1832FX

Technical Specifications

Version 1.0 January 2006

XENYX 1832FX

Premium 18-Input 3/2-Bus Mixer with XENYX Mic Preamps, British EQs, 24-Bit MultiFX Processor and USB/Audio Interface
s Premium ultra low-noise, high headroom analog mixer
s 6 state-of-the-art XENYX Mic Preamps comparable to stand-alone boutique preamps
s Neo-classic British 3-band EQs with semi-parametric mid band for warm and musical sound
s Studio-grade 24-bit stereo FX processor with 100 awesome presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects s USB/Audio Interface included to connect directly to your computer. Free audio recording and editing software downloadable at www.behringer.com s 9-band stereo graphic EQ allows precise frequency correction of monitor or main mixes s Revolutionary FBQ Feedback Detection System instantly reveals critical frequencies
s Breathtaking XPQ 3D stereo surround effect for more vitality and enhanced stereo image s Voice Canceller function for easy-to-use sing-along applications
s Channel inserts on each mono channel for flexible connection of outboard equipment
s 3 aux sends per channel: 1 pre fader for monitoring, 1 pre/post fader switchable for monitoring/FX applications, 1 post fader (for internal FX or as external send) s Peak LEDs, mute, main mix and subgroup routing switches, solo and PFL functions on all channels
s 2 subgroups with separate outputs for added routing flexibility and 2 multi-functional stereo aux returns with flexible routing
s Balanced main mix outputs with " jack and gold-plated XLR connectors, separate control room, headphones and stereo tape outputs s Control room/phones outputs with multi-input source matrix; Tape inputs assignable to main mix or control room/phones outputs s High-quality components and exceptionally rugged construction ensure long life s Conceived and designed by BEHRINGER Germany

BLOCK DIAGRAM

SPECIFICATIONS
Microphone inputs (XENYX Mic Preamp) Type XLR, electronically balanced, discrete input circuit Mic E.I.N. (20 Hz - 20 kHz) @ 0 W source resistance -134 dB / 135.7 dB A-weighted @ 50 W source resistance -131 dB / 133.3 dB A-weighted @ 150 W source resistance -129 dB / 130.5 dB A-weighted Frequency response <10 Hz - 150 kHz (-1 dB), <10 Hz - 200 kHz (-3 dB) +10 to +60 dB +12 dBu @ +10 dB Gain approx. 2.6 kW balanced 110 dB / 112 dB A-weighted (0 dBu In @ +22 dB gain) 0.005% / 0.004% A-weighted Main outputs Type Impedance Max. output level Control room outputs Type Impedance Max. output level Headphones outputs Type Max. output level DSP Converter Sampling rate 1/4" TRS connector electronically balanced approx. 20 kW balanced 10 kW unbalanced -10 to +40 dB +22 dBu @ 0 dB Gain Main mix system data 2 Noise Main mix @ -oo, Channel fader @ -oo Main mix @ 0 dB, Channel fader @ -oo Main mix @ 0 dB, Channel fader @ 0 dB Power supply Mains voltage Power consumption Fuse Mains connection Physical/weight Dimensions (H x W x D) Weight (net) XLR, electronically balanced and 1/4" TRS balanced approx. 240 W balanced / 120 W unbalanced +28 dBu
1/4" TS connector unbalanced approx. 120 W +22 dBu
Gain range Max. input level Impedance Signal-to-noise ratio
1/4" TRS connector, unbalanced +19 dBu / 150 W (+25 dBm) 24-bit 24-bit Sigma-Delta, 64/128-times oversampling 40 kHz
Distortion (THD+N) Line input Type Impedance Gain range Max. input level Fade-out attenuation1 (Crosstalk attenuation) Main fader closed Channel muted Channel fader closed Frequency response Microphone input to main out <10 Hz - 90 kHz <10 Hz - 160 kHz Stereo inputs Type Impedance Max. input level EQ mono channels Low Mid High EQ stereo channels Low Low Mid High Mid High Aux sends Type Impedance Max. output level Stereo aux returns Type Impedance Max. input level

-101 dB -93 dB -81 dB

90 dB 89 dB 89 dB
100 to 240 V~, 50/60 Hz 43 W 100 - 240 V~: T 1.6 A H 250 V Standard IEC receptacle

+0 dB / -1 dB +0 dB / -3 dB
1/4" TRS connector, electronically balanced approx. 20 kW +22 dBu
approx. 3 7/8" x 16 1/16" x 14 1/16" (97 mm x 408 mm x 367 mm) approx. 4.7 kg
80 Hz / 15 dB 100 Hz - 8 kHz / 15 dB 12 kHz / 15 dB
80 Hz / 15 dB 500 Hz / 15 dB 3 kHz / 15 dB 12 kHz / 15 dB
1/4" TS connector, unbalanced approx. 120 W +22 dBu

