Behringer XENYX X1622USB User Manual [ru]

User Manual

X2442 /X2222 /
X1832 /X1622

Premium 24/22/18/16-Input 4/2, 3/2 and 2/2-Bus Mixer with
XENYX Mic Preamps & Compressors, British EQs,
24-Bit Multi-FX Processor and USB/Audio Interface

2 XENYX X2442USB/X2222USB/X1832USB/X1622USB 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 (X1832USB only) .......... 12

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

5. Rear Panel Connectors ............................................ 13

5.1 Main mix outputs, insert points and

control room outputs.............................................................. 13

5.2 Subgroup outputs ............................................................ 13

5.3 Inserts ................................................................................... 14

5.4 Direct outputs (X2442USB only) ..................................14

5.5 USB input/output ............................................................. 14

5.6 Voltage supply, phantom power supply

and fuse ........................................................................................ 14

6. Installation ............................................................... 15

6.1 Rack mounting ................................................................... 15

6.2 Cable connections ........................................................... 15

7. Specications ........................................................... 16

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 sec tion,
thxing consoles in the XENYX Series are optimally equipped for live and studio
applications. Owing to state-of-the-ar t 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 X2442USB/X2222USB/X1832USB/X1622USB 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 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.

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 X2442USB/X2222USB/X1832USB/X1622USB 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.

Multi-eects processor

Additionally, your XENYX mixing console has an eects processor
with 24-bit A/D and D/A converters included, which gives you
16presets producing rst-class reverb, delay and modulation eects
plus numerous multi-eects 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 eciency a switched-mode power
supply uses less energy than conventional power supplies.

 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.

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. Inter ference
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.

Frequency response correction

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

FBQ Feedback Detection System

The FBQ Feedback Detection System integrated into the graphic EQ
of your X1832USB 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 X1832USB:
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.

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 X2442USB/X2222USB/X1832USB/X1622USB 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.

◊ 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.

1.3.3 Online registration

Please register your new BEHRINGER equipment right after your purchase
by visiting http://behringer.com and read the terms and conditions of our
warrantycarefully.

Should your BEHRINGER product malfunction, it is our intention to have it
repaired as quickly as possible. To arrange for warranty service, please contact
the BEHRINGER 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 Contac t
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
(http://behringer.com).

Registering your purchase and equipment with us helps us process your repair
claims more quickly and eciently.

Thank you for your cooperation!

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

1.3 Before you get started

1.3.1 Shipment

Your mixing console was carefully packed in the factor y 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.

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 connec tors 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.

2.1.1 Microphone and line inputs

X2222USB X2442USB

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

6 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

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.

◊ 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 X2442USB, the X1622USB, X1832USB and X2222USB 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 disconnec t 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 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).

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 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 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 Models

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.

2.1.3 Monitor and eects busses (Aux Sends)

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).

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.

X1622USB X2442USB

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

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) 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.

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

7 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

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 dr y 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 (X2442USB and X2222USB),
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.

◊ X1622USB and X1832USB: On these consoles, the above note refers

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

2.1.4 Routing switch, PAN, SOLO and channel fader

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 X2442USB
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).

2.2 Stereo channels

X2442USB

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 left
will route the signal to group output 3 only, and panning hard right will route to
group output 4 only.

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.

2.2.1 Channel inputs

X2222USB X2442USB XENYX2442FX

Fig. 2.5: The various stereo channel inputs

Each stereo channel has two balanced line level inputs on jacks for left and
right channels. Channels 9/10 and 11/12 on the X2442USB 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.

8 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

LOW CUT and MIC GAIN

These two control elements operate on the XLR connectors of the X2442USB,
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 (X2442USB only).

LEVEL

For level matching, the stereo inputs on the X1622USB, X1832USB and X2222USB
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).

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.

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

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.

X1622USB and X1832USB: On these consoles, this function is performed by the
AUX SEND 2 control (FX).

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 lef t/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

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.

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).

2.3.2 Aux send jacks

X2442USB

Fig. 2.8: Aux se nd jacks

X1832USB

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 X2222USB, aux send 1 is hard wired as pre-fader and hence

called MON. Model X1832USB has a dedicated monitor output
(MON OUT jack), cf. chapter 2.3.4.

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 X1832USB 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.

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

9 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

AUX SEND (FX)

The AUX SEND (FX) jack carries the master aux mix (from the channel’s FX
controls). You can connect this to an external eects device to process the FX bus.
The processed signal can then be brought from the eects device back into the
STEREO AUX RETURN jacks.

