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.

Multi-effects processor Additionally, your EURORACK 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 mixing consoles of the PRO series feature a state-of-the-art integrated switch-mode power supply. One of the great advantages is that (compared to conventional circuits) a switch-mode power supply adapts to mains voltages between 100 and 240 volts automatically. Furthermore, due to its much greater efficiency, it consumes much less energy than a conventional power supply unit. FBQ Feedback Detection System The FBQ Feedback Detection System integrated into the graphic EQ of your UB1832FX-PRO is one of this mixers most outstanding features. This ingenious circuitry lets you immediately recognize and eliminate feedback frequencies. The FBQ Feedback Detection System uses the LEDs in the frequency band faders of the graphic EQ to indicate the critical frequencies. This way, what once used to be a labor-intensive search for feedback frequencies is now an activity that even a child could master. Voice Canceller We have added another useful feature to the EURORACK UB1832FX-PRO: the Voice Canceller. The Voice Canceller is a filter circuitry that filters out vocal portions from a track. Therefore, this mixing console is ideally suited for use as a karaoke machine. This feature is also an optimal solution for singers who need accompanying music for their rehearsals.

CAUTION!

We should like to draw your attention to the fact that extreme volumes may damage your hearing and/or your headphones or loudspeakers. Turn the MAIN MIX faders and phones control in the main section

1.2 The users manual

The users manual is designed to give you both an overview of the controls, as well as detailed information on how to use them. In order to help you understand the links between the controls, we have arranged them in groups according to their function. If you need to know more about specific issues, please visit our website at http://www.behringer.com. Additional information and

1. INTRODUCTION

EURORACK UB1622FX-PRO/UB1832FX-PRO/UB2222FX-PRO/UB2442FX-PRO
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.

2.1.2 Equalizer

All mono input channels have a 3-band equalizer with semiparametric mid bands. All bands provide boost or cut of up to 15 dB. In the central position, the equalizer is off (flat).
If you are using the built-in effects processor, make sure that STEREO AUX RETURN 3 has nothing plugged into it (UB2442FX-PRO and UB2222FX-PRO), otherwise the internal effects return will be muted. This is not relevant if you use the FX OUT jack to drive an external effects device. UB1622FX-PRO and UB1832FX-PRO: On these consoles, the above note refers to the STEREO AUX RETURN 2 jacks as these models do not have a dedicated effect output.
2.1.4 Routing switch, PAN, SOLO and channel fader
Fig. 2.2: Equalizer of the input channels The upper (HIGH) and the lower (LOW) bands are shelving filters that increase or decrease all frequencies above or below their cut-off frequency. The cut-off frequencies of the upper and lower bands are 12 kHz and 80Hz respectively. For the mid range, the console features a semi-parametric equalizer with a filter quality (Q) of 1 octave, tunable from 100 Hz to 8 kHz. Use the MID control to set the amount of boost or cut, and the FREQ control to determine the central frequency.
2.1.3 Monitor and effects busses (Aux sends)
Fig. 2.4: The panorama and routing controls and the channel fader PAN The PAN control determines the position of the channel signal within the stereo image. When working with subgroups, you can use the PAN control to assign the signal to just one output, which gives you additional flexibility in recording situations. For example, when routing to subgroups 3 and 4, panning hard left will route the signal to group output 3 only, and panning hard right will route to group output 4 only. MUTE The MUTE switch breaks the signal path pre-channel fader, hence muting that channel in the main mix. The aux sends which are set to post-fader are likewise muted for that channel, while
Fig. 2.3: Aux Send control MON and FX in the channel strips Monitor and effects busses (AUX sends) source their signals via a control from one or more channels and sum these signals to a so-called bus. This bus signal is sent to an aux send connector (for monitoring applications: MON OUT) and then
the pre-fader monitor paths remain active irrespective of whether the channel is muted or not. MUTE LED The MUTE LED indicates a muted channel. CLIP-LED The CLIP-LED lights up when the input signal is driven too high. If this happens, back off the TRIM control and, if necessary, check the setting of the channel EQ. SOLO The SOLO switch is used to route the channel signal to the solo bus (Solo In Place) or to the PFL bus (Pre Fader Listen). This enables you to listen to a channel signal without affecting the main output signal. The signal you hear is taken either before the pan control (PFL, mono) or after the pan and channel fader (Solo, stereo) (cf. chap. 2.3.10 Level meters and monitoring). SUB (1-2 and 3-4) The SUB switch routes the signal to the corresponding subgroups. The UB2442FX-PRO has 4 subgroups (1-2 and 3-4). MAIN The MAIN switch routes the signal to the main mix bus. The channel fader determines the channels volume in the main mix (or submix). Fig. 2.6: Balance control and mute switch BAL The BAL(ANCE) control has a similar function to the PAN control in the mono channels. The balance control determines the levels of the left and right input signals relative to each other before both signals are routed to the left/right main mix bus (or odd/even subgroup). The remaining control elements in the stereo channels perform the same functions as their counterparts in the mono channels (MUTE switch, MUTE and CLIP LEDs, SOLO switch, SUB and MAIN switches and channel fader).

As the UB1832FX-PRO 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.
2.3.3 Stereo aux return connectors
Fig. 2.9: The aux return connectors
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. UB1622FX-PRO and UB1832FX-PRO: On these consoles, this function is performed by the AUX SEND 2 control (FX). SOLO You can use the SOLO switch to separately monitor the aux sends via the CONTROL ROOM/PHONES outputs and check these with the level meters.
On the UB2222FX-PRO, UB1832FX-PRO and UB1622FX-PRO 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.
If you want to monitor the signal of just one AUX bus, none of the other SOLO SWITCHES should be pressed and the MODE switch should be in the SOLO position (not depressed).
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).

