User Manual

EURODESK SX2442FX/SX3242FX
Ultra-Low Noise Design 24/32-Input 4-Bus Studio/Live Mixer with XENYX Mic Preamplifiers, British EQs and Dual Multi-FX Processor

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EURODESK SX2442FX/SX3242FX User Manual

Table of Contents

Thank you.. 2 Important Safety Instructions.. 3 Legal Disclaimer.. 3 Limited Warranty.. 3 1. Introduction... 5 1.1 Before you get started.. 5 1.2 The manual... 5 2. Control Elements and Connections. 6 2.1 Mono input channels.. 6 2.2 Stereo channels... 7 2.3 Stereo channels 21-24 (SX2442FX) or 29-32 (SX3242FX)... 8 2.4 Subgroups 1-4... 8 2.5 Mono out section for subwoofer applications. 9 2.6 Main out section... 9 2.7 CD/tape... 10 2.8 Master Aux Send 1 and 2.. 10 2.9 Graphic 9-band stereo equalizer.. 11 2.10 Effects section... 11. 2.11 Rear panel... 12 3. Digital Effects Processor.. 12 4. Wiring Examples.. 13 4.1 Studio set-up... 13 4.2 Live set-up... 14 5. Audio Connectors... 15 6. Presets... 17 7. Specifications.. 18

Thank you

Congratulations! With the EURODESK you have acquired a state-of-the-art mixing console that sets new standards. Right from the very start it has been our goal to design a revolutionary unit that can be used for a great variety of applications. And indeed, this overwhelming mixing console gives you plenty of functionality and a broad range of connection and expansion options. BEHRINGER is a company with its roots in professional recording studio technology. For many years now we have been successful in developing products for studio and live use. These include microphones and studio gear of all kinds (compressors, enhancers, noise gates, tube processors, headphone amplifiers, digital effects, DI boxes, etc.), monitor and P.A. speakers as well as professional live and recording mixers. Our entire technical know-how has gone into your EURODESK mixing console.
Important Safety Instructions
Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock. Use only high-quality commercially-available speaker cables with " TS plugs pre-installed. All other installation or modification should be performed only by qualified personnel. This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient 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 qualified personnel. Caution To reduce the risk of fire 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 filled with liquids, such as vases, shall be placed on the apparatus. Caution These service instructions are for use by qualified 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 qualified service personnel. 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 manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized 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 fit 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 specified by the manufacturer. 12. Use only with the cart, stand, tripod, bracket, or table specified 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 qualified 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.

Limited Warranty

1 Warranty
[1] This limited warranty is valid only if you purchased the product from a BEHRINGER authorized dealer in the country of purchase. A list of authorized dealers can be found on BEHRINGERs website behringer.com under Where to Buy, or you can contact the BEHRINGER office closest to you. [2] MUSIC Group* warrants the mechanical and electronic components of this product to be free of defects in material and workmanship if used under normal operating conditions for a period of one (1) year from the original date of purchase (see the Limited Warranty terms in 4 below), unless a longer minimum warranty period is mandated by applicable local laws. If the product shows any defects within the specified warranty period and that defect is not excluded under 4, MUSIC Group shall, at its discretion, either replace or repair the product using suitable new or reconditioned product or parts. In case MUSIC Group decides to replace the entire product, this limited warranty shall apply to the replacement product for the remaining initial warranty period, i.e., one (1) year (or otherwise applicable minimum warranty period) from the date of purchase of the original product. [3] Upon validation of the warranty claim, the repaired or replacement product will be returned to the user freight prepaid by MUSIC Group. [4] Warranty claims other than those indicated above are expressly excluded. PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF OF PURCHASE COVERING YOUR LIMITED WARRANTY. THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF OF PURCHASE.
2 Online registration Please do remember to register your new BEHRINGER equipment right after your purchase at behringer.com under Support and kindly read the terms and conditions of our limited warranty carefully. Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently. Thank you for your cooperation! 3 Return materials authorization [1] To obtain warranty service, please contact the retailer from whom the equipment was purchased. Should your BEHRINGER dealer not be located in your vicinity, you may contact the BEHRINGER distributor for your country listed under Support at behringer.com. If your country is not listed, please check if your problem can be dealt with by our Online Support which may also be found under Support at behringer.com. Alternatively, please submit an online warranty claim at behringer.com BEFORE returning the product. All inquiries must be accompanied by a description of the problem and the serial number of the product. After verifying the products warranty eligibility with the original sales receipt, MUSIC Group will then issue a Return Materials Authorization (RMA) number.

