MX802A

Users Manual

Version 1.1 January 2001

EURORACK

www.behringer.com

ENGLISH

EURORACK MX802A

SAFETY INSTRUCTIONS

CAUTION: To reduce the risk of electric shock, do not remove the cover (or back). No user serviceable parts inside; refer servicing to qualified personnel.
WARNING: To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture. This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient to constitute a risk of shock. This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Read the manual.
DETAILED SAFETY INSTRUCTIONS: All the safety and operation instructions should be read before the appliance is operated. Retain Instructions: The safety and operating instructions should be retained for future reference. Heed Warnings: All warnings on the appliance and in the operating instructions should be adhered to. Follow instructions: All operation and user instructions should be followed. Water and Moisture: The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, or near a swimming pool etc.). Ventilation: The appliance should be situated so that its location or position does not interfere with its proper ventilation. For example, the appliance should not be situated on a bed, sofa rug, or similar surface that may block the ventilation openings, or placed in a built-in installation, such as a bookcase or cabinet that may impede the flow of air through the ventilation openings. Heat: The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliance (including amplifiers) that produce heat. Power Source: The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on the appliance. Grounding or Polarization: Precautions should be taken so that the grounding or polarization means of an appliance is not defeated. Power-Cord Protection: Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point where they exit from the appliance. Cleaning: The appliance should be cleaned only as recommended by the manufacturer. Non-use Periods: The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time. Object and Liquid Entry: Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. Damage Requiring Service: The appliance should be serviced by qualified service personnel when: - The power supply cord or the plug has been damaged; or - Objects have fallen, or liquid has been spilled into the appliance; or - The appliance has been exposed to rain; or - The appliance does not appear to operate normally or exhibits a marked change in performance; or - The appliance has been dropped, or the enclosure damaged. Servicing: The user should not attempt to service the appliance beyond that is described in the Operating Instructions. All other servicing should be referred to qualified service personnel.

FOREWORD

Dear Customer, Welcome to the team of EURORACK users and thank you very much for expressing your confidence in BEHRINGER products by purchasing this unit. It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of hard work delivered by our engineering team to reach a very ambitious goal: To produce a compact mixer, which fully satisfies your and our expectations and delivers a superior sound quality, easy operation and technical specifications. In addition to that the mixer is affordable for almost every musician. The task to design the EURORACK MX1604A certainly meant a great deal of responsibility, which we assumed by focusing on you, the discerning user and musician. It also meant a lot of work and night shifts to accomplish this goal. But it was fun, too. Developing a product usually brings a lot of people together, and what a great feeling it is when everybody who participated in such a project can be proud of what weve achieved. It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER family. With your highly competent suggestions for new products youve greatly contributed to shaping our company and making it successful. In return, we guarantee you uncompromising quality (manufactured under the ISO9000 certified management system) as well as excellent technical and audio properties at an extremely favorable price. All of this will enable you to fully unfold your creativity without being hampered by budget constraints. We are often asked how we can make it to produce such high-grade devices at such unbelievably low prices. The answer is quite simple: its you, our customers! Many satisfied customers means large sales volumes enabling us to get better conditions of purchase for components, etc. Isnt it only fair to pass this benefit back to you? Because we know that your success is our success, too! I would like to thank all people whose help on Project EURORACK MX802A has made it all possible. Everybody has made very personal contributions, starting from the designers of the unit via the many staff members in my company to you, the user of BEHRINGER products. My friends, its been worth the effort! Thank you very much,

Uli Behringer

Ultra-low noise 8-Channel Mic/Line Mixer
4 mono input channels with gold plated XLRs and balanced line inputs Ultra-low noise discrete mic preamps with +48 V phantom power 2 stereo input channels with balanced TRS jacks 2 additional multifunctional stereo line inputs Extremely high headroom offering more dynamic range
MX802A MX802A MX802A MX802A MX802A
Balanced inputs for highest signal integrity
Ultra-musical 3-band EQ on all channels
Peak LEDs and switchable low-cut filter on all mono channels
2 aux sends per channel for external effects and monitoring
Separate main mix, control room and headphone outputs
2-Track inputs assignable to main mix, control room / headphone outputs
Highly accurate 12 segment bargraph meters
High-quality sealed potentiometers
Rugged design power supply ensures superior signal integrity
State-of-the-art 4580 ICs and high quality components ensure crystal-clear audio performance and excellent noise figures
Rugged construction ensures long life even under the most demanding conditions
Manufactured under ISO9000 certified management system

TABLE OF CONTENTS

1. INTRODUCTION.... 6
1.1 Architecture.... 1.2 Before you begin..... 1.2.1 PSU (power supply unit)... 1.2.2 Warranty.... 1.2.3 Packing..... 7
2. MONO INPUT CHANNEL... 7
2.1 2.2 2.3 2.4 Input level setting.... Equalizer..... Aux sends.... Fading and panning.... 7 8
3. STEREO INPUT CHANNEL.... 8
3.1 3.2 3.3 3.4 Input level setting.... Equalizer..... Aux sends.... Volume control and panning/balancing.... 8 8