Measuring conditions:

1: 2: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain. 20 Hz - 20kHz; measured at main output. Channels 1 - 4 unity gain; EQ flat; all channels on main mix; channels 1/3 as far left as possible, channels 2/4 as far right as possible. Reference = +6 dBu.
1/4" TRS connector, electronically balanced approx. 20 kW bal. / 10 kW unbal. +22 dBu
BEHRINGER is constantly striving to manintain 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.
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. The names of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use neither constitutes a claim of the trademarks by BEHRINGER nor affiliation of the trademark owners with BEHRINGER. BEHRINGER 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. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not agents of BEHRINGER and have absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation. 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 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER is a registered trademark. ALL RIGHTS RESERVED. 2006 BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany. Tel. +9206 0, Fax +9206 4903

USB/Audio interface

The USB interface supplied with the unit is a perfect match for the XENYX Series and serves as a powerful recording interface to your PC or MAC. It supports the digital transmission of signals on up to four channels with max. 48 kHz and extremely low latency. When wired to the CD/TAPE INPUT and OUTPUT connectors, the interface transfers the stereo mix from the console directly to a computer. Both the recording signal and the playback signal from the computer can be monitored at the same time. In this way, you can use several recording runs to produce complete multi-track recordings.
{10}Place the power cord so that it is protected from being walked
on and sharp edges. Be sure that the power cord is protected particularly at plugs, convenience receptacles and the point where it exits from the apparatus.
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.
{11}The apparatus shall be connected to a MAINS socket outlet
with a protective earthing connection.
{12}Where the MAINS plug or an appliance coupler is used as
the disconnect device, the disconnect device shall remain readily operable.
This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual.

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.
{13}Only use attachments/accessories specified by the

manufacturer.

CAUTION!
{14}Use only with the cart, stand, tripod, bracket,

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.
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.

Multi-effects processor

Additionally, your XENYX mixing console has an effects processor with 24-bit A/D and D/A converters included, which gives you 100 presets producing first-class reverb, delay and modulation effects plus numerous multi-effects 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 efficiency a switched-mode power supply uses less energy than conventional power supplies.

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 effectively adjust the way a signal sounds.
1.3 Before you get started

1.3.1 Shipment

Your mixing console was carefully packed in the factory to guarantee safe transport. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred during transit. 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.
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.
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 2442FX, the 1622FX, 1832FX and 2222FX 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 disconnect a signal source to one of the inputs. The scale has 2 different value ranges: the first value range (+10 to +60 dB) refers to the MIC input and shows the amplification 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 +4dBu, turn up GAIN slightly, for -10 dBV a bit more. Fine-tuning of a signal being fed in is done using the level meter. To route the channel signal to the level meter, you have to press the SOLO switch and set the MODE switch in the main section to PFL (LEVEL SET). Using the GAIN control, drive the signal to the 0-dB mark. This way you have a vast amount of drive headroom for use with very dynamic signals. The CLIP display should light up only rarely, preferably never. While fine-tuning, the equalizer should be set to neutral. LOW CUT Additionally, the mono channels of the mixing consoles have a high-slope LOW CUT filter for eliminating unwanted, lowfrequency signal components (75 Hz, 18 dB/octave).

2.1 Mono channels

2.1.1 Microphone and line inputs

Effects mixing

In addition to the effects 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 effects processors or fed back to the internal effects 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 fi also be taken. 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, youll 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/amplifier). The control surface of BEHRINGER mixing consoles is opti-mized in such a way that these functions become easy to fulfil while the signal path remains simple to follow.

1.3.2 Initial operation

Be sure that there is enough space around the unit for cooling purposes and to avoid over-heating please do not place your mixing console on high-temperature devices such as radiators or power amps. The console is connected to the mains via the supplied cable. The console meets the required safety standards. Blown fuses must only be replaced by fuses of the same type and rating. Please note that all units must be properly grounded. For your own safety, you should never remove any ground connectors from electrical devices or power cables, or render them in perative. o 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.

XENYX2222FX

XENYX2442FX
1.3.3 Online registration
Please do remember to register your new BEHRINGER equipment right after your purchase by visiting www.behringer.com (alternatively www.behringer.de) and kindly read the terms and conditions of our warranty carefully. Should your BEHRINGER product malfunction, our goal is to have it repaired as quickly as possible. To arrange for warranty service, please contact the 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 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 (www.behringer.com). Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently. Thank you for your cooperation!

On the 2222FX, 1832FX and 1622FX 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 effects mix (created using the post-fader aux sends) by connecting the output of an external effects 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).
The first 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.
2.3 Interface panel and main section
Where it was useful to trace the signal flow from top to bottom in order to gain an understanding of the channel strips, we now look at the mixing console from left to right. The signals are, so to speak, collected from the same point on each of the channel strips and then routed to the main section all together.