Legal Disclaimer

Technical specifications and appearance are subject to change without notice. The information contained herein is correct at the time of printing. 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 slightly from product. BEHRINGER products are sold through authorized dealers only. Distributors and dealers are not agents of MUSIC Group and have absolutely no authority to bind MUSIC Group by any express or implied 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 Red Chip Company Ltd. ALL RIGHTS RESERVED. 2010 Red Chip Company Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands
[2] Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by MUSIC Group. [3] Shipments without freight prepaid will not be accepted.
4 Warranty Exclusions [1] This limited warranty does not cover consumable parts including, but not limited to, fuses and batteries. Where applicable, MUSIC Group warrants the valves or meters contained in the product to be free from defects in material and workmanship for a period of ninety (90) days from date of purchase. [2] This limited warranty does not cover the product if it has been electronically or mechanically modified in any way. If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level, in any country which is not the country for which the product was originally developed and manufactured, this modification/adaptation shall not be considered a defect in materials or workmanship. This limited warranty does not cover any such modification/adaptation, regardless of whether it was carried out properly or not. Under the terms of this limited warranty, MUSIC Group shall not be held responsible for any cost resulting from such a modification/adaptation. [3] This limited warranty covers only the product hardware. It does not cover technical assistance for hardware or software usage and it does not cover any software products whether or not contained in the product. Any such software is provided AS IS unless expressly provided for in any enclosed software limited warranty. [4] This limited warranty is invalid if the factoryapplied serial number has been altered or removed from the product. [5] Free inspections and maintenance/repair work are expressly excluded from this limited warranty, in particular, if caused by improper handling of the product by the user. This also applies to defects caused by normal wear and tear, in particular, of faders, crossfaders, potentiometers, keys/buttons, guitar strings, illuminants and similar parts. [6] Damage/defects caused by the following conditions are not covered by this limited warranty: improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals; connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used; damage/defects caused by acts of God/Nature (accident, fire, flood, etc) or any other condition that is beyond the control of MUSIC Group.

7 Limitation of liability This limited warranty is the complete and exclusive warranty between you and MUSIC Group. It supersedes all other written or oral communications related to this product. MUSIC Group provides no other warranties for this product. 8 Other warranty rights and national law [1] This limited warranty does not exclude or limit the buyers statutory rights as a consumer in any way. [2] The limited warranty regulations mentioned herein are applicable unless they constitute an infringement of applicable mandatory local laws. [3] This warranty does not detract from the sellers obligations in regard to any lack of conformity of the product and any hidden defect.

1. Introduction

FBQ Feedback Detection System One of the most outstanding features of this console is the FBQFeedback Detection System, which is part of the graphic equalizer. This ingenious circuit makes it possible to detect and subsequently eliminate feedback frequencies very quickly. FBQincreases the brightness of the EQ fader LEDs for the frequency bands where feedback is occurring. What used to be a tedious search for feedback frequencies is now mere childs play. XENYX Mic Preamps The microphone channels feature high-end XENYXMicPreamps 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 200kHz for crystal-clear
Make sure that children cannot play unsupervised with the unit or itspackaging. Please ensure proper disposal of all packing materials. 1.1.2 Initial operation Ensure adequate air supply and to avoid overheating do not place the unit nearradiators etc. Blown fuses must be replaced by fuses of the correct rating! Pleaserefer to the Specifications section for the applicable rating. For connection to the mains use the enclosed power cord with cold connector which complies with the relevant safety regulations. Please make sure that all devices are properly grounded. For your own safety, never remove or disable the ground conductors from the devices or on the power cords. The unit must always be connected to the mains outlet with a protective grounding connection. We would like to point out that high volume levels may damage your hearing and/or your headphones/loudspeakers. To avoid switch-on/off thumps from the console and any downstream devices, always make sure that your power amp(s) or active speakers are the last components that are switched on and the first to be switched off. Always make sure that the appropriate volume is set. Important notes concerning installation The sound quality may diminish within the range of powerful broadcasting stations and high-frequency sources. Increase the distance between the transmitter and the device and use shielded cables for all connections. 1.1.3 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. Shouldyour BEHRINGER dealer not be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding contact information is included in the original equipment packaging (Global Contact Information/European Contact Information). Should your country not be listed, please contact the distributor nearest you. A list of distributors can be found in the support area of our website (http://behringer.com). Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently. Thank you for your cooperation!