4. MAIN SECTION.... 8

4.1 4.2 4.3 4.4 4.5 Aux sends.... Stereo aux returns..... Metering..... 2-track input / main mix output.... Monitoring..... 9

5. SETTING UP.... 10

5.1 5.2 5.3 5.4 5.5 5.6 Desk normalization.... 10 Selecting inputs.... 10 Initializing channels for gain setting.... 10 Auditioning a signal and setting up a channel... 11 Recording levels..... 11 Modification.... 11
6. CONNECTIONS.... 12 7. APPENDIX..... 13
7.1 Specifications..... 13

7. APPENDIX..... 14

7.1 Front & back views.... 14 7.2 Block diagram.... 15 7.3 Specifications..... 16

8. WARRANTY..... 17

1. INTRODUCTION
Congratulations. In purchasing our EURORACK MX802A you have acquired a mixer whose small size belies its incredible versatility and superlative audio performance. Your EURORACK is built to the same outstanding quality as our top-of-the range console, the BEHRINGER EURODESK MX9000. We recommend that you experiment with your EURORACK away from the pressures of a recording session or live concert, in order to get a feel for it. It is a musical instrument. Learn to play it well. Next to the specifications in the appendix you will find pages with drawings showing the front and rear panels of your EURORACK. Keep them turned over, lying to the left of the text pages, while studying the manual. All functions are numbered consistently throughout the manual, whether in the text or on an illustration.

1.1 Architecture

Mono input channels Channels 1 - 4 are mono, with a choice of balanced mic or l ine inputs. The vintage-style high-current discrete mic amps are of the same incredible quality as those found on the acclaimed BEHRINGER EURODESK MX9000, while a large external power supply ensures low noise and superior transient response at all times. Stereo input channels A further 4 line inputs are configured as 2 stereo input channels. These are ideal for accepting outputs from MIDI and other electronic instruments. Channel outputs A high-quality rotary potentiometer feeds the main mix via a constant-power channel pan potentiometer. Aux Send There are two aux send busses on the MX802A, aux 1 is pre-fader, aux 2 is post-fader (the channels volume control). Stereo line inputs There are two line-level stereo aux returns at the top of the output section. They can be used to return stereo effects or MIDI instruments etc. In addition, a stereo tape input is provided, which may be routed to the main mix or the control room mix, giving the MX802A a total of 14 possible inputs during mixing. Channels 1 - 4 on the MX802A have overload LEDs, while the main mix output has 12-segment bargraph meters.

1.2 Before you begin

1.2.1 PSU (power supply unit) Any amplifier circuit is limited in its transient response by the available current. Every mixer has numerous line level operational amplifiers (op-amps) inside. When being driven hard, many desks begin to show signs of stress due to power supply limitations. Not so with the EURORACK. The sound will always stay clean and crisp right up to the operating limits of the op-amps themselves, thanks to the generous 20 W external power supply unit. Connect only the provided BEHRINGER power supply unit to the MX802A. Do not connect the PSU to the EURORACK while the PSU is connected to the mains supply. The correct starting sequence is: connect mixer and PSU and then connect the PSU to the mains. Be sure that there is enough space around the unit for cooling and please do not place the MX802A on high temperature devices such as power amplifiers etc. to avoid overheating. When switched on, parts of the desk and the power supply unit will become warm, this is normal during operation.

EURORACK MX802A 1.2.2 Warranty Please take the time to fill out and return the warranty card within 14 days from the date of purchase, so as to be entitled to benefit from our extended warranty. Or use our online registration option available on the Internet at www.behringer.com. 1.2.3 Packing Your BEHRINGER MX802A was carefully packed in the factory and the packaging was designed to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred in 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. Shipping claims must be made by the consignee.

2. MONO INPUT CHANNEL

Each mono channel comes with an XLR mic input and a balanced line input on 1/4" jack. Phantom powering is switchable from the back panel. The gain circuit has a wide range from +10 dB to +60 dB, obviating the need for mic/line switching. The crucial operating input levels +4 dBu and -10 dBV are clearly and accurately marked.

2.1 Input level setting

Mic channel input level is determined by the GAIN control. In addition to main mix metering, a channel PEAK LED illuminates when a channel is going into overload. These LEDs take their cue from post-EQ. This level sampling is particularly useful when using extreme EQ settings. There is no SOLO or PFL function on the MX802A. To accurately set input follow the procedures given in section 5: SETTING UP. However, if the PEAK LED does not light the input gain cannot be too high. If a reasonable input level is selected, auditioning a single signal should result in a reading of around 0 dB on the main mix meters , provided that both channel and output level controls are set to unity gain (0 dB).

2.2 Equalizer

All mono input channels are fitted with three-band EQ, plus a switchable low cut filter for eliminating unwanted subsonics. The upper and lower shelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively. The Mid Range control has a peaking response, with Q fixed at 2 octaves, frequency at 2.5 kHz. All three bands have up to 15 dB of cut and boost, with a centre detent for off. The low cut filter , slope at 18 dB/oct., -3 dB at 75 Hz, is ideally suited for reducing floor rumble, breathing noises and popping, woolly bottom end etc. The combination of shelf boost at 80 Hz together with low cut at 75 Hz results in a peaking response, useful for adding warmth to vocals and instruments, and a firm bottom to kick drums and basses, without losing control of low frequency speaker cones.

