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

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.

These service instructions are for use by qualified service personnel only. To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualified service personnel.
FBQ Feedback Detection System
The FBQ Feedback Detection System integrated into the graphic EQ of your 1832FX is one of this mixers most outstanding features. This ingenious circuitry lets you immediately recognize and eliminate feedback frequencies. The FBQ Feedback Detection System uses the LEDs in the frequency band faders of the graphic EQ to indicate the critical frequencies.
[1]Read these instructions. [2]Keep these instructions. [3]Heed all warnings. [4]Follow all instructions. [5]Do not use this apparatus near water.
XENYX 1622FX/1832FX/2222FX/2442FX User Manual
Level-setting Signals fed into the mixer using a DI-box (Direct Injection) or the output of a sound card or a keyboard, often have to be adjusted to the operating level of your mixing console. Frequency response correction Using the equalizers found in each channel strip, you can simply, quickly and effectively adjust the way a signal sounds.
1.3 Before you get started

1.3.1 Shipment

Your mixing console was carefully packed in the factory to guarantee safe transport. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred during transit. If the unit is damaged, please do NOT return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not be granted.
2. CONTROL ELEMENTS AND CONNECTORS
This chapter describes the various control elements of your mixing console. All controls, switches and connectors will be discussed in detail.
INSERT Insert points enable the processing of a signal with dynamic processors or equalizers. They are sourced pre-fader, pre-EQ and pre-aux send. Detailed information on using insert points can be found in chapter 5.3. Unlike the 2442FX, the 1622FX, 1832FX and 2222FX have their insert points located on the rear of the console. GAIN Use the GAIN control to adjust the input gain. This control should always be turned fully counter-clockwise whenever you connect or disconnect a signal source to one of the inputs. The scale has 2 different value ranges: the first value range (+10 to +60 dB) refers to the MIC input and shows the amplification for the signals fed in there. The second value range (+10 to -40 dB) refers to the line input and shows its sensitivity. The settings for equipment with st andard line-level signals (-10 dBV or +4 dBu) look like this: While the GAIN control is turned all the way down, connect your equipment. Set the GAIN control to the external devices standard output level. If that unit has an output signal level display, it should show 0 dB during signal peaks. For +4dBu, turn up GAIN slightly, for -10 dBV a bit more. Fine-tuning of a signal being fed in is done using the level meter. To route the channel signal to the level meter, you have to press the SOLO switch and set the MODE switch in the main section to PFL (LEVEL SET). Using the GAIN control, drive the signal to the 0-dB mark. This way you have a vast amount of drive headroom for use with very dynamic signals. The CLIP display should light up only rarely, preferably never. While fine-tuning, the equalizer should be set to neutral. LOW CUT Additionally, the mono channels of the mixing consoles have a high-slope LOW CUT filter for eliminating unwanted, lowfrequency signal components (75 Hz, 18 dB/octave).

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).

2.3.5 Stereo aux return control
STEREO AUX RETURN 1 The STEREO AUX RETURN 1 control determines the level of this signal in the main mix. If STEREO AUX RETURN 1 is used as effects return, this will determine the level of the effects when mixed with any dry channel signal. When used in this way, the effects device should be set at 100% effect.
2.3.4 The monitor section of the 1832FX
One of the ways that the 1832FX differs from the other models of this series is that it has a separate monitor output.
2.3.3 Stereo aux return connectors
XENYX1832FX Fig. 2.10: Monitor output of the 1832FX XENYX2442FX Fig. 2.7: The AUX SEND controls of the main section!
AUX SEND 3 (FX) The FX control determines the signal level for effects processing, i.e. regulates the level to an external (or the internal) effects device.
XENYX1832FX Fig. 2.9: The aux return connectors
XENYX2442FX XENYX2442FX Fig. 2.12: Stereo aux return and stereo aux return (to aux send) controls
STEREO AUX RETURN 1/2 (TO AUX SEND)
The two right-hand STEREO AUX RETURN controls have a special function: they can be used to add an effect to a monitor mix. An example follows (1622FX wired to an effects device):
MAIN MIX / TO SUBS This switch routes the signal fed in via the STEREO AUX RETURN FX jacks either to the main mix (not pressed) or to the submix (pressed). On the 2442FX you can select which subgroup the signal is assigned to (switches 1-2 / 3-4, to the right of MAIN MIX / TO SUBS). SOLO RETURNS Additionally, this model allows you to route the aux returns together to the solo bus and the PFL bus. The LED lights up when Solo is on. STEREO AUX RETURN 4 (2442FX only) This control behaves the same way as the other stereo aux returns. Additionally, it provides for a simple monitor path using the switch PHONES/CTRL ROOM ONLY. PHONES/CTRL ROOM ONLY Use this switch to route the signal appearing at the AUX RETURN 4 jacks to the control room and headphones outputs.
2.3.7 XPQ Surround function (1832FX only)
CD/TAPE INPUT The CD/TAPE INPUT jacks (RCA) are designed to accept a 2-track recorder (e.g. DAT recorder), or they can be used as stereo line input. The output signal of a second XENYX or the BEHRINGER ULTRALINK PRO MX882 can also be connected here. If you connect the output of a hi-fi amplifier (with a source selection switch) to the CD/TAPE INPUT, you can easily listen to additional sources (e.g. cassette recorder, MDplayer, sound card, etc.). Using the voice canceller function (1832FX only), you can process all signals being brought into your mixing console via these connectors. CD/TAPE OUTPUT These connectors are wired in parallel to the MAIN OUT and carry the main mix signal (unbalanced). Connect this to the inputs of your recording device. The final output level can be adjusted via the high-precision MAIN MIX fader. If you connect a compressor or a noise gate post 2-track output, the main mix fader will probably not be able to create a satisfactory fade-out effect.

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

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

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).
sleeve ground/shield sleeve ground/shield
ring right signal tip left signal
ring cold (-ve) tip hot (+ve)
For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.
1/ TRS headphones connector 4" Fig. 6.6: Stereo plug for headphones connection
Balanced 1/ TRS connector 4"
1 = ground/shield 2 = hot (+ve) 3 = cold (-ve) output
Fig. 6.4: " stereo plug
For unbalanced use, pin 1 and pin 3 have to be bridged
Balanced use with XLR connectors Fig. 6.2: XLR connections

Converter Sampling rate

Frequency response
Microphone input to main out <10 Hz - 90 kHz +0 dB / -1 dB <10 Hz - 160 kHz +0 dB / -3 dB Stereo inputs Type Impedance Max. input level EQ mono channels Low Mid High EQ stereo channels Low Low Mid High Mid High " TRS connector, electronically balanced approx. 20 k +22 dBu 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

Main mix system data2

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
-101 dB -100 dB (2442FX) -93 dB -96 dB (1622FX) -87 dB (2442FX) -81 dB -83 dB (1622FX) -80 dB (2442FX) 100 to 240 V~, 50/60 Hz 50 (1622FX) 50 W (1832FX) 50 W (2222FX) 50 W (2442FX) 100 - 240 V ~: T 1.6 A H 250 V Standard IEC receptacle

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.

Responsible party name: Address: MUSIC Group Services USA, Inc. 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA Phone: +Fax: +673 7647

Phone/Fax No.:

complies with the FCC rules as mentioned in the followingparagraph: This equipment has been tested and found to comply with the limits for a ClassB digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the followingmeasures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician forhelp. This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. Important information: Changes or modifications to the equipment not expressly approved by MUSIC Group can void the users authority to use the equipment.

behringer.com