Behringer XL3200, XL1600, XL2400 User Manual

XL1600/XL2400/

Live Mixer 16/24/32-Channel Live Mixer

XL3200

16/24/32x4x2
Live Mixer

Ultra-low noise, high-headroom
analog mixer for live, front-of-house,
monitor, corporate and touring audio
applications

8 (XL1600) / 16 (XL2400) /24 (XL3200)
Mono channelseach feature:

State-of-the-art ­XENYX Mic Preamps
Neo-classic “British” 4-band EQs -

4 stereo channels each feature:

Line inputs with ultra-high RFI sup- ­pression designed for
live application
4-band shelving-type EQ ­Switchable to Mic input -

4 Subgroup outputs with inserts plus
2 independent main outputs with
inserts on Main A

Mute, Solo, Subgroup and Main rout­ing switches on all channels

2 multi-functional stereo FX returns
with comprehensive routing options

2 Headphone and Speaker outputs
with selectable Main/CD/Tape inputs

Solo-In-Place with PFL/AFL function

Full featured Talkback function with
XLR input and Level control is assign­able to Mon/Aux/Group/Main

14-LED ladders for Main and Monitor
level metering

Separate pre/post Main B output

Long-wearing 60 mm logarithmic­taper faders and sealed rotary controls

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

XENYX — Premium 16/24/32-Input 4-Bus Live Mixer with
XENYX Mic Preamps and British EQs

Introducing a bold new line of
live sound mixers that combine
professional features, dramatic styling
and astounding value. XL Series’
intuitive layout and color-coded control
interface is designed to make them
easier to use. We’ve added the features
you’ve been asking for and then some.
And of course the XL3200, XL2400 and
XL1600 are build around our proven
XENYX high-headroom, low noise mic
preamps and warm, musical EQ.

The Ins and Outs

Some manufacturers can be sneaky
when they tell you how many inputs
their mixers have, counting features
like CD/TAPE IN as an input. But the
XL series really gives you 8 (XL1600),
16 (XL2400) and 24 (XL3200) mono
channels and four stereo channels
(with two ¼" inputs apiece—an

additional 8 line-level inputs (which
can also be used for 4 additional
mono mic channels), making it easy
to accommodate a wide variety of
live performance confi gurations.
Depending on which XL mixer you
choose, that means you can connect
up to 8, 16 or 24 microphones (or
other mono instruments) and up to
four stereo instruments (keyboards,
for example). You also get four buses,
allowing you to assign multiple
channels—say all the mics on a drum

behringer.com

Continued on next page

XL1600/XL2400/

Page 2 of 6

XL3200

16/24/32x4x2
Live Mixer

kit or all the backup singers’ mics—to a
single fader.

Best of all, you don’t need a black belt in
engineering to operate the XL series. To get
started, assign all mics and instruments to
their channels by connecting them to the
corresponding jacks on the back panel. Now,
get ready to quickly become acquainted with
the XL series’ incredibly user-friendly design.

Plenty of channels, all in living color

All dials on the XL series are assigned to
colors that not only allow you to easily locate
each function, but to also quickly identify
corresponding faders.

At the top of each mono channel strip, you’ll
fi nd a TRIM dial (white) for adjusting input gain
and an 80 Hz switch that can eliminate unwanted
infrasonics such as mic-handling noise.

Each mono channel has a 4-band EQ (High,
High Mid, Low Mid, Low). High Mid and Low
Mid dials (blue) are each paired with a FREQ
control (lighter blue) that allows you to select
the frequency boosted or cut. Directly below the
EQ, there’s an EQ switch allowing you to switch
between processed and unprocessed signals.

What the heck is “British EQ?”

British EQ is a smashing thing to have on
your side when you start reaching for those
channel equalization knobs at a live concert or
in the studio.