2.3 Aux sends

Both aux sends are mono and post-EQ. Aux send 1 is set pre-fader, while aux send 2 is post-fader. For almost all FX send purposes, you will want aux sends to be post-fader, so that when a fader level is adjusted, any reverb send from that channel follows the fader. Otherwise, when the fader is pulled down, the reverb from that channel would still be audible. For cueing purposes, Aux Sends will usually be set pre-fader, i.e. independent of the channel fader.

2.4 Fading and panning

Level to the main mix bus is ultimately determined by the channel volume control. Channel pan positions the output of the channel in the stereo field. Its constant-power design ensures there are no level discrepancies whether a signal is hard-panned, centre-stage or somewhere inbetween. Such pinpoint accuracy will be a revelation if you have been working on consoles with lower quality circuits.

3. STEREO INPUT CHANNEL

Each stereo channel comes with two balanced line level inputs on 1/4" TRS jacks signals. When only the left input is connected, the channel operates in mono. , for left and right

3.1 Input level setting

The stereo inputs are designed for any line level signal. Most line level sources such as MIDI instruments and FX units will have their own output level control. Those that dont, like CD players, all have an output level within the scope of the MX802A. When the channel and master fader are set to unity gain the meters should read between -4 and +7 dB. Remember that there is 15 dB gain on both the channel as well as master fader.

3.2 Equalizer

There are no low cut filters on stereo channels, otherwise the EQ is in principle identical to that on mono channels (see 2.2), except that the EQ is stereo, of course! A stereo equalizer is generally preferable to using two mono equalizers when EQ-ing a stereo signal, as often discrepancies between left and right settings can occur.

3.3 Aux sends

It is the same as for mono channels (see 2.3). Note that a mono sum is taken from the stereo input.
3.4 Volume control and panning/balancing
The only difference here to the mono channel described in 2.4 is in the implementation of the balance control. When a channel is run in stereo, this control determines the relative balance of the left and right channel signals being sent to the left and right main mix buses. For example, with the balance control turned fully clockwise, only the right portion of the channel's stereo signal will be added to the main mix. If a stereo channel is run in mono (only the left input connected), the balance control acts as a pan in the normal way.

4. MAIN SECTION

4.1 Aux sends
Aux sends are provided on unbalanced 6.3 mm jacks. Please adjust the input level control of your effects unit to match the output level of your EURORACK. This can be done when typical signals are run through the MX802A and the aux sends are set to center (0 dB). If your effects unit does not have an input gain and the effects levels seems too low, remember that every channel aux send has up to 15 dB gain, which should be more than enough to drive any effects unit.

4.2 Stereo aux returns

There are two additional stereo line inputs (aux returns 1 and 2) on your MX802A. Their level can be adjusted with and. Aux returns 1 is permanently assigned to the main mix. If you connect a jack only to the left socket, the aux return 1 operates in mono. Aux return 2 can be switched between the main mix and the cue feed (aux send 1) via a switch marked FX TO AUX 1. This enables you to provide a wet cue mix (signal with effect i.e. reverb) for the headphones or foldback speakers. If no connection is made to aux return 2, the signal is normalled (connected directly) to aux return 1. Depressing FX TO AUX 1 will then feed the signal from aux return 1 into the cue feed (aux send 1) and can be controlled in level independently with aux return 2. This feature is primarily useful when you are using one effect for the main mix and for the foldback speakers. When using aux send 1 as a second (pre-fader) effects send and aux return 2 as the effect input, do not engage FX TO AUX 1. The connection from aux return 2 to aux send 1 could cause feedback. There are exceptions. For instance, when you want to send one effect into another, e.g. delay into chorus etc. Sometimes an engineer wants to narrow the stereo width of a reverb field. To do this you will have to come back on two mono channels to get independent panorama for the left and right signals.

4.3 Metering

Main mix level is displayed on a pair of accurate 12-segment bargraph peak meters indicate Power on and +48 V DC phantom power present. Two further LEDs
The main mix bargraph meters should average around 0 dB during loud passages. If they read persistently higher, or are peaking above +10 dB (top segment of the display) reduce either the main mix volume and/or the channel volume, or (as a last resort) channel input gain or instrument / FX unit output level.

4.4 2-track input / main mix output
Input A 2-track input, on RCA phono jacks , provides easy connection to DAT and other professional and semiprofessional audio equipment. The 2-track input is primarily for auditioning mix playback from tape. Switch 2TK TO CTRL ROOM routes this signal to the studio monitors. However, it can also be routed to the main mix via switch 2TK TO MIX. Here should be disengaged, or you will be listening to the 2-track signal twice over! With depressed you have another stereo line input available to the mix. The 2-track input could be normalled to the output of a HiFi preamp, allowing you to monitor extra sources such as vinyl, cassette, CD etc. Output deliver the main mix output to your 2-track recorder (or A single pair of electronically balanced TRS jacks PA system). RCA phono jack outputs are also provided for easy connection to DAT, cassette desk etc. Level is ultimately determined by a precision main mix volume control.