2.1 Mono input channels

2.1.1 Microphone and line inputs
The second scale has a gain from +10 to -40 dBu for the line input. Fordevices with a nomal line output level of-10 dBV or +4 dBu the setting is as follows: with GAIN fully counter-clockwise connect the external device and adjust the output level recommended by the manufacturer. If available, the output level display of the external device should read 0 dB with signal peaks. For +4 dBu increase GAIN, for -10 dBV increase it further. The finetuning can be done with a music signal and the LEVEL SET LED, which will illuminate when the optimum operating level has been set.
[5] Mono channels are equipped with a high-slope LOWCUT filter eliminating unwanted low-frequency signals, such as floor rumble (18 dB/oct., -3 dB at 80 Hz).
2.1.2 Equalizer All mono input channels are equipped with a 3-bandequalizer. The maximum boost/cut of the individual bands is 15 dB, in mid position the EQ is set to neutral.

[1] [2]

[6] [3] [7] [4] [5]
Fig. 2.1: Connectors and controls of the mic/line inputs
Fig. 2.2: Equalizer section of input channels
[1] Each mono input channel is equipped with a balanced microphone input on an XLR connector, which provides +48 V phantom power for condenser microphones at the touch of a button (see rear panel).
Be sure to switch off your audio system before you activate the phantom power supply to prevent audible switch-on thumps from reaching your monitor speakers. Please also note the information given in chapter 2.11 Rear panel.
[6] The HIGH control in the EQ section controls the high frequency range of the respective channel. It is a shelving-type filter which can boost or cut all frequencies above a fixed frequency (12 kHz). [7] The MID control allows you to raise or lower the mid-range level. It is a semiparametric peak filter, which boosts or cuts the frequency range around a variable mid-range frequency. Use the FREQ control to select the mid-range frequency from 100 Hz to 8 kHz. Then use the MID control to boost or cut the selected frequency range. [8] The LOW control boosts or cuts the low-frequency range. Like the HIGH filter it is a shelving-type filter, which raises or lowers the level of all frequencies below a specific frequency (80 Hz).
2.1.3 Aux/FX send buses Aux sends enable you to take the signals from one or multiple channels and collect them on one bus. This signal is then present at one of the aux send jacks, from where it can be routed to an active monitor speaker or external effects device, for example. The FX returns are subsequently used as a return bus for the processed signal.

[2] Each mono input also has a balanced line input on " TRS connectors. Of course, these inputs can also be used with unbalanced plugs (" TS connector). [3] The INSERT I/O connector is used to process a signal with dynamic processors or equalizers. This insert point isprefader, pre-EQ and pre-aux send.
Unlike reverb and other effects, which are usually added to the dry signal, dynamic processors process the entire signal. So, aux send buses are not the best solution here. Instead, dynamic processors and equalizers are inserted into the signal path. Once processed, the signal then re-enters the mixing console at the same point where it left. Signal interruption only occurs if a plug is inserted into the corresponding jack (" stereo plug: tip = signal output, ring = input). All mono input channels are equipped with insert points. They can also be used as pre-EQ direct outputs, without signal flow interruption. For this you need a cable with a " TS connector on the recorder/effects processor end, and a bridged stereo " TRS connector on the console end (tip and ring interconnected).

[9] [10] [11]

Fig. 2.3: AUX/FX send controls in the channel strips
[4] The GAIN control adjusts the input gain. Be sure to set this control fully counter-clockwise before you connect or disconnect a signal source to or from one of the inputs.
GAIN has a dual scale: the first scale has a gain from +10to +60 dB for theMIC input.
[9] On each channel, the AUX 1 and AUX 2 controls allow you to determine the level of the aux signals sent from the channel. The main aux send signal comprising the aux send signals from all channels can then be adjusted with the corresponding master AUX SEND controls [51], and is present at the AUXSEND outputs [52]. Both aux sends are mono, post-EQ, with a gain of up to+15 dB. [10] Press the PRE switch to set all aux sends to pre-fader. In this case, the volume of the aux signals is no longer dependent on the fader position, soyou can create completely independent monitor mixes.
For most applications when controlling an external effects device from one of the aux buses, the aux sends must be set post-fader, so that the effect volume in a channel depends on the position of the channel fader. Otherwise, the effect signal would still be audible, even if the channel was turned down completely. Forthis type of application it is advisable to leave the PREswitch out (= not pressed).

