2442FX

Technical Specifications

Version 1.0 January 2006

XENYX 2442FX
Premium 24-Input 4/2-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 10 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 and direct outputs on each mono channel plus main mix inserts for flexible connection of outboard equipment
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; 4 multi-functional stereo aux returns with flexible routing s Balanced main mix outputs with " jack and gold-plated XLR connectors, separate control room, headphones and stereo tape outputs s Control room/phones outputs with multi-input source matrix; Tape inputs assignable to main mix or control room/phones outputs s 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 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

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.

2.1 Mono channels

2.1.1 Microphone and line inputs

Effects mixing

In addition to the effects processor contained in your mixer, using the insert connectors on the mono channels and both aux busses lets you insert additional signal processors into your signal path. Signal distribution: Individual signals adjusted at each channel strip are laid out at the aux sends and returns, and are either fed into external effects processors or fed back to the internal effects processor. Then, the signals are brought back into the main mix either via the aux return connectors or via direct internal wiring. The mix for the on-stage musicians is also created using the aux sends (monitor mix). Similarly, for example, signals for recording equipment, power ampli ers, headphones and 2-track outputs can fi also be taken. Mix: All other mixing console functions fall under this vital category. Creating a mix means primarily adjusting the volume levels of individual instruments and voices to one another as well as giving them the appropriate weight within the overall frequency spectrum. Likewise, youll have to sensibly spread individual voices across the stereo image of a signal. At the end of this process, adjusting the level of the entire mix to other equipment in the signal path is required (e. g. recorder/crossover/amplifier). The control surface of BEHRINGER mixing consoles is opti-mized in such a way that these functions become easy to fulfil while the signal path remains simple to follow.

1.3.2 Initial operation

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

XENYX2222FX

XENYX2442FX
1.3.3 Online registration
Please do remember to register your new BEHRINGER equipment right after your purchase by visiting www.behringer.com (alternatively www.behringer.de) and kindly read the terms and conditions of our warranty carefully. Should your BEHRINGER product malfunction, our goal is to have it repaired as quickly as possible. To arrange for warranty service, please contact the retailer from whom the equipment was purchased. Should your BEHRINGER dealer not be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding contact information is included in the original equipment packaging (Global Contact Information/European Contact Information). Should your country not be listed, please contact the distributor nearest you. A list of distributors can be found in the support area of our website (www.behringer.com). Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently. Thank you for your cooperation!

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
XENYX2442FX Fig. 2.4: The panorama and routing controls and the channel fader
2.2.4 Routing switch, solo and 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.

XENYX2222FX XENYX2442FX XENYX2442FX
Fig. 2.6: Balance control and mute switch
Fig. 2.5: The various stereo channel inputs
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).
1622FX and 1832FX: 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. 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).
On the 2222FX, 1832FX and 1622FX the STEREO AUX RETURN jacks are located on the front panel of the unit. STEREO AUX RETURN The STEREO AUX RETURN 1 jacks generally serve as the return for the effects mix (created using the post-fader aux sends) by connecting the output of an external effects device. If only the left jack is connected, the AUX RETURN is automatically switched to mono. You can also use these jacks as additional line inputs. All stereo aux returns are balanced, but can of course also be used with unbalanced connectors. If you use an aux send for monitoring, the associated unused stereo aux returns are available for other line level signals (e.g. keyboards). A signal fed into the stereo return jacks can be output via an aux send jack. More information on this can be found in chapter 2.3.5 STEREO AUX RETURN 1/2 (TO AUX SEND).
The first aux send (MON) on this console is used to set up the monitor mix from the channels and route it to the MON SEND fader.
2.3 Interface panel and main section
Where it was useful to trace the signal flow from top to bottom in order to gain an understanding of the channel strips, we now look at the mixing console from left to right. The signals are, so to speak, collected from the same point on each of the channel strips and then routed to the main section all together.