4.5 Monitoring

The MX802A has a separate headphone output. The phones signal follows the control room output A single volume control sends the level to the headphones and main monitors. The L/R meters follow the main mix.

5. SETTING UP

Experience tells us that the cables in a studio environment get tangled very quickly (inviting mistakes). A patchfield will facilitate patching and repatching considerably. The BEHRINGER ULTRAPATCH PRO PX2000 makes patching easier and trouble free, increasing both ergonomics and productivity.

5.1 Desk normalization

All board settings should be set to the normal default condition before or after every session. Usually volumes are set to zero (minus infinity), EQs set flat, and Aux Sends turned fully counter-clockwise etc.

5.2 Selecting inputs

1) Mono channels accept mic or line inputs. If you are using the mic input, make sure nothing is connected to the line input (and vice-versa). The mic inputs are more sensitive than the line inputs. Do not connect mics with phantom power switched on. Never use unbalanced mic cables with the phantom power switched on ever! Shorting the +48 V to earth can cause serious damage. 2) Stereo channels accept any line level signals. Any stereo channel can be run in mono simply by connecting into the left jack socket only. These channels are suitable for a variety of line-level sources including MIDI instruments and tape returns from multitrack. 3) Stereo aux returns are primarily designed for returning effects units, though these too may be given over to tape returns or MIDI instrument outputs.

Fig. 5.1: Setup example

5.3 Initializing channels for gain setting

1) Set Gain to minimum and all aux sends to off (fully counter-clockwise). 2) Set EQ to flat (all knobs at 12 o'clock). 3) Set the output level to unity gain ( set to 0).
5.4 Auditioning a signal and setting up a channel
1) Where applicable, engage the low cut switch frequency content. 2) Turn up channel volume to unity gain ( counter-clockwise (minus infinity). for most mics, except for signals with desired very low
to 0). All other channel volume controls should be set fully
3) Generate a signal, i.e. a voice through a microphone. There should now be some activity at the bargraph meters. 4) For mic channels: Adjust the gain control signals should not exceed 0 dB. until transient peaks are regularly hitting +6 dB. Continuous
5) For stereo channels and other stereo line inputs, use the output volume of the source instrument or FX unit to effect gain adjustment until transient peaks are regularly hitting +6 dB. Continuous signals should not exceed 0 dB. 6) Altering EQ will affect a channels gain. If EQ is adjusted at any time, repeat steps 4 or 5. 7) Turn the channels volume control fully counter-clockwise. Move onto next channel and repeat steps 1 thru 7. 8) Once all channel inputs have been set for level, turn all active channel level controls back to 0 dB. You are now ready to start mixing.

5.5 Recording levels

When recording to digital, its a good idea to keep the recorders peak meters below 0 dB. Most (not all, esp. samplers) read 0 dB with some headroom left. This is because, unlike with analog, the onset of digital distortion is as sudden as it is horrible. If you really want to take your recording level to the limit (and fully exploit 16bit digitals 96 dB dynamic range for example), youll have to do some calibrating. How to do it? Well, you could run a tone at 0 dB from the mixer and use that as your DAT or ADAT reference. But your DAT or ADAT may be way under its maximum input limit. Probably a better way to work out just how hard you can drive your recorder is to incrementally increase the record level until the onset of digital distortion, subtract, say, 5 or 10 dB, and never exceed that level. Engage peak hold on your recorder before recording if you want to confirm that you havent. Peak meters read more-or-less independent of frequency. Aim for 0 dB recording level for all signals.

5.6 Modification

The following modifications require you to do some soldering. Attempt only if you are experienced in using an iron on PCBs. Otherwise, refer to qualified personnel. After modification the BEHRINGER warranty becomes discretionary. Links should not be threaded into holes on the PCB. They should be soldered to the tinned areas around the holes, and bowed slightly upwards in between. Mono channel aux send 2 > pre-fader All mono channel aux sends 2 are post-fader. If you want to convert them, carry out the modification described below to each mono channel you want to be altered. The right PCB area is indicated by a yellow printing (see figures below). 1) 2) 3) Switch desk off and disconnect it from the mains supply! Cut the post track. Add in a pre link.

Repeat for all mono channels you want to be modified.

