1622FX

Technical Specifications

Version 1.0 January 2006

XENYX 1622FX
Premium 16-Input 2/2-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 4 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 Channel inserts on each mono channel for flexible connection of outboard equipment
s 2 aux sends per channel: 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; 2 multi-functional stereo aux returns with flexible routing s 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 Long-wearing 60-mm logarithmic-taper faders and sealed rotary controls
s Internal autorange power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving s Rack mount brackets included for ultimate flexibility 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 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 1/4" TRS connector electronically balanced approx. 20 kW balanced 10 kW unbalanced -10 to +40 dB +22 dBu @ 0dB 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) 1/4" TS connector unbalanced approx. 240 W balanced / 120 W unbalanced +22 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)

-101 dB -96 dB -83 dB

90 dB 89 dB 89 dB

100 to 240 V~, 50/60 Hz 37 W 100 - 240 V~: T 1.6 A H 250 V Standard IEC receptacle
+0 dB / -1 dB +0 dB / -3 dB
approx. 3 7/8" x 11 7/8" x 13 7/8" (97 mm x 301 mm x 351 mm) approx. 3.3 kg
1/4" TRS connector, electronically balanced approx. 20 kW +22 dBu

Weight (net)

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: 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. 2:
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

User Manual

XENYX 1622FX/1832FX/ 2222FX/2442FX
Premium 16/18/22/24-Input 2/2, 3/2, 4/2-Bus Mixer with XENYX Mic Preamps, British EQs, 24-Bit Multi-FX Processor and USB/Audio Interface
PREMIUM 16-INPUT 2/2-BUS MIXER 24-BIT MULTI-FX PROCESSOR

MAIN MIX

Thank you
Congratulations! In purchasing the BEHRINGER XENYX you have acquired a mixer whose small size belies its incredible versatility and audio performance. The XENYX Series represents a milestone in the development of mixing console technology. With the new XENYX microphone preamps including phantom power as an option, balanced line inputs and a powerful effects section, the mixing consoles in the XENYX Series are optimally equipped for live and studio applications. Owing to state-of-the-art circuitry your XENYX console produces a warm analog sound that is unrivalled. With the addition of the latest digital technology these best-in-class consoles combine the advantages of both analog and digital technology.

Table of Contents

Thank you... 1 Important Safety Instructions. 2 1. INTRODUCTION.. 3 2. CONTROL ELEMENTS AND CONNECTORS. 5 3. GRAPHIC 9-BAND EQUALIZER (1832FX only). 13 4. DIGITAL EFFECTS PROCESSOR.. 14 5. REAR PANEL CONNECTORS.. 14 6. INSTALLATION... 16 7. SPECIFICATIONS.. 18 Limited Warranty... 20 Legal Disclaimer.. 21
This manual is available in English, German, French, Spanish, Italian, Russian, Polish, Dutch, Finnish, Swedish, Danish, Portuguese, Greek, Japanese and Chinese. There may also be more current versions of this document. Download them by going to the appropriate product page at:

www.behringer.com

A50-00000-02999

ENGLISH

Important Safety Instructions
[6]Clean only with dry cloth. [7]Do not block any ventilation openings. Install in accordance
with the manufacturers instructions.

1. INTRODUCTION EN

XENYX Mic Preamp
The microphone channels feature high-end XENYX Mic Preamps that compare well with costly outboard preamps in terms of sound quality and dynamics and boast the following features: 130 dB dynamic range for an incredible amount of headroom A bandwidth ranging from below 10 Hz to over 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 you to use the greatly extended dynamic range of your 24-bit/192-kHz HD recorder to the full, thereby maintaining optimal audio quality
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 XENYX 1832FX: 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.
[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.
Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock. Use only high-quality commercially-available speaker cables with " TS plugs pre-installed. All other installation or modification should be performed only by qualified personnel.

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.

{15}Unplug this apparatus during lightning
storms or when unused for long periods of time.
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 fully down before you switch on the unit. Always be careful to set the appropriate volume.
{16}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.
1.1 General mixing console functions
A mixing console fulfils three main functions: 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 micro hone capsules are very delicate in their construcp tion, 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 XENYX 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.
To reduce the risk of fire or electric shock, do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects filled with liquids, such as vases, shall be placed on the apparatus.

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!
Fig. 2.1: Connectors and controls of mic/line inputs
MIC Each mono input channel offers a balanced microphone input via the XLR connector and also features switchable +48 V phantom power supply for condenser microphones. The XENYX preamps provide undistorted and noise-free gain as is typically known only from costly outboard preamps. 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 " jack. You can also connect unbalanced devices using mono jacks to these inputs. Please remember that you can use either the microphone input or the line input of a channel, but not both at the same time!

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 explanations about various music industry/audio technology terminology can be found on individual product pages as well as in the glossary. 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.