Monitor mix with effect

In this instance, your effects device should be set up as follows: the AUX SEND 2 jack should be connected to the L/ Mono input of your effects device, with its outputs coming back into the STEREO AUX RETURN 1 jacks. Connect the AUX SEND 1 jack output to the amplifier of your monitor system. The AUX SEND 1 master control determines the overall volume of the monitor mix. Using the STEREO AUX RETURN (TO AUX SEND) control, the effect signal can now be blended into the monitor mix. You can easily use the headphones distribution amplifier BEHRINGER POWERPLAY PRO HA4700/HA8000 to provide four (HA8000: eight) stereo headphone mixes for your studio. The following table shows which jacks on the console can be used for this purpose.
External effects device External effects device The effect signal reaches receives signal from routes signal back to the monitor mix via..
XENYX1832FX Fig. 2.14: Control elements of the surround function
The XPQ surround function can be enabled/ disabled with the XPQ TO MAIN switch. This is a built-in effect that widens the stereo width, thus making the sound more lively and trans-parent. Use the SURROUND control to determine the intensity of this effect. VOICE CANCELLER Here, you have a filter circuitry that lets you almost entirely remove the vocal portion of a recording. The filter is constructed in such a way that voice frequencies are targeted without majorly affecting the rest of the signal. Additionally, the filter seizes only the middle of the stereo image, exactly there where the vocals are typically located. Connect the signal sources you wish to process using the Voice Canceller to the CD/TAPE INPUT connectors. The Voice Canceller circuitry is not available for other inputs. Possible applications for the Voice Canceller are obvious: you can very simply stage background music for Karaoke events. Of course, you can also do this at home or at your rehearsal room before you hit the stage. Singers with their own band can practice singing difficult parts using a complete playback from a tape player or a CD, thus minimizing rehearsal time.
2.3.6 Supplement to 1832FX
The 1832FX has a stereo fader for the AUX RETURN FX and offers a variety of routing options: MUTE disables the effect return (but not PFL of course!), SOLO routes it to the Solo or PFL busses, SUB to the subgroups and MAIN to the main mix.
2.3.9 Lamp socket (2442FX only)
Use this BNC socket to connect a gooseneck lamp (12 V DC, max. 0.5 A).

1622FX

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

MODE The MODE switch determines whether the channels SOLO switch operates as PFL (Pre Fader Listen) or as solo (Solo In Place). PFL (LEVEL SET) To activate the PFL function, press the MODE switch. The PFL function should, as a rule, be used for level setting (GAIN). The signal is sourced pre-fader and assigned to the mono PFL bus. In PFL mode, only the left side of the peak meter is in operation. A PFLd channel should be driven to the 0 dB mark of the VU meter. SOLO (NORMAL) When the MODE switch is not depressed, the stereo solo bus is active. Solo is actually short for Solo In Place. This is the customary method for listening to an individual signal or to a group of signals. As soon as a solo switch is pressed, all channels not solo selected are muted in th e monitor path (control room and phones). A channels position in the stereo image is maintained. The solo bus carries the output signals of the channel pan controls, the aux sends and the stereo line inputs. On the 2442FX all aux returns, and on the 1832FX only aux return 2 can be routed to the solo bus. The solo bus is, as a rule, taken post-fader. The PAN control in the channel strip offers a constant power characteristic. This means that the signal is always at a constant level, irrespective of position in the stereo panorama. If the PAN control is moved fully left or right, the level in that channel increases by 4 dB. This ensures that, when set at the center of the stereo image, the audio signal does not appear louder. For this reason, with the solo function activated (Solo in Place), audio signals from channels with PAN controls that have not been moved fully left or right are displayed at a lower volume than in the PFL function. As a rule, solo signals are monitored via the control room outputs and headphones jack and are displayed by the level meters. If a solo switch is pressed, the signals from the tape input, the subgroups and the main mix are cut from these outputs and the level meter. MAIN SOLO The MAIN SOLO LED lights up as soon as a channel or aux send solo switch is pressed. The MODE switch must be set to Solo. PFL (LEVEL SET) The PFL (LEVEL SET) LED indicates that the peak meter is set to PFL mode.