6. CONNECTIONS

Modification on Mono Channels AUX PRE AUX PRE
Add a pre link Cut the post track

JPn POST POST

Before
You will need a lot of cables for different purposes see the following figures to make sure you have got the right ones. Unbalanced equipment may be connected to balanced inputs/outputs. Either use mono 1/4" jacks or connect ring and sleeve of TRS jacks.
Fig. 6.1: Headphone connection

Output

Ground

Pin 2 = (+) Signal

Shield (+) Signal + Hum (-) Signal + Hum

Positive (+)Hum + Signal

Negative (-)Hum + Signal 2 x Signal

Pin 3 = (-) Signal

RFI and Hum

= Signal + 6 dB

Fig. 6.2: Compensation of interference with balanced connections 12 6. CONNECTIONS
EURORACK MX802A Phantom power (+48 V DC) is provided. This can be switched on or off by the +48 V phantom switch.
Care should be taken NOT to plug mics into the console (or stagebox) while the phantom power is on. Also, mute the monitor/PA speakers when turning phantom power on or off. Allow the system to adjust for a couple of seconds after engaging phantom power before setting input gains. If possible, connect the unit to other devices in a balanced configuration to allow for maximum interference immunity.
Unbalanced use of mono 1/4" jack plugs

Tip = Signal

Balanced use of stereo 1/4" jack plugs
Tip = hot (+ve) Ring = cold (-ve)

Sleeve = Ground / Shield

Tip Sleeve Strain relief clamp

Ring Sleeve

Strain relief clamp For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.
Balanced use with XLR connectors
1 = Ground / Shield 2 = hot (+ve) 3 = cold (-ve)
Input For unbalanced use pin 1 and pin 3 have to be bridged
Fig. 6.3: Different plug types

7. APPENDIX

7.1 Front & back views

7.2 Block diagram

7.3 Specifications
Mono inputs Mic input Bandwidth Distortion (THD&N) Mic E.I.N. (22 Hz - 22 kHz) electronically balanced, discrete input configuration 10 Hz to 60 kHz, +/- 3 dB 0.007% at +4 dBu, 1 kHz, bandwidth 80 kHz -129.5 dBu, 150 Ohm source -117.3 dBqp, 150 Ohm source -132.0 dBu, input shorted -122.0 dBqp, input shorted +10 dB to +60 dB electronically balanced 10 Hz to 60 kHz, +/- 3 dB 0.007% at +4 dBu, 1 kHz, bandwidth 80 kHz +10 dBu to -40 dBu 12 kHz, +/- 15 dB 2.5 kHz, +/- 15 dB 80 Hz, +/- 15 dB unbalanced 10 Hz to 55 kHz, +/- 3 dB 0.007% at +4 dBu, 1 kHz, bandwidth 80 kHz 12 kHz, +/- 15 dB 2.5 kHz, +/- 15 dB 80 Hz, +/- 15 dB +22 dBu balanced +22 dBu unbalanced +22 dBu unbalanced 112 dB, all channels at unity gain USA/Canada U.K./Australia Europe Japan 115 V ~, 60 Hz, power supply unit MXULV ~, 50 Hz, power supply unit MXUKV ~, 50 Hz, power supply unit MXEUV ~, 60 Hz, power supply unit MXJP2

Gain range Line input Bandwidth Distortion (THD&N) Line level range Equalization Hi shelving Mid range Lo shelving Stereo inputs Line input Bandwidth Distortion (THD&N) Equalization Hi shelving Mid range Lo shelving Main mix section Max output Aux send max out Control room out Signal-to-noise ratio Power supply Mains voltages
Physical (H * W * D) Net weight Gross weight
1 1/2" (37 mm) * 8 4/5" (225 mm) * 10 3/5" / 11" (270 / 280 mm) 2.4 kg (PSU not included) 3.9 kg
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or shown.

8. WARRANTY

1 WARRANTY CARD/ONLINE REGISTRATION To be protected by the extended warranty, the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH, in accordance with the conditions stipulated in 3. Failure to return the card in due time (date as per postmark) will void any extended warranty claims. Based on the conditions herein, the buyer may also choose to use the online registration option via the Internet (www.behringer.com or www.behringer.de). 2 WARRANTY 1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH including all BEHRINGER subsidiaries listed on the enclosed page, except BEHRINGER Japan) warrants the mechanical and electronic components of this product to be free of defects in material and workmanship for a period of one (1) year from the original date of purchase, in accordance with the warranty regulations described below. If the product shows any defects within the specified warranty period that are not due to normal wear and tear and/or improper handling by the user, BEHRINGER shall, at its sole discretion, either repair or replace the product. 2. If the warranty claim proves to be justified, the product will be returned to the user freight prepaid. 3. Warranty claims other than those indicated above are expressly excluded. 3 RETURN AUTHORIZATION NUMBER 1. To obtain warranty service, the buyer (or his authorized dealer) must call BEHRINGER (see enclosed list) during normal business hours BEFORE returning the product. All inquiries must be accompanied by a description of the problem. BEHRINGER will then issue a return authorization number. 2. Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by BEHRINGER. 3. Shipments without freight prepaid will not be accepted. 4 WARRANTY REGULATIONS 1. Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealers invoice. Any product deemed eligible for repair or replacement by BEHRINGER under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER. 2. If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level, in any country which is not the country for which the product was originally developed and manufactured, this modification/adaptation shall not be considered a defect in materials or workmanship. The warranty does not cover any such modification/adaptation, irrespective of whether it was carried out properly or not. Under the terms of this warranty, BEHRINGER shall not be held responsible for any cost resulting from such a modification/adaptation. 3. Free inspections and maintenance/repair work are expressly excluded from this warranty, in particular, if caused by improper handling of the product by the user. This also applies to defects caused by normal wear and tear, in particular, of faders, potentiometers, keys/buttons and similar parts. 4. Damages/defects caused by the following conditions are not covered by this warranty: misuse, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals. connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used. damages/defects caused by force majeure or any other condition that is beyond the control of BEHRINGER. 5. Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the warranty. 6. If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty, the inspection costs are payable by the customer. 7. Products which do not meet the terms of this warranty will be repaired exclusively at the buyers expense. BEHRINGER will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notification, BEHRINGER will return the unit C.O.D. with a separate invoice for freight and packing. Such costs will also be invoiced separately when the buyer has sent in a written repair order. 5 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer (customer of retail dealer) and is not transferable to anyone who may subsequently purchase this product. No other person (retail dealer, etc.) shall be entitled to give any warranty promise on behalf of BEHRINGER. 6 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim (consequential) damages. In no event shall the liability of BEHRINGER exceed the invoiced value of the product. 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1. This warranty does not exclude or limit the buyers statutory rights provided by national law, in particular, any such rights against the seller that arise from a legally effective purchase contract. 2. The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law.