[15] The SOLO switch routes the channel signal to the solo bus (Solo In Place) or the PFL bus (Pre Fader Listen). Thus, you can monitor a channel signal without affecting the main output signal. The signal to be monitored is taken either pre (PFL, mono) or post-panorama control (Solo, stereo) and post-channel fader (depending on the position of the SOLO/PFL switch [40] ). [16] The SUB switch routes the signal to the respective subgroups. YourEURODESK features 4 subgroups (1-2 and 3-4). With the PAN control on the input channel (see[12]) you can determine to which of the two groups the signal is routed (hard left: sub 1 or 3, hard right: sub2or 4). [17] The MAIN switch routes the signal to the main mix. [18] The channel fader governs the level of the channel signal as part of the main mix (or submix).

2.2 Stereo channels

2.2.1 Channel inputs
[11] FX 1 and FX 2 controls provide a direct route to the built-in effects processor. Additionally, they can be used to control an external effects unit, via the FXSEND 1 and 2 outputs (similar to the AUX SEND 1 and 2 jacks). To ensure that the internal effects processor and the FX SEND outputs actually get a signal, the corresponding FX control must not be set fully counter-clockwise (-oo), and the master FX SEND (see [60] ) must be turned up. The FX buses are hard wired post-fader.
Please also read chapter 2.10 Effects section and 3Digitaleffectsprocessor. 2.1.4 Mono channel fader and further control elements
Fig. 2.5: Stereo channel inputs
[12] [13] [14] [15] [16] [17] [18]
[19] Each stereo channel is equipped with two balanced line-level inputs on "TRS connectors for the left and right channels. The channels can also process mono signal, as long as you use the LEFT jack only. [20] All stereo channel strips have a GAIN control for gain adjustment. Its scale ranges from +20 to -20 dB and allows you to adapt the input level to the lineinputs.
2.2.2 Stereo channel equalizer
Fig. 2.4: Channel fader, pan control, mute button, etc.
[12] The PAN control determines the position of the channel signal in the stereomix as well as the subgroup to which the channel signal is routed (seechapter 2.4). [13] Use the MUTE switch to mute the channel signal, so it is no longer part of the main mix. At the same time, all aux buses set to post-fader are muted for the respective channel, while the pre-fader monitor buses remain operative. TheMUTE LED is illuminated when the channel is muted. [14] The CLIP LED illuminates when the channel overloads. In this case, pleasereduce the input gain using the GAIN control. This LED also illuminates when you activate the solo function with the SOLO switch below.

Fig. 2.6: Stereo channel equalizer
The stereo channels are equipped with a stereo equalizer. The filter types and cutoff frequencies for HIGH and LOW filters are the same as on the mono channels. Instead of one semi-paramtric midrange band, the stereo channels have two separate midrange bands [21] (HIGH MID and LOWMID) with fixed mid-frequencies (3kHz and 400 Hz). StereoEQs are preferable for processing the frequency response of stereo signals. Withtwo mono equalizers you might encounter problems with different settings between the left and right channels.
2.2.3 Stereo channel aux/FX send buses Basically, the aux and FX buses on the stereo channels are the same as on the mono channels. Since aux buses are always mono, the signal from a stereo channel is first mixed to mono before it is routed to the aux bus. 2.2.4 Stereo channel fader and other control elements

2.4 Subgroups 1 - 4

[26] [27]

[22] [25]