Input Wiring

XL1600 Rear Panel

ULR2000

ULM 2000

Keyboard

The EQ’s on British consoles from the
60s and 70s are what many engineers
believe does their sound the best justice.
When it comes to tweaking your sound,
they’re kind, gentle and above all,

XM8500 Mics

Electric Guitar

MDX2600

DI400P

VT30FX

Bass Guitar

HA4700

Drums

musical. It’s like drinking a fi ne scotch
instead of fortifi ed wine—or maybe
receiving a warm hug instead of a kick\
to the crotch.

British EQ’s distinct confi guration

Continued on next page

¼" INS jacks
for dynamics
processors or
equalizers.

XLR main outputs.

XLR OUT B outputs.

¼” FX 1 & 2
outputs.

Balanced XLR AUX 1 &
2 outputs.

Balanced XLR
Monitor outputs.

RCA CD/TAPE IN/
OUT.

¼" ouputs for

¼" AUX returns.

Left and right balanced/unbalanced line
level ¼" TRS inputs.

monitor speakers.

¼" Subgroup INS for compressors, etc., and
¼" Subgroup OUT to recording device.

¼" DIR(ect) OUT.

Insert I/O for signal
processing on
individual channels
(pre-fader, pre-EQ
and pre-aux send).

¼" TRS balanced/
unbalanced input.

Phantom power
switch.

8/16/24 Mono channels, each with
balanced XLR In with XENYX mic preamp
and phantom power for condenser mics.

XL1600/XL2400/

Page 3 of 6

XL3200

16/24/32x4x2
Live Mixer

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 fi rmer sound
instead of a nasty bonk. When you back high
frequencies off a bit, treble backs off just a hair
instead of turning muffl ed.

Back to the Strip

Controls for the channel’s FX (orange), MON
(blue) and AUX (red) sends are directly below
the EQ section. Use these to assign a channel
to an outboard FX processor or monitor and
auxiliary channels. Further down the channel
strip, the PAN control (black) determines the
signal’s position in the stereo mix. The channel
fader (black) adjusts the level of the channel
signal as part of the main mix. Press the 1-2 or
3-4 switches to assign the channel to a bus.

Stereo channels are confi gured in the
same way, but with a fi xed-frequency 4-band
EQ (blue). They are equipped with ¼” stereo
inputs, as well as XLR mono inputs, providing
4 additional Mic channels.

FBQ6200

B215XL B215XL

EP4000

DSP2024P

CD Player

Input Wiring

REV2496

MD Recorder

VP1220

MDX2600

XL1600 Rear Panel

VP1220

Rockin’ Bureaucracy

Once all mics and instruments are
connected, it’s time to take a look at the MAIN,
subgroup, MONITOR and FX sections.

All four subgroups’ controls are positioned
in the lower right corner of the mixer. They
feature individual faders with CLIP LEDs, SOLO
switches and PAN controls to adjust the signal’s
position in the stereo image.

The FX section is positioned on the middle
right section of the console. Both FX 1 and FX
2 signals have orange faders; SOLO and MUTE
switches; 1-2 and 3-4 switches that assign the
signal to subgroups; MAIN switches to route
the signals to the main outputs; MON dials
(blue) that determine the level of FX heard in
Monitor sends 1 & 2; and SEND dials (orange)
for adjusting the volume of all FX send signals.

Both monitor sends also have their own
dedicated faders (blue), as well as MUTE and
SOLO switches.

The MAIN A section lies in the bottom right
section of the board. It gives you a channel fader
(light grey); a 13-LED master level meter in the

EP4000

top right corner gives you a dynamic
visual gauge of overall output; a MUTE
switch (red) mutes all input channels
except CD/TAPE inputs; and a BAL control
(black) adjusts the mix of the left and
right output signal before they are routed
through the MAIN A output. Above, you’ll
fi nd the MAIN B section, which governs
the signal sent through the MAIN B
outputs on the back panel. Use the MAIN
B section and outputs to connect to a
separate power amplifi er and multiple
loudspeakers, or to a stereo
recording system.

