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Comments to date: 4. Page 1 of 1. Average Rating:
timgwalker@gmail.com 9:13pm on Wednesday, October 13th, 2010 
SONY MDR V150 STUDIO MONITOR HEADPHONES Choosing the right set of headphones to meet ones specific needs is not as simple as it used to... As I mentioned in my review of the Behringer Guitar Link, I do love recording on a budget. In order to do that effectively, however.
weijiao 10:21pm on Saturday, September 25th, 2010 
These headphones are ideal for anyone who wants to listen to their music in near perfect sound... The sound is ok, but the plastic frame is really fragile.
AbelOOO 9:11am on Saturday, September 18th, 2010 
Exceelent Sound and Comfort These provide excellent sound, comfort and they are fairly durable. A very good sound experience for the price.
robertjsharp 2:05am on Sunday, March 14th, 2010 
Why buy a pair for 10x the price? Maybe my ears are not "audiophile quality", but these headphones sound great. Sound is nice, painful to wear I find the sound quality on these headphones to be nice, but they are very uncomfortable to wear.

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Documents

doc0

EURORACK UB1622FX-PRO UB1832FX-PRO UB2222FX-PRO UB2442FX-PRO

Users Manual

Version 1.4 February 2006
EURORACK UB1622FX-PRO/UB1832FX-PRO/UB2222FX-PRO/UB2442FX-PRO IMPORTANT SAFETY INSTRUCTIONS
DETAILED SAFETY INSTRUCTIONS: 1) Read these instructions. 2) Keep these instructions. 3) Heed all warnings. 4) Follow all instructions. 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. 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) Only use 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.

WARNING:

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 and no objects filled with liquids, such as vases, shall be placed on the apparatus.
This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosurevoltage 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.
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) 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 unless you are qualified to do so.
EURORACK UB1622FX-PRO/UB1832FX-PRO/UB2222FX-PRO/UB2442FX-PRO FOREWORD
Dear Customer, Im sure youre one of those people who have devoted themselves body and soul to your chosen area and no doubt this has transformed you into an expert in your field! Well, for over 30 years, my passion has been music and electronics. This not only led me to establish BEHRINGER, but also enabled me to convey and share my enthusiasm with my employees. During all the years Ive been involved with studio technology and end users, I have developed a feel for the things that really count, such as sound quality, reliability and ease of use. Whats more, I have always had the desire to push the boundaries of technical possibilities to the extreme. It was precisely this motivation that prompted me to start work on a new series of mixing consoles. Since our EURORACKs had already set new standards world-wide, I knew the development objectives behind the products bearing my initials had to be especially ambitious. Thus, the concept and design of the new UB mixing consoles bear my signature. The design work, the entire circuit diagram and PCB development, and even the mechanical concepts are my own work. I carefully selected each individual component with the aim of pushing the mixing consoles analog and digital technologies to their limits. My vision was to enable you, the user, to give free rein to your true potential and creativity. The result is incredibly powerful mixing consoles that offer intuitive operation. They cannot fail to impress with their extremely flexible routing possibilities plus fantastic wealth of functions. Innovative technologies, such as the completely new IMP Invisible Mic Preamps, guarantee optimum sound quality. And extraordinarily high-quality components provide unrivalled reliability, even under extreme loads. Your new UB mixing console is of high quality yet is simple to use; youll soon appreciate that I, both personally and in my capacity as musician and sound engineer, put you, the end user, first and that these products were only possible because of the passion and the attention to detail that went into them. Thank you for the confidence you have placed in us by purchasing the UB mixing console. I should also like to thank all those who, with their personal commitment and passion, have helped me realize this impressive series of mixing consoles.