2.3.3 Stereo aux return connectors

X2442USBX1832USB

Fig. 2.9: The au x return connec tors

◊ On the X2222USB, X1832USB and X1622USB the STEREO AUX RETURN

jacks are located on the front panel of the unit.

STEREO AUX RETURN

The STEREO AUX RETURN 1 jacks generally serve as the return for the eects
mix (created using the post-fader aux sends) by connecting the output of an
external eects device. If only the left jack is connected, the AUX RETURN is
automatically switched to mono.

◊ You can also use these jacks as additional line inputs.

All stereo aux returns are balanced, but can of course also be used with
unbalanced connectors. If you use an aux send for monitoring, theassociated
unused stereo aux returns are available for other line level signals
(e.g.keyboards).

◊ A signal fed into the stereo return jacks can be output via an aux

send jack. More information on this can be found in chapter 2.3.5
“STEREO AUX RETURN 1/2 (TO AUX SEND)”.

STEREO AUX RETURN FX

The STEREO AUX RETURN FX jacks accept the eects mix return (created using
the channel FX sends). If these jacks are already in use as additional inputs,
youcan route the eects signal back into the console via a dierent channel.
Theadvantage of this is that you can now use that channel’s EQ on the eects
return signal.

The rst aux send (MON) on this console is used to set up the monitor mix from
the channels and route it to the MON SEND fader.

X1832USB

Fig. 2.11: Monitor f ader of the X1832USB

MUTE

Press the MUTE switch to mute the monitor send.

SOLO

The SOLO switch routes the monitor send to the solo bus (post-fader and post­mute) or to the PFL bus (pre-fader and pre-mute). The position of the MODE
switch in the main section determines which of the buses is selected.

2.3.5 Stereo aux return control

STEREO AUX RETURN 1

The STEREO AUX RETURN 1 control determines the level of this signal in the
main mix. If STEREO AUX RETURN 1 is used as eects return, this will determine
the level of the eects when mixed with any “dry” channel signal.

◊ When used in this way, the effec ts device should be set at 100% effect.

◊ In this instance, the FX control of the channel being used as an effects

return should be turned fully counterclockwise, otherwise feedback
problems could occur!

◊ If you wish to use the internal effects processor, do not plug any

connectors into the STEREO AUX RETURN FX jacks, unless you want to
tap the processed signal via the FX OUT (X2222USB and X2442USB only).

2.3.4 The monitor section of the X1832USB

One of the ways that the X1832USB diers from the other models of this series is
that it has a separate monitor output.

X1832USB

Fig. 2.10: Monitor out put of the X1832USB

X2442USB

Fig. 2.12: Stereo aux return and stereo aux return (to aux send) controls

STEREO AUX RETURN 1/2 (TO AUX SEND)

The two right-hand STEREO AUX RETURN controls have a special function:
they can be used to add an eect to a monitor mix. An example follows
(X1622USBwired to an eec ts device):

10 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

Monitor mix with eect

In this instance, your eects device should be set up as follows: the AUX SEND2
jack should be connected to the L/Mono input of your eects device, with its
outputs coming back into the STEREO AUX RETURN 1 jacks.

Connect the AUX SEND 1 jack output to the amplier of your monitor system.
TheAUX SEND 1 master control determines the overall volume of the
monitormix.

Using the STEREO AUX RETURN (TO AUX SEND) control, the eect signal can now
be blended into the monitor mix.

You can easily use the headphones distribution amplier BEHRINGER POWERPLAY
PRO HA4700/HA8000 to provide four (HA8000: eight) stereo headphone mixes for
your studio.

The following table shows which jacks on the console can be used for
thispurpose.

External eects device

receives signal from...

X1622USB AUX SEND 2

X1832USB AUX SEND 1

X2222USB AUX SEND 2

X2442USB AUX SEND 2

optional: AUX SEND 1

Tab. 2.1: Connec tors and control s for monitor mix wit h eect

External eects device
routes signal back to...

STEREO AUX RETURN 1

connectors

STEREO AUX RETURN 2

connectors

STEREO AUX RETURN

connectors 1 or 2

STEREO AUX RETURN 1

connectors

STEREO AUX RETURN 2

connectors

The eect signal reaches the

monitor mix via…

STEREO AUX RETURN 1

(TO AUX SEND 1) contro l

MONITOR switch of the

FX/AUX 2 RET

STEREO AUX RETURN 1

(TO AUX SEND 1) contro l

STEREO AUX RETURN 1

(TO AUX SEND 1) contro l

STEREO AUX RETURN 2

(TO AUX SEND 2) contro l

STEREO AUX RETURN FX

On consoles X1622USB and X1832USB this is the STEREO AUX RETURN 2,
onconsoles X2222USB and X2442USB this is the STEREO AUX RETURN 3.