Talking back, listening up

The XL series features a Talkback section

in the upper right corner with its own XLR

VP1800 VP1800

input, LEVEL control (red), and switches
that allow you to send its signal to either
the MON, AUX, GROUP or MAIN outputs.

Finally, a pair of headphone inputs
at the top of the board allows you to
personally monitor your mix, and a pair of
BNC lamp inputs ensures you’ll never have
to mix in the dark.

The back story

The back panel of XL series
mixers features an intuitive patch
bay that gives you tons of fl exibility
in confi guring a live show. In the
upper left corner you’ll fi nd the MAIN
OUTPUTS section. There’s left and
right XLR outputs for connecting to
PA speakers, as well as dual ¼" inserts

Continued on next page

XL1600/XL2400/

Page 4 of 6

XL3200

16/24/32x4x2
Live Mixer

LOW MID control
boosts and cuts
frequencies
centered at 300 Hz.

Phantom Power LED.

TRIM control adjusts input gain.

80 Hz switch activates high-pass fi lter.

12 kHz shelving HIGH EQ.

HIGH MID EQ is sweepable from
100 Hz to 8 kHz.

LOW MID EQ is sweepable from
100 Hz to 2 kHz.

80 Hz shelving LOW EQ.

EQ switch activates the equalizer.

FX 1 & 2 dials adjusts volume signal of
channel to FX unit.

PRE switch changes routing of both eff ects
paths from “post-fader” to “pre-fader.”

MON 1 & 2 dials adjusts volume signal of
channel to monitors.

AUX 1 & 2 dials adjust volume signal of
channel to AUX sends.

PAN control sets position of the channel
signal in the stereo mix.

MUTE switch mutes the channel.

SOLO switch isolates channel signal in the
headphones.

CLIP LED.
SIG LED.

Silky-smooth faders on all channels and
buses.

ROUTING SWITCHES (1-2, 3-4) assign
channel to a subgroup.

MAIN switch routes the channel signal to
the main mix.

HIGH MID control
boosts and cuts
frequencies
centered at 3 kHz.

for connecting a dynamics processor
or equalizer to further tweak the main
signal. There’s also dual OUT B jacks
governed by the MAIN B dial on front.

Next door to the MAIN OUTPUTS
section is the FX/MON/AUX SENDS
section. The FX 1 and FX 2 ¼" outputs

MONITOR section.

MIC TRIM

LINE TRIM

Assignment Switches

BNC lamp
connectors.

¼" PHONES
outputs.

send signal to outboard eff ects
processors. MON 1 and MON 2 XLR
outputs send signal to monitors, and
AUX 1 and AUX 2 XLR outputs can be
used for either eff ects processors
or monitors.

Continued on next page

13-segment LEVEL meters for MAIN and
MONITOR output.

XLR mic input for talkback section.

TAL KBACK section with XLR mic input,
LEVEL control and assignment switches.

FX SEND control for adjusting volume of
all FX send signals at the corresponding FX
send jacks and at the inputs of the built-in
FX processor.

MON controls add an eff ect signal to the
monitor buses 1 and 2.

SOLO LEVEL adjusts the volume level of all
solo signals routed to the headphone and
loudspeaker outputs.

PFL/AFL switch changes solo function from
PFL mono to AFL stereo.

LEVEL control adjusts signal volume of CD/
TAPE IN in main mix.

MAIN switch routes signal to MAIN outputs
PHONES A/B control adjusts volume of
headphone output.
SPKR control adjusts level of SPEAKERS
output.
SOURCE switch selects signal source for
headphone and loudspeaker outputs (main
or CD/TAPE signal).
LEVEL control adjusts the volume level of
the signal routed to the MAIN B output.

STEREO/MONO switch changes the MAIN B
signal from mono to stereo.

PRE/POST switch is used to determine
whether the signal is tapped in front or
behind the MAIN A fader.