The information contained in this manual is subject to change without notice. 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, EURORACK and EURODESK are registered trademarks. ALL RIGHTS RESERVED. 2001 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +49 (0) / 92 06-0, Fax +49 (0) / 92 06-30

Product Review

Behringer Eurorack Mixers

Reviewed by Gary Galo

Behringer Eurorack MX802A and MX2004A Mixers. Behringer USA, 144 Railroad Ave., Suite 210, Edmonds, WA 98020, 425-672-0816, FAX 425-673-7647, e-mail: sales@behringer.com, www. behringer.de/eng/. MX802A: $179; MX2004A: $379. Warranty: One year parts and labor.
Behringer International GmbH is probably unfamiliar to most readers. Based in Germany, Behringer specializes in affordable professional audio equipment, including digital effects processors, loudspeakers, microphones, compressors, and limiters. They also manufacture a line of vacuum-tube audio accessories, including a mike and line preamp, a parametric equalizer, and an eight-channel tube interface, which allows you to add a user-controlled amount of tube sound to the signal path. They have rapidly become bestknown for their Eurorack line of mixing consoles. Behringer has clearly targeted the Eurorack series to directly compete with the VLZ-series from Mackie Designs, an American proaudio manufacturer based in the state of Washington. The Eurorack mixers are designed in Germany but manufactured in China. Behringer products were originally distributed in the US by Samson Technologies, a New Yorkbased company. About a year ago, Behringer set up their own US distribution in Edmonds, Wash., in the backyard of their principal American competitor. channels, 1 through 4, are mono, and will accept both balanced mike (XLR) and line ( phone) inputs. Standard +48V phantom powering is available at each microphone input. The line inputs will accept balanced (tip-ringsleeve) or unbalanced (tip-sleeve) inputs. Each mono input has a gain trimpot, a switchable 75Hz, 18dB/octave low-cut (i.e., high-pass) filter, a three-band equalizer, two auxiliary sends (pre- and postfader), a pan control, and a level control. To PHOTO 1: Behringer MX802A mixer. The compact design make the mixer as com- still offers a wide array of features and excellent perforpact as possible, all mance. All audio input and output connectors are on the level controls are rotary mixer top plate, as shown. pots, rather than slidertype faders. A peak light is included in each pair controlled by a separate pot. each of the mono input channels to The main left and right outputs of the monitor mike preamp overload. MX802A are balanced, and controlled The stereo inputs are line-level only, by the stereo main mix level pot. A sepand arranged in left-right pairs, chan- arate pair of control-room outputs are nels 56 and 78. Each stereo input ac- unbalanced, with level controlled by cepts two mono phone plugs, bal- the same pot used to control the volanced or unbalanced. Input level for ume at the stereo headphone jack. each stereo pair is controlled by one The MX802A also includes RCA tapepot, with a pan pot functioning as a left- out and tape-in jacks. The tape outputs right balance control. are in parallel with the positive legs of A bit of logic has been built into the the main left and right outputs. You can stereo inputs. If you connect a mono switch the tape inputs to the main mix, input signal to the left input, it is also or to the control-room monitor. Left and routed to the right. In other words, if right output metering is accomplished you connect an input to channel 5 only, with two rows of 12 LEDs. Green LEDs this input is also routed to channel 6. indicate levels of 20 to 6dB, yellow for The three-band equalizers and two aux- +2 to +10dB, and red for clipping. iliary sends are also included on the MX2004A stereo inputs. The two auxiliary send buses feed The MX2004A is similar in conception unbalanced outputs. Two pairs of left to the MX802A, but with more inputs and right balanced auxiliary returns and greater flexibility. The MX2004A is are included, with the return level of billed as a 20-channel mixer, and if you