3. GRAPHIC 9-BAND EQUALIZER (1832FX only)

Fig. 2.17: PHONES jack

PHONES jack You can connect headphones to this " stereo jack (2442FX: 2 phones jacks). The signal routed to the PHONES connection is the same as that routed to the control room output.
2.3.11 Subgroups and main mix fader
You use the high-precision quality faders to control the output level of the subgroups and the main mix. LEFT/RIGHT switch The switches located above the subgroup faders assign the subgroup signal either to the left or right side of the main bus. Similarly, it can be routed to both sides or none at all. In the latter case, the submix is present only at the corresponding subgroup outputs.
XENYX1832FX Fig. 3.1: The graphic stereo equalizer of the 1832FX
The graphic stereo equalizer allows you to tailor the sound to the room acoustics. EQUALIZER Use this switch to activate the graphic equalizer. MAIN MIX/MONITOR This toggles the graphic equalizer between the main mix and the monitor mix. With the switch up (not depressed), the equalizer is active in stereo on the main mix, and inactive on the monitor mix. When the switch is depressed the equalizer is active in mono on the monitor mix, and inactive on the main mix. FBQ FEEDBACK DETECTION The switch turns on the FBQ Feedback Detection System. It uses the LEDs in the frequency band faders to indicate the critical frequencies. On a per-need basis, lower the frequency range in question somewhat in order to avoid feedback. The graphic stereo equalizer has to be turned on in order to use this function. Logically, at least one (ideally several) microphone channels have to be open for feedback to occur at all!

LEVEL METER

The high-precision level meters always give you an accurate display of signal level. LEVEL SETTING: When recording to digital recorders, the recorders meter should not go into overload. This is because, unlike analog recordings, it takes only slightly excessive levels to create unpleasant digital distortion. When recording to analog, the VU meters of the recording machine should reach approx. +3 dB with low-frequency signals (e.g. kick drum). Due to their inertia, VU meters tend to display too low a signal level at frequencies above 1 kHz. You should only drive instruments such as a Hi-Hat as far as -10dB. Snaredrums should be driven to approx. 0 dB. The peak meters of your XENYX display level almost independent of frequency. A recording level of 0 dB is recommended for all types of signal.

XENYX2442FX Fig. 2.18: Subgroup and main mix faders
Feedback is particularly common when stage monitors (wedges) are concerned, because monitors project sound in the direction of microphones. Therefore, you can also use the FBQ Feedback Detection for monitors by placing the equalizer in the monitor bus (see MAIN MIX/MONITOR).
4. DIGITAL EFFECTS PROCESSOR
24-BIT MULTI-EFFECTS PROCESSOR Here you can find a list of all presets stored in the multieffects processor. This built-in effects module produces high-grade standard effects such as reverb, chorus, flanger, delay and various combination effects. Use the Aux Send FX on the channels and the Aux Send FX master control to determine the input signal of the effects processor.
LEVEL The LED level meter on the effects module should display a sufficiently high level. Take care to ensure that the clip LED only lights up at peak levels. If it is lit constantly, you are overloading the effects processor and this could cause unpleasant distortion. PROGRAM You can select the effect preset by turning the PROGRAM control. The display flashes with the number of the current preset. To recall the selected preset, press on the button; the flashing stops. You can also recall the selected preset with the foot switch.

5.2 Subgroup outputs

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

DIRECT OUTPUTS

Fig. 5.2: Subgroup outputs
SUB OUTPUTS The subgroup outputs are unbalanced and provide the mix of those channels assigned to each subgroup with the SUB switch (2442FX: switches 1-2 or 3-4) next to the channel faders. Thus, you can, for example, route a subgroup to a second console or use the output as a recording output in parallel to the main outputs. In this way, you can record several tracks simultaneously. With an 8-track recorder, use Y cables and wire the inputs of your machine so that you have 2 x 4 tracks available (e.g. channel 1 to track 1 and 2, etc.). In the first pass, you can record the tracks 1, 3, 5 and 7, in the second the tracks 2, 4, 6 and 8. The XENYX 2442FX already has subgroup outputs wired in parallel (1-5, 2-6, etc.).
The direct outputs of the 2442FX (1 each per mono input channel) are ideal for recording if several tracks are to be recorded simultaneously. These unbalanced phone jacks are post-EQ, post-mute and post-fader.