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 to15 dB. In the central position, the equalizer is off (flat). The circuitry of the British EQs is based on the technology used in the best-known top-of-the-line consoles and providing a warm sound without any unwanted side effects. The result are extremely musical equalizers which, unlike simple equalizers, cause no side effects such as phase shifting or bandwidth limitation, even with extreme gain settings of 15 dB.
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. If you are using the built-in effects processor, make sure that STEREO AUX RETURN 3 has nothing plugged into it (2442FX and 2222FX), 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. 1622FX and 1832FX: On these consoles, the above note refers to the STEREO AUX RETURN 2 jacks as these models do not have a dedicated effect output.
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 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 GAIN 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 2442FX 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).
Each stereo channel has two balanced line level inputs on jacks for left and right channels. Channels 9/10 and 11/12 on the 2442FX feature an additional XLR microphone jack with phantom power. If only the left jack (marked L) is used, the channel operates in mono. The stereo channels are designed to handle typical line level signals, and, depending on model, have a level switch (+4 dBu or -10 dBV) and/or a line GAIN control. Both jack inputs will also accept unbalanced connectors. LOW CUT and MIC GAIN These two control elements operate on the XLR connectors of the 2442FX, and are used to filter out frequencies below 75 Hz (LOW CUT) and to adjust microphone levels (MIC GAIN). LINE GAIN Use this control to adjust the line signal levels on channels 13-16 (2442FX only). LEVEL For level matching, the stereo inputs on the 1622FX, 1832FX and 2222FX have a LEVEL switch to select between +4dBu and -10dBV. At -10dBV (homerecording level), the input is more sensitive than at +4dBu (studio level).

All Models 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)
2.1.4 Routing switch, PAN, SOLO and channel fader
2.2.2 Equalizer stereo channels
The stereo channels contain a stereo EQ section. The cut-off frequencies of the high and low bands are 12 kHz and 80 Hz respectively, while the center frequencies of the high-mid and low-mid bands are 3 kHz and 500 Hz respectively. The HIGH and LOW controls have the same characteristics as the EQ in the mono channels. Both mid range bands are of the peak filter type. A stereo EQ is superior to two mono EQs on a stereo signal as two separate EQs will usually result in a discrepancy between left and right channels.

2.2 Stereo channels

2.2.1 Channel inputs
XENYX1622FX XENYX2442FX Fig. 2.3: Aux Send control MON and FX in the channel strips
2.2.3 Aux sends stereo channels
In principle, the aux sends of the stereo channels function the same way as those of the mono channels. As the aux sends are mono, the send from a stereo channel is first summed to mono before it reaches the aux bus.
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 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

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.

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.

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).

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).
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 loud-speakers 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.

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.
strain relief clamp sleeve tip
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.
Strain relief clamp Sleeve Tip
strain relief clamp sleeve ring tip

sleeve ground/shield

sleeve pole 1/ground

Sleeve (ground/shield)

ring return (in) tip send (out)
Connect the insert send with the input and the insert return with the output of the effects device.

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.

tip pole 2

The footswitch connects both poles momentarily

Tip (signal)

Insert send return 1/ TRS connector 4" Fig. 6.5: Insert send/return stereo plug
strain relief clamp sleeve
Unbalanced " TS connector Fig. 6.3: 1/4 mono plug
1/ TS footswitch connector 4" Fig. 6.1: Foot switch connector

ring tip

6.2.1 Audio connections
Please use commercial RCA cables to wire the 2-track 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).

Fuse Mains connection

Limited Warranty

1 Warranty

[1] This limited warranty is valid only if you purchased the product from a BEHRINGER [2] This limited warranty does not cover the product if it has been electronically or
authorized dealer in the country of purchase. A list of authorized dealers can be found on BEHRINGERs website www.behringer.com under Where to Buy, or you can contact the BEHRINGER oce closest to you.
[2] BEHRINGER* warrants the mechanical and electronic components of this product
to be free of defects in material and workmanship if used under normal operating conditions for a period of one (1) year from the original date of purchase (see the Limited Warranty terms in 4 below), unless a longer minimum warranty period is mandated by applicable local laws. If the product shows any defects within the specied warranty period and that defect is not excluded under 4, BEHRINGER shall, at its discretion, either replace or repair the product using suitable new or reconditioned product or parts. In case BEHRINGER decides to replace the entire product, this limited warranty shall apply to the replacement product for the remaining initial warranty period, i.e., one (1) year (or otherwise applicable minimum warranty period) from the date of purchase of the original product.
[3] Upon validation of the warranty claim, the repaired or replacement product will
mechanically modied in any way. If the product needs to be modied or adapted in order to comply with applicable technical or safety standards on a national or local level, in any country which is not the country for which the product was originally developed and manufactured, this modication/adaptation shall not be considered a defect in materials or workmanship. This limited warranty does not cover any such modication/adaptation, regardless of whether it was carried out properly or not. Under the terms of this limited warranty, BEHRINGER shall not be held responsible for any cost resulting from such a modication/adaptation.
[3] This limited warranty covers only the product hardware. It does not cover

Legal Disclaimer

6 Claim for damage
Subject only to the operation of mandatory applicable local laws, BEHRINGER shall have no liability to the buyer under this warranty for any consequential or indirect loss or damage of any kind. In no event shall the liability of BEHRINGER under this limited warranty exceed the invoiced value of the product.
Technical specifications and appearance are subject to change without notice. The information contained herein is correct at the time of printing. BEHRINGER accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. Colors and specifications may vary slightly from product. BEHRINGER products are sold through authorized dealers only. Distributors and dealers are not agents of BEHRINGER and have absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation. This manual is copyrighted. No part of this manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of Red Chip Company Ltd. ALL RIGHTS RESERVED. 2009 Red Chip Company Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands