside a bass drum to appreciate the
whopping headroom.

You may experience side-FX…

Whether you need to add a dab of
reverb or delay to a live vocalist’s mic
or warp a hard day’s studio session into
psychedelic quicksand, the SX2442FX
has you covered. We gave this mixer two
independent studio-grade 24-bit stereo
FX processors with 99 awesome presets
to provide the perfect sonic garnish. “Sure
they’re great for live sound, but I have
a lot of cool plug-ins for recording,” we
can hear some of you saying. Truth be
told, you never have too many eects.
And when you hear the quality of the
SX2442FX’s FX, you may want to give your
overworked CPU a rest.

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2 fully featured stereo input channels
with 4-band EQ plus 2 additional
stereo input channels with Level and
pre-fader Aux controls

Inserts on each mono channel and
main mix for exible connection of
outboard equipment

4 Subgroup outputs and additional
Mono output with sweepable Low
Pass lter for subwoofer application

4 Aux sends per channel: 2 pre/post
fader switchable for monitoring/
FX applications, 2 post fader (for
internal FX or as external send)

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EURODESK
SX2442

Balanced Main mix outputs with
¼" jack and gold-plated XLR
connectors, separate Control room,
Headphone and stereo Tape outputs

Solo-In-Place and Pre-Fader-Listen
functions plus full-featured
Talkback section

Standby switch mutes all channels
during breaks while background
music is provided via CD/Tape inputs

Long-wearing 60 mm
logarithmic-taper faders and
sealed rotary controls

Internal autorange power supply for
maximum exibility (100 – 240 V~),
noise-free audio, superior transient
response plus low power
consumption for energy saving

High-quality components and
exceptionally rugged construction
ensure long life

Conceived and designed by
BEHRINGER Germany

Naturally we gave you a whole palette
of creative eects like reverb, chorus,
anger, delay and pitch shifter tones,
as well as mind-bending multi-eects to
take your sound out of this world. But you
also get problem solving workhorses
like compression and gating plus nal
eects such as Ultramizer, Ultrabass
and Exciter t
mix over the top. And because there
are two processors, you can cue two
separate eects, then apply one or both
to channels 1 through 20 — compression
for the vocalist, reverb for the vocalist and
snare drum, for example.

What the heck is “British EQ”?

A good thing to have on your side
when you start reaching for those channel
equalization knobs. At a live concert or in
the studio.

Think of it as kinder, gentler, more
musical EQ like the type found on classic
British consoles from the 60’s and 70’s.
Single malt scotch instead of Everclear.
Home-baked cherry cobbler instead of
an articial cherry lollypop.

British EQ’s distinct conguration
of wider curves/lower Q and harmonic
phase characteristics allows you to add
or subtract EQ more generously than you
can with conventional EQ circuit designs.
When you add low midrange, you get
a rmer sound instead of a nasty bonk.
When you back high frequencies o a
bit, treble backs o just a hair instead of
turning mued.

All SX2442FX mono channels have
low and high shelving plus a sweepable
“midrange” you can move anywhere from
100 Hz to 8 kHz. Think of it as your roving
English troubleshooter.

Kill feedback before it maims
your audience.

When it comes to suppressing
feedback, the SX2442FX is like having
a bloodhound trained to spot trouble
frequencies a mile away.

The 9-band graphic EQ (which you
can choose to apply to your main mix
or monitor mix via the MAIN/AUX1
button) features the FBQ Feedback
Detection system. It makes nding and
adjusting critical frequencies a snap.

hat can put a PA or studio

Just push FBQ IN, then watch as LEDs
on the individual EQ sliders light up,
indicating which frequency bands are
causing feedback. Simply adjust until the
LED goes dim.

The Ins and Outs

Some manufacturers make what they
call 24-input mixers that count stu like
CD/TAPE IN as an input. But the SX2442FX
really gives you sixteen honest mono
channels plus eight stereo channels,
making it easy to accommodate a variety
aio or live performance congurations.
You can connect up to 16 microphones or
other mono instruments and up to four
stereo instruments (keyboards or tone
modules, for example).

You can combine these input in
four dierent sub-mixes (we call them
buses). That allows you to blend multiple
channels—say all the mics on a drum
kit or all the backup singers’ mics—to
a single fader, which is easier to adjust
for the overall mix that goes to the PA
speakers. You can also use one or more
of the sub-mix buses to create custom
monitor mixes for picky members of your
band (“More me! More me!”).

A zillion ways to change the channel

At the top of each mono channel,
you’ll nd both a balanced XLR input with
a XENYX mic preamp and a ¼" input.
A phantom power switch located on
the back near the main power switch
accommodates condenser mics.

Next comes is an insert for connecting
up individual signal processors or feeding
a remote broadcast feed or multitrack
recorder directly.

Trim control and level set LED let
you adjust the channel’s input level for
maximum headroom and minimum
noise — the huge range of this control
can handle anything from a very
timid vocalist to a close-miked guitar
amp stack.

Each mono channel features a 3-band
EQ with semi-parametric mids (giving you
control of the Mid level and a sweepable
frequency with a boost or cut of 15 dB)
and a Trim control for adjusting input gain
via a Level Set LED.