2.3.2 Aux send jacks

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 1832FX 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. 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.
XENYX2442FX Fig. 2.8: Aux send jacks

XENYX1832FX

STEREO AUX RETURN FX The STEREO AUX RETURN FX jacks accept the effects mix return (created using the channel FX sends). If these jacks are already in use as additional inputs, you can route the effects signal back into the console via a different channel. The advantage of this is that you can now use that channels EQ on the effects return signal. 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 (2222FX and 2442FX only).

XENYX1832FX Fig. 2.11: Monitor fader of the 1832FX
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 post-mute) 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.
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 2222FX, aux send 1 is hard wired as pre-fader and hence called MON. Model 1832FX has a dedicated monitor output (MON OUT jack), cf. chapter 2.3.4. As already mentioned, the aux sends in the channelsif set post-fadercan be used to connect to external effects devices. AUX SEND (FX) The AUX SEND (FX) jack carries the master aux mix (from the channels FX controls). You can connect this to an external effects device to process the FX bus. The processed signal can then be brought from the effects device back into the STEREO AUX RETURN jacks.
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 effects return, this will determine the level of the effects when mixed with any dry channel signal. When used in this way, the effects device should be set at 100% effect.
2.3.4 The monitor section of the 1832FX
One of the ways that the 1832FX differs from the other models of this series is that it has a separate monitor output.
2.3.3 Stereo aux return connectors
XENYX1832FX Fig. 2.10: Monitor output of the 1832FX XENYX2442FX Fig. 2.7: The AUX SEND controls of the main section!
AUX SEND 3 (FX) The FX control determines the signal level for effects processing, i.e. regulates the level to an external (or the internal) effects device.
XENYX1832FX Fig. 2.9: The aux return connectors
XENYX2442FX XENYX2442FX 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 effect to a monitor mix. An example follows (1622FX wired to an effects device):
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 2442FX 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 (2442FX 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.

2.3.7 XPQ Surround function (1832FX only)
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-fi amplifier (with a source selection switch) to the CD/TAPE INPUT, you can easily listen to additional sources (e.g. cassette recorder, MDplayer, sound card, etc.). Using the voice canceller function (1832FX only), you can process all signals being brought into your mixing console via these connectors. 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 final 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.

Monitor mix with effect

In this instance, your effects device should be set up as follows: the AUX SEND 2 jack should be connected to the L/ Mono input of your effects device, with its outputs coming back into the STEREO AUX RETURN 1 jacks. Connect the AUX SEND 1 jack output to the amplifier 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 effect signal can now be blended into the monitor mix. You can easily use the headphones distribution amplifier 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 effects device External effects device The effect signal reaches receives signal from routes signal back to the monitor mix via..
XENYX1832FX 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 effect that widens the stereo width, thus making the sound more lively and trans-parent. Use the SURROUND control to determine the intensity of this effect. VOICE CANCELLER Here, you have a filter circuitry that lets you almost entirely remove the vocal portion of a recording. The filter is constructed in such a way that voice frequencies are targeted without majorly affecting the rest of the signal. Additionally, the filter 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. 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 difficult parts using a complete playback from a tape player or a CD, thus minimizing rehearsal time.

2.3.6 Supplement to 1832FX
The 1832FX has a stereo fader for the AUX RETURN FX and offers a variety of routing options: MUTE disables the effect 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.
2.3.9 Lamp socket (2442FX only)
Use this BNC socket to connect a gooseneck lamp (12 V DC, max. 0.5 A).

1622FX

AUX SEND 2 STEREO AUX RETURN 1 connectors STEREO AUX RETURN 1 (TO AUX SEND 1) control
2.3.10 Level meter and monitoring

1832FX

AUX SEND 1 STEREO AUX RETURN 2 connectors MONITOR switch of the FX/ AUX 2 RET

2222FX

AUX SEND 2 STEREO AUX RETURN connectors 1 or 2 STEREO AUX RETURN 1 (TO AUX SEND 1) control

2442FX

XENYX2442FX Fig. 2.16: Control room and phones sections of the 2442FX

optional:

AUX SEND 1 STEREO AUX RETURN 2 connectors STEREO AUX RETURN 2 (TO AUX SEND 2) control
2.3.8 CD/Tape input, CD/tape output
XENYX1832FX Fig. 2.13: The FX/AUX 2 return fader of the 1832FX
CD/TAPE 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 jackthis is a simple way to check recorded signals via monitor speakers or headphones.
XENYX1832FX Fig. 2.15: 2-track connectors and lamp socket
Tab. 2.1: Connectors and controls for monitor mix with effect
STEREO AUX RETURN FX On consoles 1622FX and 1832FX this is the STEREO AUX RETURN 2, on consoles 2222FX and 2442FX this is the STEREO AUX RETURN 3. 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 effects module will appear.
MON The MON switch routes the signals appearing at the AUX RETURN2 jacks to the monitor path, along with the monitor signals from the channels. If you wish to route the effect signal to the monitor mix, you can also switch aux 1 to pre-fader, drive the effect device from the aux 1 output and return the effect signal via AUX RETURN 2 to the monitor signal.
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 (2442FX 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. +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.