Fig. 2.9: Subgroups 1 - 4
The EURODESK has 4 subgroups enabling you to create mono or stereo mixes from multiple input signals. Subgroups are controlled from one (mono) or two (stereo) subgroup faders. Additionally, it is possible to connect the subgroup outputs as tape sends to a multi-track recorder.
[25] The subgroup faders determine the volume of the subgroup signal at the subgroup output [28]. Depending on the position of the routing switch [27] youcan thus control the subgroup volume in the main mix.
Fig. 2.7: Channel fader, balance control, mute switch, etc.
[22] The BAL(ANCE) control has the same function as the PANcontrol on the mono channels. It determines the relative volume of the left and right input signals before they are routed to the stereo main mix bus (ortotwosubgroups).
All other control elements of the stereo channels work in the same ways as their counterparts on the mono channels (faders, MUTE switches, etc.). Please note: When you route a stereo channel to the subgroups usingthe SUB switches, please be sure to set the BAL control to its mid position, so that the signal is sent to two subgroups and remainsstereo.
[26] The SOLO switch routes the subgroup signal to the solo bus (Solo In Place) or PFL bus (Pre Fader Listen), so that you can monitor the subgroup signal without affecting the main or sub output signals. The signal to be monitored is taken either pre (PFL, mono) or post-subgroup fader (Solo,stereo), depending on the position of theSOLO/PFL switch [40]). The SOLO LED illuminates when the SOLO switch is pressed. [27] Use the routing switches for the subgroups to send the subgroup signal to the main mix. You can route it to the left stereo side (=LEFT pressed), to the right stereo side (=RIGHT pressed) or to both (=LEFT and RIGHT pressed). Forexample, when you have created a stereo submix using subgroups 1and 2, be sure to route group 1 to the left and group 2 to the right side to maintain proper stereo positioning. If it is a mono submix with just one subgroup, route it to the left and right sides of the mainmix to make the signal audible on both sides.

2.3 Stereo channels 21-24 (SX2442FX) or 29-32 (SX3242FX)

[28] [23]

Fig. 2.10: Subgroup outputs 1 - 4
Fig. 2.8: Auxiliary stereo channels
[28] These four SUBGROUP OUT (puts) carry the signals of the individual subgroups. For multi-tracking connect the outputs to the inputs of a multi-track recorder (seechapter 4.1 Studio set-up).
Your EURODESK has two stereo channels with an aux send section [23] (AUX 1 andAUX 2) and one LEVEL control. [24] For these channels, the aux buses are hard-wired to pre-fader and are therefore particularly useful for monitoring. They have no routing switches and are always sent to the main mix. Like the normal stereo channels they have two line-level inputs on " TRS connectors forthe left and right channels, and a SOLO switch. Similar to the CD/TAPE inputs (see [49] ) the auxiliary stereo channels can be connected to CD players, tape decks, etc., for example, to feed in playbackmaterial.
2.5 Mono out section for subwooferapplications
Using this auxiliary mono output you can route the main mix signal to a separate power amp. The tunable low-pass filter allows you to limit the signal content to the low-frequency range to get a perfect subwoofer signal. This signal is mono because very low frequencies disperse quickly, so there would be no benefit to position this signal in the stereo mix.
[33] Use this high-precision MAIN fader to control the output level of the main mix.

[30] [31] [29]

Fig. 2.14: XLR main out connectors
[34] The MAIN OUT(puts) are balanced XLR connectors with a nominal operating level of +4 dBu and provide the main mix signal.
Fig. 2.15: Main out connectors and main insert
[35] The MAIN OUT " TRS connectors outputs also provide the main mix signal.
Fig. 2.11: Mono out fader and low-pass filter
[29] The MONO fader controls the volume of the signal present at the MONO OUT (see [32] ). [30] The FREQ control adjusts the cut-off frequency of the low-pass filter (30 to 200 Hz). Frequencies above cut-off are filtered out when activated. [31] Use the LOW PASS FILTER switch to activate the filter function (LEDilluminates).
[36] Like the channel inserts, the MAIN INSERT connectors can be used to connect a dynamics processor or equalizer for further processing of the mix signal. The MAIN INSERT refers to the Main Outs (XLR and "TRS connectors), theMONO OUT (see [32] ) and, if the MAIN switch in the PHONES/CONTROL ROOM section is pressed, also to the PHONES/CTRL ROOM output (see [46] ).