2.3.2 Aux send jacks

A signal fed into the stereo return jacks can be output via an aux send jack. More information on this can be found in chapter 2.3.5 STEREO AUX RETURN 1/2 (TO AUX SEND).
STEREO AUX RETURN FX The STEREO AUX RETURN FX jacks accept the 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. Fig. 2.8: Aux send jacks 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.
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 (UB2222FX-PRO and UB2442FX-PRO only).

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. 2.17: PHONES jack PHONES jack You can connect headphones to this 1/4" stereo jack (UB2442FX-PRO: 2 phones jacks). The signal routed to the PHONES connection is the same as that routed to the control room output.
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.
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.
The peak meters of your EURORACK display level almost independent of frequency. A recording level of 0 dB is recommended for all types of signal.
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 (TRIM). 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 UB2442FX-PRO all aux returns, and on the UB1832FX-PRO only aux return 2 can be routed to the solo bus. The solo bus is, as a rule, taken post-fader.

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.).

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)

90 dB 89 dB 89 dB

Main mix @ 0 dB, Channel fader @ 0 dB
+0 dB / -1 dB +0 dB / -3 dB
Power supply Mains voltage Power consumption
1/4" TRS connector, electronically balanced approx. 20 kW +22 dBu
Fuse Mains connection Physical UB1622FX-PRO Dimensions (H x W x D)
100 to 240 V~, 50/60 Hz 37 W (UB1622FX-PRO) 43 W (UB1832FX-PRO) 46 W (UB2222FX-PRO) 47 W (UB2442FX-PRO) 100 - 240 V ~: T 1.6 A H 250 V Standard IEC receptacle
80 Hz / 15 dB 100 Hz - 8 kHz / 15 dB 12 kHz / 15 dB
approx. 3 7/8" x 11 7/8" x 13 7/8" (97 mm x 301mm x 351mm)
UB1832FX-PRO / UB2222FX-PRO Dimensions (H x W x D) approx. 3 7/8" x 16 1/16" x 14 1/16"
(97 mm x 408 mm x 367 mm)
80 Hz / 15 dB 500 Hz / 15 dB 3 kHz / 15 dB 12 kHz / 15 dB
UB2442FX-PRO Dimensions (H x W x D)
approx. 5 3/8" x 16 1/2" x 17 1/4" (136 mm x 418 mm x 438 mm)
1/4" TS connector, unbalanced approx. 120 W +22 dBu
Weight (net) UB1622FX-PRO UB1832FX-PRO UB2222FX-PRO UB2442FX-PRO Measuring conditions:
approx. approx. approx. approx.
7 1/4 lbs (3.3 kg) 10 3/8 lbs (4.7 kg) 10 5/8 lbs (4.8 kg) 13 lbs (5.9 kg)
1/4" TRS connector, electronically balanced approx. 20 kW bal. / 10 kW unbal. +22 dBu
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.
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 liiustrated.

UB2442FX-PRO

Technical Specifications

Version 1.3 February 2006

EURORACK

Ultra-wide 60 dB gain range

EURORACK UB2442FX-PRO

Ultra Low-Noise Design 24-Input 4-Bus Mic/Line Mixer with Premium Mic Preamplifiers and 24-Bit Multi-FX Processor
s Ultra low-noise ULN design, highest possible headroom, ultra-transparent audio s 10 new state-of-the-art, studio-grade IMP "Invisible" Mic Preamps with: 130 dB dynamic range for 24-bit, 192 kHz sampling rate inputs:
Lowest possible distortion 0.0007% (20 Hz - 20 kHz)
s Studio-grade 24-bit stereo FX processor with 100 awesome presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects
s Effective, extremely musical 3-band EQ with semi-parametric mid band plus switchable low-cut filter on all mono channels s Channel inserts and direct outputs on each mono channel plus main mix inserts for flexible connection of outboard equipment s 16 balanced high-headroom line inputs with dedicated gain controls on stereo channels
s State-of-the-art 4580 operational amplifiers provide lowest noise and distortionbetter than 4560 op amps s 2 headphones outputs
s 4 aux sends per channel: 2 pre/post fader switchable for monitoring/FX applications, 2 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 4 subgroups with separate outputs for added routing flexibility s 4 multi-functional stereo aux returns with flexible routing
s Balanced main mix outputs with TRS and gold-plated XLR connectors, separate control room, headphones and stereo tape outputs s Control room/phones outputs with multi-input source matrix s Tape inputs assignable to main mix or control room/phones outputs s Switchable +48 V phantom power for condenser microphones s Long-wearing 60 mm logarithmic-taper faders and sealed rotary controls s BNC connector for standard gooseneck lamps
s Internal switch-mode power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus lowest possible power consumption for energy saving s Rack mount brackets included s High-quality components and exceptionally rugged construction ensure long life s Conceived and designed by BEHRINGER Germany 2

BLOCK DIAGRAM

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 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 30 dBu 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

-100 dB -87 dB -80 dB

90 dB 89 dB 89 dB
100 to 240 V~, 50/60 Hz 47 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. 5 3/8" x 16 1/ 2" x 17 1/4" (136 mm x 418 mm x 438 mm) approx. 5.9 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