5. REAR PANEL CONNECTORS

5.1 Main mix outputs, insert points and control room outputs
5.5 Voltage supply, phantom power supply and fuse
XENYX1832FX Fig. 4.1: Digital effects module
All Models Fig. 5.5: Voltage supply and fuse
The built-in stereo effects processor has the advantage that it does not need to be wired up. This excludes the danger of humming or level mismatch right from the start and thus considerably facilitates use. These effect presets are classical mixing effects. If you move the STEREO AUX RETURN FX control, you mix the channel signal (dry) and the effect signal. You can control the balance between the two signals with the channel fader and the STEREO AUX RETURN FX control. FX OUT Mixing consoles 2222FX and 2442FX have a separate output for the effects device, which is unbalanced and stereo (tip = left signal; ring = right signal; sleeve = ground/shielding). Thus, you can record, for example, a vocal track enhanced with reverb in parallel to a dry vocal track; when doing the mix-down later on, you can freely determine the amount of reverb added. The 2442FX has the effect output on the rear, 2222FX has it located next to the aux sends on the front panel. FX FOOTSW. Connect a standard foot switch to the foot switch jack and use this to switch the effects processor on and off. A light at the bottom of the display indicates wheater the effects processor has been muted by the foot switch. In Chapter 6.2 you will find an illustration showing how to connect your foot switch correctly.

7 Limitation of liability
This limited warranty is the complete and exclusive warranty between you and BEHRINGER. It supersedes all other written or oral communications related to this product. BEHRINGER provides no other warranties for this product.
technical assistance for hardware or software usage and it does not cover any software products whether or not contained in the product. Any such software is provided AS IS unless expressly provided for in any enclosed software limited warranty.
[4] This limited warranty is invalid if the factory-applied serial number has been
8 Other warranty rights and national law
[1] This limited warranty does not exclude or limit the buyers statutory rights as a

consumer in any way.

[2] The limited warranty regulations mentioned herein are applicable unless they
altered or removed from the product.
[5] Free inspections and maintenance/repair work are expressly excluded from this
constitute an infringement of applicable mandatory local laws.
[3] This warranty does not detract from the sellers obligations in regard to any lack of
be returned to the user freight prepaid by BEHRINGER.
[4] Warranty claims other than those indicated above are expressly excluded.
PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF OF PURCHASE COVERING YOUR LIMITED WARRANTY. THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF OF PURCHASE.
limited 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, crossfaders, potentiometers, keys/buttons, tubes, guitar strings, illuminants and similar parts.
[6] Damage/defects caused by the following conditions are not covered by this
conformity of the product and any hidden defect.

9 Amendment

Warranty service conditions are subject to change without notice. For the latest warranty terms and conditions and additional information regarding BEHRINGERs limited warranty, please see complete details online at www.behringer.com.
* BEHRINGER Macao Commercial Offshore Limited of Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau, including all BEHRINGER group companies

2 Online registration

Please do remember to register your new BEHRINGER equipment right after your purchase at www.behringer.com under Support and kindly read the terms and conditions of our limited warranty carefully. Registering your purchase and equipment with us helps us process your repair claims quicker and more eciently. Thank you for your cooperation!

limited warranty: improper handling, 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; damage/defects caused by acts of God/Nature (accident, re, ood, etc) or any other condition that is beyond the control of BEHRINGER.
[7] Any repair or opening of the unit carried out by unauthorized personnel
3 Return authorization number
[1] To obtain warranty service, please contact the retailer from whom the equipment
(user included) will void the limited warranty.
[8] If an inspection of the product by BEHRINGER shows that the defect in question is
was purchased. Should your BEHRINGER dealer not be located in your vicinity, you may contact the BEHRINGER distributor for your country listed under Support at www.behringer.com. If your country is not listed, please check if your problem can be dealt with by our Online Support which may also be found under Support at www.behringer.com. Alternatively, please submit an online warranty claim at www.behringer.com BEFORE returning the product. All inquiries must be accompanied by a description of the problem and the serial number of the product. After verifying the products warranty eligibility with the original sales receipt, BEHRINGER will then issue a Return Materials Authorization (RMA) number.
[2] Subsequently, the product must be returned in its original shipping carton,
not covered by the limited warranty, the inspection costs are payable by the customer.
[9] Products which do not meet the terms of this limited warranty will be repaired
exclusively at the buyers expense. BEHRINGER or its authorized service center will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notication, 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.
[10 ] Authorized BEHRINGER dealers do not sell new products directly in online
together with the return authorization number to the address indicated by BEHRINGER.
[3] Shipments without freight prepaid will not be accepted.
auctions. Purchases made through an online auction are on a buyer beware basis. Online auction conrmations or sales receipts are not accepted for warranty verication and BEHRINGER will not repair or replace any product purchased through an online auction.