2.3.6 Supplement to X1832USB

The X1832USB has a stereo fader for the AUX RETURN FX and oers a variety
of routing options: MUTE disables the eect return (but not PFL of course!),
SOLOroutes it to the Solo or PFL busses, SUB to the subgroups and MAIN to the
main mix.

X1832USB

Fig. 2.13: The FX/AUX 2 return f ader of the X1832USB

MON

The MON switch routes the signals appearing at the AUX RETURN2 jacks to the
monitor path, along with the monitor signals from the channels.

If you wish to route the eec t signal to the monitor mix, you can also switch aux
1 to pre-fader, drive the eect device from the aux 1 output and return the eect
signal via AUX RETURN 2 to the monitor signal.

2.3.7 XPQ Surround function (X1832USB only)

Use the STEREO AUX RETURN FX control to determine the level of the signal
routed from the AUX RETURN FX jacks to the main mix. If nothing is connected to
these jacks, the output of the built-in eects module will appear.

MAIN MIX / TO SUBS

This switch routes the signal fed in via the STEREO AUX RETURN FX jacks either to
the main mix (not pressed) or to the submix (pressed).

On the X2442USB you can select which subgroup the signal is assigned to
(switches 1-2 / 3-4, to the right of MAIN MIX / TO SUBS).

SOLO RETURNS

Additionally, this model allows you to route the aux returns together to the solo
bus and the PFL bus. The LED lights up when Solo is on.

STEREO AUX RETURN 4 (X2442USB only)

This control behaves the same way as the other stereo aux returns. Additionally,
it provides for a simple monitor path using the switch PHONES/CTRL ROOM ONLY.

PHONES/CTRL ROOM ONLY

Use this switch to route the signal appearing at the AUX RETURN 4 jacks to the
control room and headphones outputs.

X1832USB

Fig. 2.14: Control elements of the surround function

The XPQ surround function can be enabled/disabled with the
XPQ TO MAIN switch. This is a built-in eect that widens the
stereo width, thus making the sound more lively and transparent.

Usethe SURROUND control to determine the intensity of this eect.

VOICE CANCELLER

Here, you have a lter circuitry that lets you almost entirely remove
the vocal portion of a recording. The lter is constructed in such a way

that voice frequencies are targeted without majorly aecting the rest
of the signal. Additionally, the lter seizes only the middle of the stereo image,
exactly there where the vocals are typically located.

◊ Connect the signal sources you wish to process using the Voice Canceller

to the CD/TAPE INPUT connectors. The Voice Canceller circuitry is not
available for other inputs.

11 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

Possible applications for the Voice Canceller are obvious: you can very simply
stage background music for Karaoke events. Of course, you can also do this at
home or at your rehearsal room before you hit the stage. Singers with their own
band can practice singing dicult parts using a complete playback from a tape
player or a CD, thus minimizing rehearsal time.

2.3.8 CD/Tape input, CD/tape output

X2442USB

Fig. 2.15: 2-track connec tors and lamp socke t

CD/TAPE INPUT

The CD/TAPE INPUT jacks (RCA) are designed to accept a 2-track recorder
(e.g.DAT recorder), or they can be used as stereo line input. The output signal of
a second XENYX or the BEHRINGER ULTRALINK PRO MX882 can also be connected
here. If you connect the output of a hi- amplier (with a source selection switch)
to the CD/TAPE INPUT, you can easily listen to additional sources (e.g. cassette
recorder, MDplayer, sound card, etc.).

Using the voice canceller function (X1832USB only), you can process all signals
being brought into your mixing console via these connectors.

SUB 1-2 or SUB

The SUB 1-2 switch routes subgroup 1-2 to the level meter, CONTROL ROOM OUT
and phones.

SUB 3-4

The SUB 3-4 switch performs a similar function for subgroup 3-4
(X2442USBonly).

MAIN MIX

The MAIN MIX switch sends the main mix to the CONTROL ROOM OUT and the
PHONES output as well as to the level meter.

PHONES/CTRL ROOM

Use this control to adjust the control room output level and the
headphonesvolume.