MODE The MODE switch determines whether the channels SOLO switch operates as PFL (Pre Fader Listen) or as solo (Solo In Place). PFL (LEVEL SET) To activate the PFL function, press the MODE switch. The PFL function should, as a rule, be used for level setting (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 PFLd 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 channels 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 2442FX all aux returns, and on the 1832FX 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 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.
3. GRAPHIC 9-BAND EQUALIZER (1832FX only)

Fig. 2.17: PHONES jack

PHONES jack You can connect headphones to this " stereo jack (2442FX: 2 phones jacks). The signal routed to the PHONES connection is the same as that routed to the control room output.
2.3.11 Subgroups and main mix fader
You use the high-precision quality faders to control the output level of the subgroups and the main mix. 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.

XENYX1832FX Fig. 3.1: The graphic stereo equalizer of the 1832FX
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. 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!

LEVEL METER

The high-precision level meters always give you an accurate display of signal level. LEVEL SETTING: When recording to digital recorders, the recorders meter should not go into overload. This is because, unlike analog recordings, it takes only slightly excessive levels to create unpleasant digital distortion. 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 -10dB. Snaredrums should be driven to approx. 0 dB. The peak meters of your XENYX display level almost independent of frequency. A recording level of 0 dB is recommended for all types of signal.
XENYX2442FX Fig. 2.18: Subgroup and main mix faders
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 EFFECTS PROCESSOR
24-BIT MULTI-EFFECTS PROCESSOR Here you can find a list of all presets stored in the multieffects processor. This built-in effects module produces high-grade standard effects such as reverb, chorus, flanger, delay and various combination effects. Use the Aux Send FX on the channels and the Aux Send FX master control to determine the input signal of the effects processor.

LEVEL The LED level meter on the effects module should display a sufficiently 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 effects processor and this could cause unpleasant distortion. PROGRAM You can select the effect preset by turning the PROGRAM control. The display flashes with the number of the current preset. To recall the selected preset, press on the button; the flashing stops. You can also recall the selected preset with the foot switch.

5.2 Subgroup outputs

5.4 Direct outputs (2442FX only)
XENYX2442FX Fig. 5.4: Direct outputs

DIRECT OUTPUTS

Fig. 5.2: Subgroup outputs
SUB OUTPUTS The subgroup outputs are unbalanced and provide the mix of those channels assigned to each subgroup with the SUB switch (2442FX: 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 first 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.).
The direct outputs of the 2442FX (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. REAR PANEL CONNECTORS

5.1 Main mix outputs, insert points and control room outputs
5.5 Voltage supply, phantom power supply and fuse
XENYX1832FX Fig. 4.1: Digital effects module
All Models Fig. 5.5: Voltage supply and fuse
The built-in stereo effects 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 effect presets are classical mixing effects. If you move the STEREO AUX RETURN FX control, you mix the channel signal (dry) and the effect 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 2222FX and 2442FX have a separate output for the effects 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 2442FX has the effect output on the rear, 2222FX has it located next to the aux sends on the front panel. FX FOOTSW. Connect a standard foot switch to the foot switch jack and use this to switch the effects processor on and off. A light at the bottom of the display indicates wheater the effects 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.

XENYX2442FX Fig. 5.1: Main Mix outputs, main mix insert points and control room outputs

5.3 Inserts

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 Off 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 allpole disconnect switch on or near the rack. 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
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, " phone jacks carry the main mix signal in a balanced format (1622FX: 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) (2442FX 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.
XENYX1622FX 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 effects devices, whose signals are usually added to the dry signal, dynamic processors are most effective 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 fitted with mono phone plugs on the tape machine or effect device end, and a bridged stereo phone plug on the console side (tip and ring connected).

auctions. Purchases made through an online auction are on a buyer beware basis. Online auction conrmations or sales receipts are not accepted for warranty verication and BEHRINGER will not repair or replace any product purchased through an online auction.

4 Warranty Exclusions

[1] This limited warranty does not cover consumable parts including, but not limited
5 Warranty transferability
This limited warranty is extended exclusively to the original buyer (customer of authorized retail dealer) and is not transferable to anyone who may subsequently purchase this product. No other person (retail dealer, etc.) shall be entitled to give any warranty promise on behalf of BEHRINGER.
to, fuses and batteries. Where applicable, BEHRINGER 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.
FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
XENYX 1622FX/1832FX/2222FX/2442FX
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.

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