TABLE OF CONTENTS

1. INTRODUCTION.. 4
1.1 General mixing console functions.. 4 1.2 The users manual... 4 1.3 Before you get started... 5 1.3.1 Shipment... 5 1.3.2 Initial operation.. 5 1.3.3 Online registration.. 5
2. CONTROL ELEMENTS AND CONNECTORS. 5
2.1 Mono channels... 5 2.1.1 Microphone and line inputs.. 5 2.1.2 Equalizer... 6 2.1.3 Monitor and effects busses (Aux sends). 6 2.1.4 Routing switch, PAN, SOLO and channel fader. 6 2.2 Stereo channels... 7 2.2.1 Channel inputs.. 7 2.2.2 Equalizer stereo channels. 7 2.2.3 Aux sends stereo channels.. 7 2.2.4 Routing switch, solo and channel fader. 7 2.3 Interface panel and main section.. 7 2.3.1 MON control, aux sends 1, 2 and 3 (FX). 7 2.3.2 Aux send jacks.. 8 2.3.3 Stereo aux return connectors.. 8 2.3.4 The monitor section of the UB1832FX-PRO. 8 2.3.5 Stereo aux return control.. 9 2.3.6 Supplement to UB1832FX-PRO.. 9 2.3.7 XPQ Surround function (UB1832FX-PRO only). 10 2.3.8 CD/Tape input, CD/tape output.. 10 2.3.9 Lamp socket (UB2442FX-PRO only). 10 2.3.10 Level meter and monitoring. 10 2.3.11 Subgroups and main mix fader.. 11
3. GRAPHIC 9-BAND EQUALIZER (UB1832FX-PRO only)... 12 4. DIGITAL EFFECTS PROCESSOR.. 12 5. REAR PANEL CONNECTORS.. 12
5.1 Main mix outputs, insert points and control room outputs.. 12 5.2 Subgroup outputs.. 13 5.3 Inserts... 13 5.4 Direct outputs (UB2442FX-PRO only). 13 5.5 Voltage supply, phantom power supply and fuse... 13

6. INSTALLATION.. 14

6.1 Rack mounting.. 14 6.2 Cable connections... 14 6.2.1 Audio connections.. 14

7. SPECIFICATIONS... 15

Kindest regards,

8. WARRANTY.. 16

Uli Behringer
EURORACK UB1622FX-PRO/UB1832FX-PRO/UB2222FX-PRO/UB2442FX-PRO 1. INTRODUCTION
Congratulations! In purchasing the BEHRINGER EURORACK you have acquired a mixer whose small size belies its incredible versatility and audio performance. The BEHRINGER EURORACK mixing console offers you premium-quality microphone preamplifiers with optional phantom power supply, balanced line inputs and the ability to connect external effects devices. Because of its extensive and carefully thought-out routing possibilities, your EURORACK lends itself equally to both live and studio use. IMP Invisible Mic Preamp The microphone channels are fitted with BEHRINGERs brand new high-end IMP INVISIBLE MIC PREAMPs that boast the following features: s s s 130 dB dynamic range for an incredible amount of headroom A bandwidth ranging from below 10 Hz to over 200 kHz for crystal-clear reproduction of even the finest nuances The extremely low-noise and distortion-free circuitry guarantees absolutely natural and transparent signal reproduction They are perfectly matched to every conceivable microphone with up to 60 dB gain and +48 volt phantom power supply They enable full utilisation of the greatly extended dynamic range of your 24-bit/192 kHz HD recorder, thereby maintaining optimal audio quality fully down before you switch on the unit. Always be careful to set the appropriate volume.

1.1 General mixing console functions
A mixing console fulfils three main functions: s Signal processing: Preamplification Microphones convert sound waves into voltage that has to be amplified several-fold; then, this voltage is turned into sound that is reproduced in a loudspeaker. Because microphone capsules are very delicate in their construction, output voltage is very low and therefore susceptible to interference. Therefore, mic signal voltage is amplified directly at the mixer input to a higher signal level that is less prone to interference. This higher, interference-safe signal level has to be achieved through amplification using an amplifier of the highest quality in order to amplify the signal and add as little noise to it as possible. The IMP Invisible Mic Preamp performs this role beautifully, leaving no traces of noise or sound coloration. Interference that could take place at the preamplification level could affect signal quality and purity, and would then be passed on to all other devices, resulting in inaccurate sounding program during recording or playback. Level-setting Signals fed into the mixer using a DI-box (Direct Injection) or the output of a sound card or a keyboard, often have to be adjusted to the operating level of your mixing console. Frequency response correction Using the equalizers found in each channel strip, you can simply, quickly and effectively adjust the way a signal sounds. 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. s 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 amplifiers, headphones and 2-track outputs can also be taken. s 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 optimized in such a way that these functions become easy to fulfil while the signal path remains simple to follow.

explanations about various music industry/audio technology terminology can be found on individual product pages as well as in the glossary.
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.
The block diagram supplied with the mixing console gives you an overview of the connections between the inputs and outputs, as well as the associated switches and controls.
For the moment, just try and trace the signal path from the microphone input to the aux send 1 connector. Dont be put off by the huge range of possibilities; its easier than you think! If you look at the overview of the controls at the same time, youll be able to quickly familiarize yourself with your mixing console and youll soon be making the most of all its many possibilities.