CD/TAPE TO MAIN

When the CD/TAPE TO MAIN switch is depressed, the 2-track input is routed to
the main mix and thus serves as an additional input for tape machines. Youcan
also connect MIDI instruments or other signals here that do not require any
further processing. At the same time, this switch disables the main mix to tape
output link.

POWER

The blue POWER LED indicates that the device is switched on.

CD/TAPE OUTPUT

These connectors are wired in parallel to the MAIN OUT and carry the main mix
signal (unbalanced). Connect this to the inputs of your recording device. The nal
output level can be adjusted via the high-precision MAIN MIX fader.

◊ If you connect a compressor or a noise gate post 2-track output,

the main mix fader will probably not be able to create a satisfactory
fade-out effect.

2.3.9 Lamp socket (X2442USB only)

Use this BNC socket to connect a gooseneck lamp (12 V DC, max. 0.5 A).

2.3.10 Level meter and monitoring

X2442USB

Fig. 2.16: Control room a nd phones sect ions of the X2442USB

CD/TAPE

+48 V

The red “+48 V” LED lights up when phantom power is switched on.
Phantompower is required to operate condenser microphones.

◊ While phantom power is switched on, do not connect or disconnect

microphones on the mixer (or the stagebox/wallbox). Connect any
micro-phones before switching on phantom power. Additionally,
monitor/PA speakers should be muted before you activate the phantom
power supply. After switching on, wait approx. one minute before
adjusting the input gain so that the system has time to stabilize.

2. 3 .11 Level Meter

The high-precision level meters always give you an accurate display of
signallevel.

LEVEL SETTING:

When recording to digital recorders, the recorder’s meter should not go into
overload. This is because, unlike analog recordings, it takes only slightly excessive
levels to create unpleasant digital distor tion.

When recording to analog, the VU meters of the recording machine should reach
approx. +3 dB with low-frequency signals (e.g. kick drum). Due to their inertia,
VU meters tend to display too low a signal level at frequencies above 1 kHz.
Youshould only drive instruments such as a Hi-Hat as far as -10dB. Snaredrums
should be driven to approx. 0 dB.

◊ The peak meters of your XENY X display level almost independent of

frequency. A recording level of 0 dB is recommended for all types
of signal.

The CD/ TAPE switch routes the signal from the CD/TAPE INPUT jacks to the level
meter, the CONTROL ROOM OUT outputs and the PHONES jack—this is a simple
way to check recorded signals via monitor speakers or headphones.

MODE

The MODE switch determines whether the channels’ SOLO switch operates as PFL
(Pre Fader Listen) or as solo (Solo In Place).

12 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

PFL (LEVEL SET)

To activate the PFL function, press the MODE switch. The PFL function should, as a
rule, be used for level set ting (GAIN). The signal is sourced pre-fader and assigned
to the mono PFL bus. In “PFL” mode, only the left side of the peak meter is in
operation. A PFL’d channel should be driven to the 0 dB mark of the VU meter.

SOLO (NORMAL)

When the MODE switch is not depressed, the stereo solo bus is active. Solo is
actually short for “Solo In Place”. This is the customary method for listening to
an individual signal or to a group of signals. As soon as a solo switch is pressed,
all channels not solo selected are muted in th e monitor path (control room and
phones). A channel’s position in the stereo image is maintained. The solo bus
carries the output signals of the channel pan controls, the aux sends and the
stereo line inputs. On the X2442USB all aux returns, and on the X1832USB
only aux return 2 can be routed to the solo bus. The solo bus is, as a rule,
takenpost-fader.

◊ The PAN control in the channel strip offers a constant power

characteristic. This means that the signal is always at a constant level,
irrespective of position in the stereo panorama. If the PAN control is
moved fully left or right, the level in that channel increases by 4 dB.
This ensures that, when set at the center of the stereo image, the audio
signal does not appear louder. For this reason, with the solo function
activated (Solo in Place), audio signals from channels with PAN controls
that have not been moved fully left or right are displayed at a lower
volume than in the PFL function.

As a rule, solo signals are monitored via the control room outputs and
headphones jack and are displayed by the level meters. If a solo switch is pressed,
the signals from the tape input, the subgroups and the main mix are cut from
these outputs and the level meter.

MAIN SOLO

LEFT/RIGHT switch

The switches located above the subgroup faders assign the subgroup signal
either to the left or right side of the main bus. Similarly, it can be routed to
both sides or none at all. In the latter case, the submix is present only at the
corresponding subgroup outputs.

X2442USB

Fig. 2.18: Subgroup and ma in mix fader

3. Graphic 9-Band Equalizer (X1832USB only)

The MAIN SOLO LED lights up as soon as a channel or aux send solo switch is
pressed. The MODE switch must be set to “Solo”.