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EURODESK
SX2442

EFFECTS

PARALLEL EFFECTS:

Cathedral (01-02) Very dense and long reverberation of a

large cathedral

Plate (03-04) Simulates early plate reverb

Concert (05-06) Simulates a small theater or large concert hall

Stage (07-08) Very dense reverb, especially for

live applications

Room (09-10) Simulates room’s wall reverb. This particular

room has two windows and yellow wallpaper

Studio (11-12) Adds spaciousness to the sound

Small Hall (13-14) Simulates hallway reverberation

Ambience (15-16) Simulates the reverb of a middle-sized room

without late reections

Early Reection s (17) Dense reverb with pronounced early reections

Spring Reverb (19-20) Simulates spring reverb

Gated Reverb (21-22) Reverb that’s synthetically cut o

Reverse Reverb (23-24) Reverb that slowly gets louder

Chorus (25-30) Slight detuning of the original signal

Flanger (31-35) A delayed signal is added to the original

signal, causing a phase shift

Phaser (36-39) Another phase-shift eect

Rotar y Spea ker (40- 42) S imulation of a rotating electronic organ speaker

Delay (43-52) Delay of the input signal with repetitions

Chorus & Reverb (53-54) Combination of chorus and reverb

Flanger & Reverb (55-56) Flanger combined with reverb

Phaser & Reverb (57-58) Phaser combined with reverb

Rotary Speaker & Rotary Speaker eect combined with Reverb
Reverb (59-60)

Delay & Reverb (61-63) Delay combined with Reverb

Delay & Chorus (64-67) Widens the signals and produces

repetition eects

Delay & Flanger (68-70) Similar to Delay & Chorus, but with audible

up/downward modulation

INSERT EFFECTS:

Compressor (71-73) Soft or loud passages are raised or lowered in

level respectively

Expander (74-76) Noise and hum is reduced in level

Gate (77-78) A gate opens for a specic period of time to make

a specic signal pass, then closes abruptly

Ultramizer (79-80) Compression through automatic adaptation of

compression parameters

Ultrabass (81-82) Combines sub-harmonics processor, bass

exciter, and limiter

Panner (83-85) The signal “wanders” between the sides of the

stereo basis

Exciter (86-88) Adds synthetic harmonics to the signal,

resulting in increased presence and “loudness”

Auto Filter (89-91) Level-dependent boost of a specic frequency

band, similar to auto-wah or electric guitars

Tube Distortion (92-93) Simulates the tube distortion of classic guitar

ampliers

Guitar Amp (94-97) Guitar amp simulation

Vinylizer (98) Adds the clicks and noise of old vinyl records

Test Tone (99) 1-kHz test tone. Virtually indistinguishable

from some genres of techno.

A Low Cut button eliminates the
frequencies where unwanted infrasonics
such as mic handling, P-pops or wind
noise occur.

FX1 and FX 2 dials add a blend of up to
two eects, and AUX 1 and AUX 2 dials
help create your monitor mix. Press the
PRE button to send a raw, EQ-free signal
to the monitors.

Near every mono channel’s fader
you’ll nd a 1-2, 3-4 and MAIN button.
By engaging the MAIN button, the signal
is sent to the main mix. Or, if you engage
the 1-2 button, the channel becomes
part of a bus. Twist the PAN control all the
way to the left to assign it to Sub 1, or all
the way to the right for Sub 2. The same
principle applies to the 3-4 button.

A Mute button with accompanying
LED cuts the signal from the channel,
and a Clip LED helps you dial in a
distortion-free post-EQ signal. The Solo
button on individual channels routes the
subgroup signal to the solo bus or Pre­Fader Listen—depending on whether the
signal has been included in a subgroup.

Instead of XLR inputs, stereo
channels 17-24 have left and right
balanced/unbalanced line level inputs.
Channels 17-20 feature the same
controls as the mono channels, but with
a four-band EQ that gives you control
of HIGH, HIGH MID, LOW MID and LOW.
This is especially useful for EQ’ing the
critical midrange frequency content
found in keyboard signals.

Stereo channels 21 through 24,
designed for signals that do not require
EQ, have a simplied interface consisting
of a Level, AUX 1 and AUX 2 dial. Can you
say laptop backing track feeds, drum
machines, tone modules, DJ mixers or
CD players?

Finally, all four sub-mix buses feature
an independent fader (naturally),
Solo switch with bright LED, and assign
buttons for routing them to Left or
Right stereo channels.

Packed with tasty details that make
your creative life easier.

• We solved the problem of what to do
when you want to play music during
breaks but don’t want to have to mute
every channel or turn down every
fader. Just push CD/Tape STANDBY
button to A) mute all mixer channels
and B) solo just your CD/Tape source.
We didn’t just give you a MONO
output for subwoofers. We gave it a
built-in variable low pass crossover,
saving you money on outboard gear.

• We added a footswitch jack that you
can use to control either internal or
external eects.

• We gave you a complete Phones and
Control Room assignment matrix so
you can send mains, buses, CD/Tape or
auxes out at the touch of a button.

• We added a routing button to Talkback
so you can talk directly to either a
monitor mix or the house mix for
public announcements.

• We made the 9-band equalizer
assignable to either AUX 1 or the
main mix.

Take On The World

Not every town on the planet uses

the same voltage common in yours.
Unfortunately, this sometimes doesn’t
occur to jet-setting sound technicians
until they’re 5,000 miles from home.
With the SX2442FX, this is never an issue.
The internal autorange power supply can
run on anything from 100 to 240 V with
noise-free audio, top-quality transient
response and low power consumption.

Buy it now. Teach your great grandkids
how to run it.

BEHRINGER mixers last and last. We use

top quality parts such as long-wear faders,
sealed rotary controls and premium circuit
boards. We have 20 years of experience
guring out how to compensate for clumsy
load-ins, spilled drinks, crazed guitarists
and millions of road miles. The result is a
mixer you can count on day after day and
night after night.

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