2.1 Mono channels

2.1.1 Microphone and line inputs
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.

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. Fig. 2.1: Connectors and controls of mic/line inputs MIC Each mono input channel offers a balanced microphone input via XLR as well as switchable phantom power (+48 volt) for powering condenser microphones.
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 inoperative. 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.
Please mute your monitor system before you switch on phantom power. Otherwise potentially damaging thumps will be sent to your speakers. Please also note the instructions in chapter 5.5 Voltage supply, phantom power and fuse.

LINE IN Each mono input also has a balanced line input on a 1/4" jack. You can also connect unbalanced devices using mono jacks to these inputs.
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!
Please remember that you can use either the microphone input or the line input of a channel, but not both at the same time!
INSERT Insert points enable the processing of a signal with dynamic processors or equalizers. They are sourced pre-fader, pre-EQ and pre-aux send. Detailed information on using insert points can be found in chapter 5.3.
Unlike the UB2442FX-PRO, the UB1622FX-PRO, UB1832FX-PRO and UB2222FX-PRO have their insert points located on the rear of the console.
TRIM Use the TRIM 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 TRIM control is turned all the way down, connect your equipment. Set the TRIM 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 TRIM 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 TRIM 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). routed, for example, to an active monitor speaker or external effects device. In the latter case, the effects return can then be brought back into the console via the aux return connectors. All monitor and effects busses are mono, are tapped into post EQ and offer amplification of up to +15 dB. Pre-fader/post-fader When using effects on a channel signal, it is usual to have the aux send post fader so that the balance between effect and dry signal stays constant even when the channel fader is altered. If this were not the case, the effects signal of the channel would remain audible even when the channel fader is turned all the way down. For monitoring, the aux sends are generally pre-fader, i.e. they operate independently of the position of the channel fader. PRE When the PRE switch is pressed down, the associated aux send is taken pre-fader. FX The aux send marked FX offers a direct route to the built-in effects processor and is therefore post-fader and post-mute. Please refer to chapter 4 DIGITAL EFFECTS PROCESSOR for detailed information.

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.
2.3.4 The monitor section of the UB1832FX-PRO
One of the ways that the UB1832FX-PRO differs from the other models of this series is that it has a separate monitor output.
Fig. 2.10: Monitor output of the UB1832FX-PRO 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.
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.
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STEREO AUX RETURN connectors STEREO AUX RETURN (TO AUX SEND ) control

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Fig. 2.11: Monitor fader of the UB1832FX-PRO 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! AUX SEND STEREO AUX RETURN ! connectors MONITOR switch of the FX/AUX! RET

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STEREO AUX STEREO AUX RETURN connectors RETURN (TO AUX ! SEND ) control

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AUX SEND ! STEREO AUX RETURN connectors STEREO AUX RETURN (TO AUX SEND ) control STEREO AUX RETURN ! (TO AUX SEND !) control
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.

2.3.8 CD/Tape input, CD/tape output
Fig. 2.15: 2-track connectors and lamp socket 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 EURORACK 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 (UB1832FX-PRO 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.
Fig. 2.13: The FX/AUX 2 return fader of the UB1832FX-PRO 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.
2.3.7 XPQ Surround function (UB1832FX-PRO only)
If you connect a compressor or a noise gate post CD/TAPE OUTPUT, the main mix fader will probably not be able to create a satisfactory fade-out effect.
2.3.9 Lamp socket (UB2442FX-PRO only)
Use this BNC socket to connect a gooseneck lamp (12 V DC, max. 0.5 A).
2.3.10 Level meter and monitoring
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 transparent. 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.
Fig. 2.16: Control room and phones sections of the UB2442FX-PRO 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. 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 (UB2442FX-PRO 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.

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.
CTRL ROOM & PHONES 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. 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 The PFL LED indicates that the peak meter is set to PFL mode.
While phantom power is switched on, do not connect or disconnect microphones on the mixer (or the stagebox/wallbox). Connect any microphones 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.

Fig. 2.18: Subgroup and main mix faders
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
EURORACK UB1622FX-PRO/UB1832FX-PRO/UB2222FX-PRO/UB2442FX-PRO 3. GRAPHIC 9-BAND EQUALIZER (UB1832FX-PRO only)
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 UB2222FX-PRO and UB2442FX-PRO 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.
Fig. 3.1: The graphic stereo equalizer of the UB1832FX-PRO 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.
+ The UB2442FX-PRO has the effect output on the rear,
UB2222FX-PRO 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.