PFL (LEVEL SET)

The PFL (LEVEL SET) LED indicates that the peak meter is set to PFL mode.

Fig. 2.17: PHONES jack

PHONES jack

You can connect headphones to this ¼" stereo jack (X2442USB: 2 phones jacks).
The signal routed to the PHONES connection is the same as that routed to the
control room output.

2.3.12 Subgroups and main mix fader

You use the high-precision quality faders to control the output level of the
subgroups and the main mix.

X1832USB

Fig. 3.1: The graphic ster eo equalizer of the X1832USB

The graphic stereo equalizer allows you to tailor the sound to the room acoustics.

EQUALIZER

Use this switch to activate the graphic equalizer.

MAIN MIX/MONITOR

This toggles the graphic equalizer between the main mix and the monitor mix.
With the switch up (not depressed), the equalizer is active in stereo on the main
mix, and inactive on the monitor mix.

When the switch is depressed the equalizer is active in mono on the monitor mix,
and inactive on the main mix.

13 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

FBQ FEEDBACK DETECTION

The switch turns on the FBQ Feedback Detection System. It uses the LEDs in the
frequency band faders to indicate the critical frequencies. On a per-need basis,
lower the frequency range in question somewhat in order to avoid feedback.
Thegraphic stereo equalizer has to be turned on in order to use this function.

◊ Logically, at least one (ideally several) microphone channels have to be

open for feedback to occur at all!

Feedback is particularly common when stage monitors (“wedges”) are
concerned, because monitors project sound in the direction of microphones.
Therefore, you can also use the FBQ Feedback Detection for monitors by placing
the equalizer in the monitor bus (see MAIN MIX/MONITOR).

4. Digital Eects Processor

24-BIT MULTI-EFFECTS PROCESSOR

Here you can nd a list of all presets stored in the multi-eects processor.
Thisbuilt-in eects module produces high-grade standard eects such as reverb,
chorus, anger, delay and various combination eects. Use the Aux Send FX on
the channels and the Aux Send FX master control to determine the input signal of
the eects processor.

LEVEL

The LED level meter on the eects module should display a suciently high
level. Take care to ensure that the clip LED only lights up at peak levels. If it is
lit constantly, you are overloading the eects processor and this could cause
unpleasant distortion.

PROGRAM

You can select the eect preset by turning the PROGRAM control. The display
ashes with the number of the current preset. To recall the selected preset,
presson the button; the ashing stops. You can also recall the selected preset
with the foot switch.

5. Rear Panel Connectors

5.1 Main mix outputs, insert points and control room outputs

X1832USB

Fig. 4.1: Digital eec ts module

The built-in stereo eects processor has the advantage that it does not need to
be wired up. This excludes the danger of humming or level mismatch right from
the start and thus considerably facilitates use.

These eect presets are classical “mixing eects”. If you move the STEREO AUX
RETURN FX control, you mix the channel signal (dry) and the eect signal. Youcan
control the balance between the two signals with the channel fader and the
STEREO AUX RETURN FX control.

FX OUT

Mixing consoles X2222USB and X2442USB have a separate output for the eects
device, which is unbalanced and stereo (tip = left signal; ring = right signal;
sleeve = ground/shielding). Thus, you can record, for example, a vocal track
enhanced with reverb in parallel to a “dry” vocal track; when doing the mix-down
later on, you can freely determine the amount of reverb added.

◊ The X2442USB has the effect output on the rear, X2222USB has it

located next to the aux sends on the front panel.

FX FOOTSW.

X2442USB

Fig. 5.1: Main Mix output s, main mix inser t points and contro l room outputs

MAIN OUTPUTS

The MAIN outputs carry the MAIN MIX signal and are on balanced XLR jacks with
a nominal level of +4 dBu. In parallel with this, ¼" phone jacks carry the main
mix signal in a balanced format (X1622USB: here, the phone jack outputs are
unbalanced and located on the front panel).

CONTROL ROOM OUTPUTS (CTRL OUT)

The control room output is normally connected to the monitoring system in the
control room and carries the stereo mix or, when selected, the solo signals.

MAIN INS(ERTS) (X2442USB only)

These are the insert points for the main mix. In the signal path, they are
post-main mix amp, but pre-main fader(s). Use them to insert, for example,
adynamics processor or graphic equalizer. Please also note the information on
insert points in chapter 5.3.