MX802A

There are seven mixers in the Eurorack line, ranging from six to 32 inputs. In terms of complexity, the two models reviewed here represent the middle and lower end of the product line. The compact MX802A is billed as an eight-input, stereo out mixer (Photo 1). Four input

audioXpress July 2001 79

tween the input preamplifier and the equalizer circuitry. You can switch the MX2004As main balanced XLR outputs for line or mike level. A resistive attenuator is switched in to drop the output to mike level, if selected. A second set of unbalanced main outputs operate at line-level only. The Alt 3 and 4 output pair are unbalanced and linelevel. The auxiliary send PHOTO 2: Behringer MX2004A mixer. Up to 20 inputs, and conand return connecsiderable flexibility are offered in this fine performer. The logations, tape in and rithmic input and output faders feature a 60mm travel. out, and the control include the two pairs of stereo auxiliary room outputs are configured like the returns, it indeed is. Eight mono input MX802A. The output control section of channels feature XLR balanced mike the MX2004A features separate left and and phone balanced line inputs. right output faders, plus a stereo Switchable +48V phantom powering is ganged fader for the Alt 3 and 4 outavailable on all eight mike inputs. puts. Control of the auxiliary sends and Input gain trimpots and an 18dB/octave returns is, again, like the MX802A, with low-cut filter are included, just like the one important difference: you can route MX802A. The four unbalanced stereo the Auxiliary 2 signal either to the main input channels are line-level only. All mix or to the cue feed. The MX2004A input level controls are logarithmic uses 13 rectangular LEDs per channel slider-type faders, with 60mm travel. for output level indication, with the The three-band input channel equal- same color scheme as the MX802A. izers are enhanced to include a center frequency adjustment on the mid con- CIRCUITRY trol1kHz to 5kHz. Auxiliary send #2 is Behringer does not include a schewired post fader, but #1 is switchable, matic diagram with its products, only pre or post. A solo button on each input a block diagram. Specific circuit dechannel allows that input to preempt tails are not possible, but you can all others at the monitored output, make a few observations. Both the though these buttons never affect the MX802A and MX2004A mixers come with outboard power transformers. main outputs. A red solo light in the metering These are not wall-warts! The transpanel gives a visual indication that one formers have both primary (120V AC) of the solo buttons has been engaged. and secondary cords, which allows for Each input channel also has a mute more flexible placement. Six-foot cabutton, which also routes the input sig- bles on the outputs of the supplies ennal to the Alt 3 and 4 outputs. On the sure that the transformer hum field is stereo inputs, the pan control functions kept far away from the mixer circuitas a left-right balance control, like the ry. The DC power connector is a screw-on, three-pin type, similar to the MX802A. Each input channel is equipped with mike connectors used on CB and unbalanced channel inserts, for connec- other communications equipment. tion of outboard effects devices. Electri- Standard three-terminal IC regulators cally, these insert points are located be- are in the mixer chassis.

Behringer prides itself on the extremely quiet performance of its mixers. Their ultra-low noise microphone preamps feature discrete input stages with matched, high-current transistors. All mixers in the Eurorack line incorporate the same mike preamp circuitry as their flagship Eurodesk 9000, which retails for $2600. In addition to their low noise levels, these mike preamps have an ultra-wide bandwidth of 100kHz. Behringer engineers have also been especially careful in their selection of the IC op amp. The NJR NJM4580 is used throughout the Eurorack series. The 4580 was designed for low noise and low audio distortion. This dual op amp features a slew rate of 5V/s, a gain bandwidth product of 15kHz, and harmonic distortion of 0.0005%. Input voltage noise is specified at 0.8V RMS. The 4580 is the highest-performance dual op amp Ive seen in an affordable mixer.

PERFORMANCE

Tables 1 and 2 list the manufacturers specifications for the MX802A and MX2004A mixers. I was able to verify the Behringer claims for these mixers. I did note a slight peculiarity in the
TABLE 1 MANUFACTURERS SPECIFICATIONSMX802A
MONO INPUTS Mike input: Electrically balanced, discrete input configuration Bandwidth: 10Hz60kHz 3dB THD+N: 0.007% at +4dBu, 1kHz Mike E.I.N. (22Hz22kHz): 129.5dBu, 150 source 130dBu, input shorted Gain range: +10dB to +60dB (mike); +10dBu to 40dBu (line) Equalization: 12kHz 15dB 2.5kHz 15dB 80Hz 15dB STEREO INPUTS Bandwidth: 10Hz55kHz 3dB THD+N: 0.007% at 4dBu, 1kHz Equalization: Same as mono inputs MAIN MIX SECTION Maximum output: +22dBu balanced Auxiliary send maximum output: +22dBm unbalanced Control-room output: +22dBm unbalanced Signal-to-noise ratio: 112dB, all channels at unity gain PHYSICAL Dimensions: 20/25mm 160mm 210mm Net weight: 3.0kG (power supply not included) Gross weight: 4.6kG

80 audioXpress 7/01

www.audioXpress.com
THD+N measurements for both mixers. Below an output level of 0dB (reference to the metering on both mixers), the distortion is dominated entirely by noise. Beginning at an output level around 0dB, a slight nonlinearity shows up in the distortion waveform. This nonlinearity looks like a very slight power-supply instability. The THD+N still remains within the manufacturers claim, however. I have had an opportunity to use both mixers in recording and sound reinforcement applications at The Crane School of Music, SUNY at Potsdam, and have been extremely pleased with their performance. I normally used a high-end, two-channel microphone mixer for my live concert recordinga Sontec MB-1 that retailed for about $1000 when we purchased it about ten years ago. I certainly cant say that the Behringers are the sonic equal of my thousand-dollar stereo mike preamp, but I am amazed at just how good they really are.