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.
Logically, at least one (ideally several) microphone channels have to be open for feedback to occur at all!
Feedback is particularly common when stage monitors (wedges) are concerned, because monitors project sound in the direction of microphones. Therefore, you can also use the FBQ Feedback Detection for monitors by placing the equalizer in the monitor bus (see MAIN MIX/MONITOR).

5. REAR PANEL CONNECTORS

5.1 Main mix outputs, insert points and control room outputs
4. DIGITAL EFFECTS PROCESSOR
24-BIT MULTI-EFFECTS PROCESSOR Here you can find a list of all presets stored in the multi-effects 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.
Fig. 5.1: Main Mix outputs, main mix insert points and control room outputs MAIN OUTPUTS The MAIN outputs carry the MAIN MIX signal and are on balanced XLR jacks with a nominal level of +4 dBu. In parallel with this, 1/4" phone jacks carry the main mix signal in a balanced format (UB1622FX-PRO: 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.
Fig. 4.1: Digital effects module 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
MAIN INS(ERTS) (UB2442FX-PRO only) These are the insert points for the main mix. In the signal path, they are post-main mix amp, but pre-main fader(s). Use them to insert, for example, a dynamics processor or graphic equalizer. Please also note the information on insert points in chapter 5.3.
5.4 Direct outputs (UB2442FX-PRO only)

5.2 Subgroup outputs

Fig. 5.4: Direct outputs DIRECT OUTPUTS The direct outputs of the UB2442FX-PRO (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.

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 (UB2442FX-PRO: 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 EURORACK UB2442FX-PRO already has subgroup outputs wired in parallel (1-5, 2-6, etc.).
5.5 Voltage supply, phantom power supply and fuse
Fig. 5.5: Voltage supply and fuse FUSE HOLDER/IEC MAINS RECEPTACLE The console is connected to the mains via the cable supplied, which meets the required safety standards. Blown fuses must only be replaced by fuses of the same type and rating. The mains connection is made via a cable with IEC mains connector. An appropriate mains cable is supplied with the equipment. POWER switch Use the POWER switch to turn on the mixing console. The POWER switch should always be in the 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 all-pole disconnect switch on or near the rack.

5.3 Inserts

Fig. 5.3: Insert points
+ On the UB2442FX-PRO the channel insert points are
located on the control panel between the line input and the TRIM 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).

Attention: The POWER switch does not fully disconnect the unit from the mains. Unplug the power cord completely when the unit is not used for prolonged periods of time.
PHANTOM switch The PHANTOM switch activates the phantom power (necessary to operate condenser microphones) on the XLR sockets of the mono channels. The red +48 V LED illuminates when phantom power is on. As a rule, dynamic microphones can still be used with phantom power, provided that they are wired in a balanced configuration. In case of doubt, contact the microphone manufacturer!
Connect microphones before you switch on the phantom power supply. Please do not connect microphones to the mixer (or the stagebox/ wallbox) while the phantom power supply is switched on. In addition, the monitor/PA loudspeakers should be muted before you activate the phantom power supply. After switching on, wait approx. one minute to allow for system stabilization. Caution! Please also note the information given in chapter 6.2.1 Audio connections.
SERIAL NUMBER Please note the important information on the serial number given in chapter 1.3.3.
EURORACK UB1622FX-PRO/UB1832FX-PRO/UB2222FX-PRO/UB2442FX-PRO 6. INSTALLATION

6.1 Rack mounting

The packaging of your mixing console contains two 19" rack mounts for installation on the side panels of the console. Before you can attach the rack mounts to the mixing console, you need to remove the screws holding the left and right side panels. Then, use these screws to fasten the two rack mounts, each specifically to one side. With the rack mounts installed, you can mount the mixing console in a commercially available 19" rack. Be sure to allow for proper air flow around the unit, and do not place the mixing console close to radiators or power amps, so as to avoid overheating.
Only use the screws holding the mixing console side panels to fasten the 19" rack mounts.
Fig. 6.3: 1/4" mono plug

6.2 Cable connections

You will need a large number of cables for the various connections of the console. The illustrations below show the wiring of these cables. Be sure to use only high-grade cables.
Fig. 6.4: 1/4" stereo plug
Fig. 6.1: Foot switch connector

6.2.1 Audio connections

Please use commercial RCA cables to wire the CD/TAPE inputs and outputs. You can, of course, also connect unbalanced devices to the balanced input/outputs. Use either mono plugs, or use stereo plugs to link the ring and shaft (or pins 1 & 3 in the case of XLR connectors). Fig. 6.5: Insert send/return stereo plug