5.2 Subgroup outputs

Connect a standard foot switch to the foot switch jack and use this to switch
the eects processor on and o. A light at the bottom of the display indicates
wheater the eects processor has been muted by the foot switch.

◊ In Chapter 6.2 you will find an illustration showing how to connect your

foot switch correctly.

Fig. 5.2: Subg roup outputs

14 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

SUB OUTPUTS

The subgroup outputs are unbalanced and provide the mix of those channels
assigned to each subgroup with the SUB switch (X2442USB: switches 1-2 or 3-4)
next to the channel faders. Thus, you can, for example, route a subgroup to a
second console or use the output as a recording output in parallel to the main
outputs. In this way, you can record several tracks simultaneously. With an
8-track recorder, use Y cables and wire the inputs of your machine so that you
have 2 x 4 tracks available (e.g. channel 1 to track 1 and 2, etc.). In the rst pass,
you can record the tracks 1, 3, 5 and 7, in the second the tracks 2, 4, 6 and 8.

The XENYX 2442FX already has subgroup outputs wired in parallel (1-5, 2-6, etc.).

5.3 Inserts

X1622USB

Fig. 5.3: Insert points

◊ On the 2442FX the channel insert points are located on the control

panel between the line input and the GAIN control.

Insert points are very useful to process channel signals with dynamic processors
or equalizers. Unlike reverb or other eects devices, whose signals are usually
added to the dry signal, dynamic processors are most eective on the complete
signal. In this case, aux send paths are a less-than-perfect solution. It is better
to interrupt the signal path and insert a dynamic processor and/or equalizer.
Afterprocessing, the signal is routed back to the console at precisely the same
point it left. However, the channel signal path is interrupted only if a plug is
inserted into the corresponding jack (stereo phone plug: tip = signal output;
ring= return input). All mono input channels are equipped with inserts. Theyare
pre-fader, pre-EQ and pre-aux send. Inserts can also be used as pre-EQ direct
outputs, without interrupting the signal path. To this end, you will need a cable
tted with mono phone plugs on the tape machine or eect device end, and a
bridged stereo phone plug on the console side (tip and ring connected).

5.4 Direct outputs (X2442USB only)

The XENYX mixer line has built-in USB connectivity, allowing stereo signals to
be sent to and from the mixer and a computer. The audio sent from the mixer to
a computer is identical to the MAIN MIX. Audio being sent to the mixer from a
computer can be routed to the main mix with the 2-TR/USB TO MAIN button.

Connect the USB type B plug into the USB jack on the mixer, and the other end
into a free USB port on your computer. There are no required drivers, but we
recommend that PC users install the included ASIO driver. The driver can also be
downloaded from behringer.com.

5.6 Voltage supply, phantom power supply and fuse

All Models

Fig. 5.6: Voltage s upply and fuse

FUSE HOLDER/IEC MAINS RECEPTACLE

The console is connected to the mains via the cable supplied, which meets the
required safety standards. Blown fuses must only be replaced by fuses of the
same type and rating. The mains connection is made via a cable with IEC mains
connector. An appropriate mains cable is supplied with the equipment.

POWER switch

Use the POWER switch to turn on the mixing console. The POWER switch should
always be in the “O” position when you are about to connect your unit to
themains.

To disconnect the unit from the mains, pull out the main cord plug.
Wheninstalling the product, ensure that the plug is easily accessible. If mounting
in a rack, ensure that the mains can be easily disconnected by a plug pull or by an
all-pole disconnect switch on or near the rack.

X2442USB

Fig. 5.4: Direc t outputs

DIRECT OUTPUTS

The direct outputs of the X2442USB (1 each per mono input channel) are ideal for
recording if several tracks are to be recorded simultaneously. These unbalanced
phone jacks are post-EQ, post-mute and post-fader.

5.5 USB input/output

Fig. 5.5: USB input /output

◊ Attention: The POWER switch does not fully disconnect the unit from

the mains. Unplug the power cord completely when the unit is not used
for prolonged periods of time.

PHANTOM switch

The PHANTOM switch activates the phantom power (necessary to operate
condenser microphones) on the XLR sockets of the mono channels. The red +48V
LED illuminates when phantom power is on. As a rule, dynamic microphones can
still be used with phantom power, provided that they are wired in a balanced
conguration. In case of doubt, contact the microphone manufacturer!

◊ Connect microphones before you switch on the phantom power supply.

Please do not connec t microphones to the mixer (or the stagebox/
wallbox) while the phantom power supply is switched on. In addition,
the monitor/PA loud-speakers should be muted before you activate the
phantom power supply. After switching on, wait approx. one minute to
allow for system stabilization.