AUX master section.

BAL control adjusts mix of left and right
output signal before they are routed to the
MAIN A output.

MAIN MUTE switch mutes all input
channels.

SUBGROUP sections with faders, SOLO
switches, PAN control and MAIN switch.

MAIN A fader.

XL1600/XL2400/

Page 5 of 6

XL3200

16/24/32x4x2
Live Mixer

The next section to the right contains the
AUX RETURNS. Stereo AUX inputs 1 & 2 allow
you to connect more eff ects processors or
submixers, while stereo FX 1 & 2 returns accept
processed signals sent from the FX 1 and
FX 2 outputs.

Mono inputs

Microphone inputs (XENYX Mic preamp)

Type XLR connector, electronically balanced, discrete input circuit
RF rejection fi lters

Mic E.I.N.1 (20 Hz - 20 kHz)

@ 0 Ω source resistance -127 dB / 129.7 dB

A-weighted

@ 50 Ω source resistance -126 dB / 128.3 dB

A-weighted

@ 150 Ω source resistance -125 dB / 126.5 dB

A-weighted

Frequency response

To Direct Out <10 Hz - 50 kHz (-1 dB)

<10 Hz - 100 kHz (-3 dB)

To Insert Send <10 Hz - 90 kHz (-1 dB)

<10 Hz - 170 kHz (-3 dB)

Gain range 0 dB to +60 dB

Max. input level +24 dBu @ 0 dB Gain

Impedance approx. 2.6 kΩ balanced

Signal-to-noise ratio 120 dB / 122 dB A-weighted

(0 dBu In @
+22 dB Gain)

Distortion (THD+N) typ. 0.0008 %

Line input

Type ¼" TRS jack, electronically balanced

Impedance approx. 20 kΩ balanced,

approx. 10 kΩ unbalanced

Gain range -10 dB to +40 dB

Max. input level +22 dBu @ 0 dB Gain

Channel inserts

Type ¼" TRS jack, unbalanced

Max. input level +22 dBu

Channel direct outs

Type ¼" TRS jack, balanced

Impedance 75 Ω balanced

Max. input level +22 dBu

Crosstalk2

Main fader closed 100 dB

Channel muted 90 dB

Channel fader muted 85 dB

Frequency response (Mic In Main Out)

<20 Hz - 20 kHz +0 dB / -1 dB

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

Stereo inputs

Type 2 x ¼" TRS jack, balanced

Impedance approx. 20 kΩ balanced, 10 kΩ unbalanced

Gain range -20 dB to +20 dB

Max. input level +22 dBu @ 0 dB Gain

CD/Tape in

Type RCA connector

Impedance approx. 10 kΩ

Max. input level +22 dBu

Equalizer

EQ mono channels

LOW 80 Hz / ±15 dB

HIGH MID 100 Hz to 2 kHz / ±15 dB

LOW MID 400 Hz to 8 kHz / ±15 dB

HIGH 12 kHz / ±15 dB

LOW CUT 80 Hz, 12 dB/oct.

EQ stereo channels

LOW 80 Hz / ±15 dB

LOW MID 300 Hz / ±15 dB

HIGH MID 3 kHz / ±15 dB

HIGH 12 kHz / ±15 dB

Channel inserts

Type ¼" TRS jack, unbalanced

Max. input level +22 dBu

Left and right SPEAKER ¼” outputs
allow you to connect monitor speakers
that provide the same signal as the
headphone outputs.

Each subgroup has its own INSERT
and OUT ¼" jacks. The inserts allow you
to connect noise gates, compressors or
equalizers, while the OUT jacks send the
subgroup signal to, for example, a
multi-track recorder.

Along the bottom of the back panel,
you’ll fi nd the mono and stereo channel
inserts. Mono channels feature both a ¼"

and XLR input, as well as an INSERT jack
for applying outboard equipment and
a DIRECT OUT jack for sending signal to
a device such as a multi-track recorder.
Stereo channels feature a single XLR
input and dual ¼" inputs.