Fig. 6.2: XLR connections
Caution! You must never use unbalanced XLR connectors (PIN 1 and 3 connected) at the MIC input jacks if you want to use the phantom power supply.
Fig. 6.6: Stereo plug for headphones connection

6. INSTALLATION

EURORACK UB1622FX-PRO/UB1832FX-PRO/UB2222FX-PRO/UB2442FX-PRO 7. SPECIFICATIONS
Microphone inputs (IMP Invisible 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 UB1622FX-PRO only: Impedance Max. output level XLR, electronically balanced and 1/4" TRS balanced 1/4" TS connector unbalanced approx. 240 W symm. / 120 W unbalanced +28 dBu +22 dBu (UB1622FX-PRO)
Control room outputs Type Impedance Max. output level Headphones outputs Type Max. output level DSP Converter Sampling rate
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 attenuation 1 (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
1/4" TRS connector electronically balanced approx. 20 kW balanced 10 kW unbalanced -10 to +40 dB 30 dBu
Main mix system data 2 Noise Main mix @ -oo, Channel fader @ -oo Main mix @ 0 dB, Channel fader @ -oo
-101 dB -100 dB (UB2442FX-PRO) -93 dB -96 dB (UB1622FX-PRO) -87 dB (UB2442FX-PRO) -81 dB -83 dB (UB1622FX-PRO) -80 dB (UB2442FX-PRO)

doc1

INPUT CHANNELS (1-8)
RIGHT BUS SUB 1 SUB 2 SOLO LEFT PFL SOLO RIGHT AUX 1 AUX 2 AUX 3 (FX) FX SEND LEFT BUS

PHANTOM

+48 V HI LEFT BUS FADER MUTE 1-2 SUB 1 PFL SUB 2 SOLO L SOLO R SOLO L AUX 3 SOLO R PRE PFL AUX 1 AUX 3 AUX 2 FX SEND SOLO R TAPE TO MAIN AUX 3 SOLO L PFL SOLO AUX 2 R AUX SEND 3 AUX SEND SOLO AUX 1 SOLO R AUX SEND 1-2 RIGHT BUS AUX 1 T PAN AUX SEND MAIN

MIC IN

AUX SENDS

LO CUT

HIPASS

R LINE IN

PEAK/SOLO

AUX/FX SEND

TAPE OUT

TAPE OUT LEFT

R INSERT
LO LO MID HI MID HI MAIN FADER BAL RIGHT BUS 1-2 SUB 1 SUB 2 SOLO SOLO L AUX 1 SOLO R RIGHT BUS T -1 LEFT BUS MAIN LEFT BUS

INPUT CHANNELS (9-16)

TAPE OUT RIGHT

MAIN OUT

T R MAIN OUT LEFT

R STEREO LEFT

+4/-10

R STEREO RIGHT

PRE AUX 1 AUX 3 AUX 2 AUX 3

R MAIN OUT RIGHT -1

SUB 1 SUB 1 LEFT AUX SEND 1 AUX 1 RIGHT LEFT BUS RIGHT BUS LEFT BUS

SUB OUT

T R SUB OUT 1

R E T. 1

R TAPE TO MAIN LEFT BUS TAPE IN LEFT RIGHT BUS MAIN AUX SEND 1 AUX 1 TAPE IN RIGHT

TAPE IN

AUX RETURN

T RIGHT BUS

LEFT BUS

R E T. 2

Block Diagram of EURORACK UB2222FX-PRO

RIGHT BUS

PHONES
1-2 FROM SUB 2 RIGHT METER R T

MAIN/SUB LEFT BUS SUB 1

CTRL ROOM & PHONES

CTRL ROOM

T L SOLO L SOLO R R R CTRL R RIGHT

RIGHT BUS SUB 2

SOLO ENABLE PFL ENABLE SOLO MUTE PFL FX SEND PFL

SOLO/PFL SWITCHING

T R LEFT METER CTRL R LEFT

FX OUT

SUB 1 SUB 2 AUX 1 AUX 2 LEFT BUS FX SEND

R FX OUT

24-BIT DIGITAL FX PROCESSOR

SOLO LEFT

SOLO RIGHT
BLOCK DIAGRAM UB2222FX-PRO

AUX 3 (FX)

R FOOTSWITCH

VERSION: 1.2

DATE: 12.2003

 

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