◊ Caution! Please also note the information given in chapter 6.2.1

“Audio connections”.

15 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

SERIAL NUMBER

Please note the important information on the serial number given in
chapter1.3.3.

Balanced use with XLR connectors

12

3

6. Installation

6.1 Rack mounting

The packaging of your mixing console contains two 19" rack mounts for
installation on the side panels of the console.

Before you can attach the rack mounts to the mixing console, you need to remove
the screws holding the left and right side panels. Then, use these screws to
fasten the two rack mounts, each specically to one side. With the rack mounts
installed, you can mount the mixing console in a commercially available 19" rack.
Be sure to allow for proper air ow around the unit, and do not place the mixing
console close to radiators or power amps, so as to avoid overheating.

◊ Only use the screws holding the mixing console side panels to fasten

the 19" rack mounts.

6.2 Cable connections

You will need a large number of cables for the various connections of the console.
The illustrations below show the wiring of these cables. Be sure to use only high­grade cables.

¼" TS footswitch connector

strain relief clamp

sleeve

tip

input

1 = ground/shield
2 = hot (+ve)
3 = cold (-ve)

1

2

3

output

For unbalanced use, pin 1 and pin 3
have to be bridged

Fig. 6.2: XLR connections

◊ Caution! You must never use unbalanced XLR connectors (PIN 1 and

3 connected) at the MIC input jacks if you want to use the phantom
power supply.

Unbalanced ¼" TS connector

strain relief clamp

sleeve

tip

sleeve

(ground/shield)

sleeve

pole 1/ground

tip

pole 2

The footswitch connects both poles momentarily

Fig. 6.1: Foot switch connec tor

6.2.1 Audio connections

Please use commercial RCA cables to wire the 2-track inputs and outputs.

You can, of course, also connect unbalanced devices to the balanced input/
outputs. Use either mono plugs, or use stereo plugs to link the ring and shaft (or
pins 1 & 3 in the case of XLR connectors).

tip

(signal)

Fig. 6.3: ¼" mono plug

Balanced ¼" TRS connector

strain relief clamp

sleeve
ring
tip

sleeve

ground/shield

ring

cold (-ve)

tip

hot (+ve)

For connection of balanced and unbalanced plugs,
ring and sleeve have to be bridged at the stereo plug.

Fig. 6.4: ¼" stereo plu g

16 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

Insert send return ¼" TRS connector

strain relief clamp

sleeve
ring
tip

sleeve

ground/shield

ring

return (in)

tip

send (out)

Connect the insert send with the input and the
insert return with the output of the eects device.

Fig. 6.5: Inser t send/return s tereo plug

¼" TRS headphones connector

strain relief clamp

sleeve

ring

tip

sleeve

ground/shield

ring

right signal

tip

left signal

Fig. 6.6: Stereo plug for headphones connection

7. Specications

Microphone Inputs (XENYX Mic Preamp)

Type XLR, electronically balanced,

discreteinput circuit

Mic E.I.N. (20 Hz - 20 kHz)

@ 0 Ω source resistance -134 dB / 135.7 dB A-weighted

@ 50 Ω source resistance -131 dB / 133.3 dB A-weighted

@ 150 Ω source resistance -129 dB / 130.5 dB A-weighted

Frequency response <10 Hz - 150 kHz (-1 dB),

<10 Hz - 200 kHz (-3 dB)

Gain range +10 to +60 dB

Max. input level +12 dBu @ +10 dB Gain

Impedance approx. 2.6 kΩ balanced

Signal-to-noise ratio 110 dB / 112 dB A-weighted

(0 dBu In @ +22 dB gain)

Distortion (THD + N) 0.005% / 0.004% A-weighted

Line Input

Type ¼" TRS connector

electronicallybalanced

Impedance approx. 20 kΩ balanced

10 kΩ unbalanced

Gain range -10 to +40 dB

Max. input level 30 dBu

Fade-Out Attenuation1 (Crosstalk Attenuation)

Main fader closed 90 dB

Channel muted 89 dB

Channel fader closed 89 dB

Frequency Response

Microphone Input to Main Out

<10 Hz - 90 kHz +0 dB / -1 dB

<10 Hz - 160 kHz +0 dB / -3 dB

Stereo Inputs

Type ¼" TRS connector,

electronicallybalanced

Impedance approx. 20 kΩ

Max. input level +22 dBu

EQ Mono Channels

Low 80 Hz / ±15 dB

Mid 100 Hz - 8 kHz / ±15 dB

High 12 kHz / ±15 dB

17 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

EQ Stereo Channels

Low 80 Hz / ±15 dB

Low Mid 500 Hz / ±15 dB

High Mid 3 kHz / ±15 dB

High 12 kHz / ±15 dB

Aux Sends

Type ¼" TS connector, unbalanced

Impedance approx. 120 Ω

Max. output level +22 dBu

Stereo Aux Returns

Type ¼" TRS connector,

electronically balanced

Impedance approx. 20 kΩ bal. / 10 kΩ unbal.