3. Digital Effects Processor
Fig. 3.1: List of all effects presets
Fig. 2.27: Footswitch connectors
99 FIRST-CLASS PRESETS Here is the list of all multi-effects presets. Thebuilt-in effectsprocessor offers you various standard effects such as reverb, chorus, flanger, delay and a variety of combination effects fromour renowned studio effects processor VIRTUALIZERPRODSP2024P. Use the FX control on thechannels and the FX SEND control to supply the effectsprocessor with signals. A built-in digital stereo effectsprocessor has the benefit of no external wiring, thusreducing the risk of ground loops or level differences. Handling is therefore much easier. PARALLEL FX The effects presets 1 to 70 provide classic add-to-mixeffects. So, when you turn up the FX 1 (or 2) TOMAINcontrol, you create a mix of the (dry) channel signaland the effect signal. The balance between the twosignals can be set withthe FX send and FX 1/2TOMAINcontrols. This also applies to adding effect signals to the AUX1(or2) monitor mix, withthe exception that the mix here is adjusted with the AUX 1 (or 2) control in the channel strip and the FX TO AUX 1 (or 2) potentiometer. Of course, the effects processor must receive a signal from the channel using the FX 1 (or 2) control. Make sure that the PREswitch in the corresponding channel strip(s) is pressed. Otherwise,theAUX buses will be set post-fader making the volume of the AUXmonitor signal dependent on the position of the channel fader(s). INSERT FX (channel is muted) Effects presets #71 and higher process the entire signal, unlike the add-tomix effects. When you use an insert preset, be sure to separate the respective channel from all buses (SUB button and MAIN button not pressed) and only route the effect signal to the main mix (FX 1/2 control, FXSEND 1/2 control and FXTOMAIN1/2 control). The channel fader of the corresponding channel remains active and governs (in combination with the FX controls) the signal level sent to the built-in effects processors.
[68] The FOOTSW(ITCH) connector allows you to connect a standard dual footswitch to separately enable/disable FX1 or FX 2. The tip of the " plug controls FX 1, the ring controls FX 2.

2.11 Rear panel

Fig. 2.28: The rear panel of the EURODESK
[69] Use the POWER switch to put the mixer into operation. This switch should always be in the Off position when you connect your unit to the mains.

Please note: The POWER switch does not fully disconnect the unit from the mains. To disconnect the unit from the mains, pull out the main cord plug or appliance coupler. When installing the product, ensure the plug or appliance coupler is readily operable. Unplug the power cord when the unit is not used for prolonged periods of time.

4. Wiring Examples

4.1 Studio set-up
The following wiring example shows a studio set-up for 4-track-recording: thedrums are mixed down to two subgroups and then routed via the subgroup outputs to two tracks of the multi-track recorder. The remaining two subgroups are used to record the guitar, keyboard (stereo channel) and two vocal signals
K I C K D R U M S N A R E O V E R H E A D L O V E R H E A D R
on the remaining two tracks. The four return paths from the recorder are connectedto four separate mono input channels on the EURODESK. Thebuilt-in compressor is used only for the bass, which is why this input channel isseparate from all buses (SUB and MAIN switch not pressed). The bass signal is directly routed from the built-in effects processor to the respective subgroups (FXTOMAIN control). The MAIN/SUB switch in the FX1 section is pressed, butNOTthe SUB 1/2 SUB 3/4 button.

Keyboard

Bass Guitar Vocals 1 Vocals 2
Multi-trackrecorder Tape Returns L R Subgroups Outs

EUROPOWER EP1500

HPS3000

TRUTH B2030P

SUB 3-4 switch SUB 1-2 switch pressed pressed SUB/MAIN switches not pressed
SUB 3-4 switch pressed MAIN switch pressed
Fig. 4.1: Wiring the console for studio operation
Please make sure that none of the subgroup routing switches (1-2 and 3-4) is pressed in the channels connected to the recorder returns. Otherwise, a feedback loop will be created as soon as you start recording. Only press the MAIN switch on these input channels, sothat the tape return signals are routed to the main outs and Phones/CTRL room outputs of the console.

4.2 Live set-up

Bass Guitar Vocals 1 Vocals 2 L

R EUROPOWER EP1500

2 x EUROLIVE PROFESSIONAL Stack (B1800X PRO & B1220 PRO) EUROPOWER EP1500
SUB 1-2 switch pressed SUB/MAIN switches not pressed

MAIN switch pressed

L/R switch pressed
EUROLIVE PROFESSIONAL B1220 PRO

7. Specifications

Mono Inputs CD/Tape In
Microphone inputs (XENYX Mic preamp) Type Mic E.I.N.1 (20Hz - 20kHz) @ 0 source resistance @ 50 source resistance @ 150 source resistance