Continued on next page

AUX/MON send

Type XLR connector, electronically balanced

Impedance approx. 75 Ω

Max. output level +22 dBu

FX send

Type ¼" TRS jack, balanced

Impedance 75 Ω

Max. output level +22 dBu

AUX/FX Returns

Type ¼" TRS jack, unbalanced

Impedance approx. 20 kΩ

Max. input level +22 dBu

Subgroup outputs

Type ¼" TRS jack, unbalanced

Impedance approx. 75 Ω

Max. output level +22 dBu

Group inserts

Type ¼" TRS jack, unbalanced

Max. output level +22 dBu

Main outputs A/B

Type XLR connector, electronically balanced

Impedance approx. 240 Ω balanced, 120 Ω unbalanced

Max. output level +25 dBu

Main Inserts

Type ¼" TRS jack, unbalanced

Max. input level +22 dBu

Speakers

Type ¼" TRS jack, unbalanced

Impedance 75 Ω

Max. output level +22 dBu

Phones A/B output

Type ¼" TRS jack, unbalanced

Max. output level +22 dBu / 600 Ω

XL1600/XL2400/

Page 6 of 6

XL3200

16/24/32x4x2
Live Mixer

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 XL series mixers, this is never

CD/Tape output

Type RCA connector

Impedance approx. 1 kΩ

Max. output level +15 dBu

Main mix system data3 (Noise)

Main mix @ -∞, channel fader @ -∞

-110 dB / -114 dB A-weighted

Main mix @ 0 dB, channel fader @ -∞

-95 dB / -98 dB A-weighted

Main mix @ 0 dB, channel fader @ 0 dB

-92 dB / -95 dB A-weighted

Power supply

XL1600

Power consumption 60 W

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.

Incredible features, outstanding
sound, unbelievable price

The XL series mixers pack all the
most desirable features—British EQ,
XENYX mic preamps, etc.—into the
most aff ordable, easy-to-learn choice
on the market. You could always pay for

XL2400

Power consumption 65 W

XL3200

Power consumption 70 W

Fuse

(100 - 240 V~, 50/60 Hz) T 2,0 A H 250 V

Mains connector Standard IEC receptacle

Physical/weight

XL1600

Dimensions (H x W x D) 11.7" x 23.1" x 25.25"

(298 mm x 587 mm x 641 mm)

Weight (net) 26.5 lbs (12 kg)

a name, but wouldn’t you rather grab
a badass mixer and still have enough
money left over to start purchasing
other essentials?

XL2400

Dimensions (H x W x D) 11.7" x 31.3" x 25.25"

(298 mm x 796 mm x 641 mm)

Weight (net) 35.3 lbs (16 kg)

XL3200

Dimensions (H x W x D) 11.7" x 39.5" x 25.25"

(298 mm x 1004 mm x 641 mm)

Weight (net) 43.5 lbs (19.7 kg)

BEHRINGER is constantly striving to maintain the highest profes­sional standards. As a result of these eff or ts, modifi cations may be
made from time to time to existing products without prior notice.
Specifi cations and appearance may diff er from those listed or
illustrated.

For service, support or more information contact the BEHRINGER location nearest you:

BEHRINGER Australia tel.: [phone], fax: [phone] BEHRINGER Germany tel.: +49
2154 9206 4149, fax: [phone] BEHRINGER Japan tel.: [phone], fax: [phone]
1181 BEHRINGER Singapore tel: [phone], fax: [phone] BEHRINGER USA / CANADA
tel: [phone], fax: [phone]

©2009 BEHRINGER International GmbH. Technical specifi cations and appearance subject to change without notice. The information contained herein is correct at the time of printing. BEHRINGER
accepts no liability for any loss which may be suff ered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. 985-10000-00391

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