Max. input level +22 dBu

Main Outputs

Type XLR, electronically balanced

and ¼" TRS balanced

X1622USB only: ¼" TS connector unbalanced

Main Mix System Data

2

Noise

Main mix @ -∞, -101 dB
Channel fader @ -∞ -100 dB (X2442USB)

Main mix @ 0 dB, -93 dB
Channel fader @ -∞ -87 dB (X2442USB)

96 dB (X1622USB)

Main mix @ 0 dB, -81 dB
Channel fader @ 0 dB -80 dB (X2442USB)

-83 dB (X1622USB)

Power Supply

Mains voltage 100 to 240 V~, 50/60 Hz

Power consumption 50 W (X2442USB)

50 W (X2222USB)
50 W ( X1832USB)
50 W (X1622USB)

Fuse 100 - 240 V~: T 1.6 A H 250 V

Mains connection Standard IEC receptacle

Physical

Impedance approx. 240 Ω symm. / 120 Ω

unbalanced

Max. output level +28 dBu

+22 dBu (X1622USB)

Control Room Outputs

Type ¼" TS connector unbalanced

Impedance approx. 120 Ω

Max. output level +22 dBu

Headphones Outputs

Type ¼" TRS connector, unbalanced

Max. output level +19 dBu / 150 Ω (+25 dBm)

DSP

Converter 24-bit Sigma-Delta,

64/128-times oversampling

Sampling rate 40 kHz

USB

Audio Stereo In/Out

X2442USB

Dimensions (H x W x D) approx. 5.31 x 16.53 x 17.32"

approx. 135 x 420 x 440 mm

X2222USB

Dimensions (H x W x D) approx. 3.54 x 13.98 x 16.92"

approx. 90 x 355 x 430 mm

X1832USB

Dimensions (H x W x D) approx. 3.54 x 13.98 x 16.92"

approx. 90 x 355 x 430 mm

X1622USB

Dimensions (H x W x D) approx. 3.54 x 13.38 x 12.60"

approx. 90 x 340 x 320 mm

Weight (Net)

X2442USB approx. 6.35 kg

X2222USB approx. 5.09 kg

X1832USB approx. 4.94 kg

X1622USB approx. 4.18 kg

Connector Type B

Converter 16-bit

Sample Rate 48 kHz

Measuring conditions:
1: 1 kHz rel. to 0 dBu; 20 H z - 20 kHz; line input; mai n output; unit y gain.
2: 20 Hz - 20 kHz; measured at main o utput. Channels 1 - 4 un ity gain; EQ flat ; all channels on main mix;
channels 1/3 as far l eft as possib le, channels 2/4 as far right a s possible. Refere nce = +6 dBu.

BEHRINGER i s constantly str iving to manintain th e highest profes sional standards . As a result of thes e effort s,
modific ations may be made f rom time to time to exi sting product s without prio r notice. Specif ications and
appearance m ay differ fro m those listed or liiu strated.

18 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION

XENYX X2442USB/X2222USB/
X1832USB/X1622USB

Responsible Party Name: MUSIC Group Services US Inc.

Address: 18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,
USA

Phone/Fax No.: Phone: [phone]

Fax: [phone]

XENYX X2442USB/X2222USB/X1832USB/X1622USB

complies with the FCC rules as mentioned in the followingparagraph:

This equipment has been tested and found to comply with the limits for a ClassB
digital device, pur suant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a par ticular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment o and on, the user is encouraged to try to correct the
interference by one or more of the followingmeasures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit dierent from that to which the

receiver is connected.

• Consult the dealer or an experienced radio/TV technician forhelp.

This device complies with Part 15 of the FCC rules. Operation is subjec t to the
following two conditions:

(1) this device may not cause harmful interference, and
(2) this device must accept any inter ference received, including inter ference that may
cause undesired operation.

Important information:

Changes or modications to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.

We Hear You