PHOTO 3: Behringer MX2004A rear panel. The XLR main outputs can be switched from line to mike level. Channel inserts for the eight mono inputs, main outputs, and the Alt 3 and 4 outputs are on the rear panel.
TABLE 2 MANUFACTURERS SPECIFICATIONSMX2004A
INPUT CHANNELS Mike input: Electrically balanced, discrete input configuration Bandwidth: 10Hz60kHz 3dB THD+N: 0.007% at +4dBu, 1kHz Mike E.I.N. (22Hz22kHz): 129.5dBu, 150 source 132dBu, input shorted Gain range: +10dB to +60dB (Mike); +10dBu to 40dBu (line) Max input: +12dBu (Mike); +22dBu (line) Channel fader range: +10dB to 85dB EQUALIZATION High shelving: 12kHz 15dB, Q fixed at two octaves Mid Bell: 100Hz8kHz 15dB, Q fixed at one octave Low shelving: 80Hz 15dB, Q fixed at two octaves Low-cut filter: 3dB at 75Hz, 18dB/octave MAIN MIX SECTION Bus noise, fader 0dB, channels muted: 100.0dBr (ref. +4dBu) Bus noise, fader 0dB, all input channels assigned and set to unity gain: 88.5dBr (ref. +4dBu) Maximum output: +28dBu balanced; +22dB unbalanced Auxiliary send maximum output: +22dBm unbalanced GENERAL THD+N: 0.007% at +4dBu, 1kHz; below 0.02%, 22Hz22kHz, normal operating levels, any input to any output. Frequency response: 10Hz120kHz, 3dB, any input to any output PHYSICAL Dimensions: 40/90mm 410mm 385mm Net weight: 6.0kG (power supply not included)
What is especially impressive is the subjective absence of noise. These are among the quietest mixers I have ever used. The sound is also clean and detailed, and largely free of harshness and other unpleasant side effects. Both of these Behringer mixers excel in sound-reinforcement situations, and if you need more inputs and even greater flexibility, several other more complex mixers in the Eurorack line should fit the bill. I am particularly enamored with the little MX802A, because so much has been packed into such a small space. For simple sound-reinforcement jobswhere only a couple of mike and line sources are neededit is a great little mixer. It is also handy as a sub-mixer, augmenting your main board if you run out of inputs. And, its surprisingly clean sound will make it very attractive for location recording, especially where portability is an issue. Even at the suggested retail price of $179, it is a great value. At the street price of around $130, it is an unbelievable steal. Some time ago Mackie upgraded its VLZ-series to the VLZ-Pro line, which features its XDR (Extended Dynamic Range) microphone preamps. These preamps offer noise performance and dynamic range comparable to the Behringer mike preamps. At Crane we have a Mackie 1402-VLZ Pro mixer in the recording booth of our small lecture/recital hall. The 1402 is comparable in inputs and features to the Behringer MX2004A, but with only six microphone inputs. So far, I have a slight preference for the Behringer in sound quality. Both mixers are noise-free, but the Behringer seems just a bit more transparent. This may be due to Behringers use of the superior 4580 op amp. Mackie uses the 4560, which

is a bit slower (4V/s versus 5V/s) and narrower in gain-bandwidth product (10MHz versus 15MHz). The 4560 also has lower output current and a slightly higher noise level than the 4580. Price also tips the balance in Behringers favor. The US-built Mackie retails for $629, and the typical street price is around $435. The Chinese-made Behringer retails for $379, and usually sells for around $275. I have spoken with other users, and two pro-audio dealers, and cant find a clear consensus regarding a sonic preference for the Mackie versus the Behringer products. Both firms seem to have enthusiastic followers. Behringers English instruction manuals are very clear and well-written. But, Mackie definitely wins the prize when it comes to user-friendly, nonintimidating manuals. The Mackie manuals include an abundance of connection diagrams. Construction quality on the Mackie products is excellent, perhaps a bit more robust than the Behringer mixers. But, the two Behringer samples under consideration here are still very well-made. I did have one problem with the MX2004Athe channel 2 input fader was intermittent. Behringer referred me to a factory-authorized service center in New York City. The input fader was replaced, with a total turnaround time of about two weeks, including shipping, which I consider very reasonable. Behringer has made two very impressive contributions to the low-priced mixer war with the MX802A and the MX2004A. These products offer amazing performance and flexibility for the money, and are high ly recommended.

audioXpress July 2001 81