Frequency Response

Type Impedance Max. input level

Equalizer

RCA connector approx. 10k +22dBu
XLR connector, electronically balanced, discrete input circuit -134dB / 135.7dB A-weighted -131dB / 133.3dB A-weighted -129dB / 130.5dB A-weighted
EQ mono channels LOW MID HIGH LOW CUT EQ stereo channels LOW LOW MID HIGH MID HIGH

Channel Inserts

80Hz / 15dB 100Hz to 8kHz / 15dB 12kHz / 15dB 80Hz, 18dB/oct. 80Hz / 15dB 500Hz / 15dB 3kHz / 15dB 12kHz / 15dB
<10Hz - 160kHz <10Hz - 200kHz Gain range Max. input level Impedance Signal-to-noise ratio Distortion (THD + N)

Line Input

-1dB -3dB +10dB to +60dB +12dBu @+10dB GAIN approx. 2.6k balanced 110dB / 112dB A-weighted (0dBu In @ +22dB GAIN) 0.005% / 0.004% A-weighted
Type " TRS jack, electronically balanced approx. 20k balanced, approx. 10k unbalanced -10dB to +40dB +22dBu @ 0dB GAIN 90dB 84dB 85dB +0dB / -1dB +0dB / -3dB Max. input level

AUX/FX Send

" TRS jack, unbalanced +22dBu
Type Impedance Gain range Max. input level Main fader closed Channel muted Channel fader muted <10Hz - 90kHz <10Hz - 160kHz

Stereo Inputs

Type Impedance Max. output level

FX Returns

" mono jack, unbalanced approx. 120 +22dBu
Fade-out attenuation2 (Crosstalk attenuation)

Subgroup Outputs

" mono jack, unbalanced approx. 10k +22dBu
Frequency response (Mic In Main Out)
Type Impedance Gain range Max. input level
2 x " TRS jack, balanced approx. 20k balanced, approx. 10k unbalanced -20dB to +20dB +22dBu @ 0dB GAIN

Main Outputs (XLR)

XLR connector, electronically balanced approx. 240 balanced, approx. 120 unbalanced +28dBu

Main Outputs (")

Physical/Weight

Main Inserts

" TRS jack, electronically balanced approx. 240 balanced, approx. 120 unbalanced +28dBu
SX2442FX Dimensions (H x W x D) Weight (net) SX3242FX Dimensions (H x W x D) Weight (net)
3.9 x 26.9 x 16.1" 100 x 682 x 410mm 19lbs / 8.6kg 3.9 x 35.3 x 16.1" 100 x 896 x 410mm 24.3lbs / 11.0kg

Type Max. input level

Mono Output
Equivalent Input Noise Measuring conditions: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain.
Type Impedance Max. output level Low pass

Phones/CTRL Room Output

" mono jack, unbalanced approx. 120 +22dBu variable, 30Hz to 200Hz, 18dB/oct.
20 Hz - 20 kHz; measured at main output. Channels 1 - 4 unity gain; EQ flat; all channels on main mix; channels1/3 as far left as possible; channels 2/4 as far right as possible; reference = +6 dBu.
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.

Type Max. output level

CD/Tape Out
" TRS jack, unbalanced +19dBu / 150 (+25dBm)
RCA connector approx. 1k +22dBu
Type Converter Sampling rate
Main Mix System Data3 (Noise)
Texas Instruments 24-bit delta-sigma, 64/128-times oversampling 46kHz
Main mix @ -, channel fader @ -
-100dB / -102.5dB A-weighted
Main mix @ 0dB, channel fader @ - -82dB / -85dB A-weighted Main mix @ 0dB, channel fader @ 0dB -72dB / -75dB A-weighted

Power Supply

Power consumption Fuse (100 - 240V~, 50/60Hz) Mains connector
50W T 2,0A H 250V Standard IEC receptacle
FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
Responsible party name: Address: MUSIC Group Services USA, Inc. 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA Phone: +Fax: +673 7647

Phone/Fax No.:

complies with the FCC rules as mentioned in the followingparagraph: This equipment has been tested and found to comply with the limits for a ClassB digital device, pursuant 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 particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the followingmeasures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician forhelp. This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. Important information: Changes or modifications to the equipment not expressly approved by MUSIC Group can void the users authority to use the equipment.