BEHRINGER UB2442 FX-PRO Ultra-Low Noise Design 24-Input 4-Bus Mic Line Mixer User Manual
- June 13, 2024
- Behringer
Table of Contents
UB2442 FX-PRO Ultra-Low Noise Design 24-Input 4-Bus Mic Line Mixer
Product Information: – Product Name: EURORACK UB2442-PRO –
Type: 24-Input 4-Bus Mic/Line Mixer – Design: Ultra-Low Noise
Design – Features: Premium Mic Preamplifiers and Multi-FX Processor
Product Usage Instructions: 1. Safety Precautions: – Ensure
that the mixer is not exposed to rain, moisture, or any
liquid-filled objects. – Do not remove the top cover or rear
section of the mixer as it contains dangerous voltage. Refer
servicing to qualified personnel. – Only qualified service
personnel should perform any servicing other than what is mentioned
in the operation instructions. 2. Installation: – Read and keep the
user manual for future reference. – Follow all safety warnings and
instructions provided in the manual. – Place the mixer in a
well-ventilated area and avoid blocking any ventilation openings. –
Avoid installing the mixer near heat sources such as radiators,
heat registers, stoves, or other heat-producing apparatus. 3. Power
Connection: – Ensure that the power cord is protected from being
walked on or pinched, especially at plugs, convenience receptacles,
and where it exits from the mixer. – If the provided plug does not
fit into your outlet, consult an electrician to replace the
obsolete outlet. – Use only the provided power cord or one
recommended by the manufacturer. 4. Cleaning: – Clean the mixer
using a dry cloth only. Do not use any liquid or cleaning agents.
5. Operation: – Connect your microphones or line-level instruments
to the appropriate inputs on the mixer. – Adjust the gain controls
for each channel to set the desired input level. – Use the built-in
multi-FX processor to apply effects to your audio signals. – Use
the various controls on the mixer, such as faders, EQ knobs, and
pan pots, to adjust the audio levels and achieve the desired sound
mix. – Connect the mixer’s outputs to your speakers, amplifiers, or
recording devices. Note: For more detailed instructions on specific
features and functions of the EURORACK UB2442-PRO mixer, please
refer to the complete user manual available at
https://manual-hub.com/.
24BIT DUAL ENGINE DSP LEVEL 24BIT A/D & D/A CONVERTER
24BIT DUAL ENGINE DSP LEVEL 24BIT A/D & D/A CONVERTER
24BIT DUAL ENGINE DSP LEVEL 24BIT A/D & D/A CONVERTER
24BIT DUAL ENGINE DSP LEVEL 24BIT A/D & D/A CONVERTER
User Manual
EURORACK
UB2442 -PRO
Ultra-Low Noise Design 24-Input 4-Bus Mic/Line Mixer with Premium Mic
Preamplifiers and Multi-FX Processor
UB2222 -PRO/UB1622 -PRO
Ultra-Low Noise Design 22/16-Input 2/2-Bus Mic/Line Mixer with Premium Mic
Preamplifiers and Multi-FX Processor
UB1832 -PRO
Ultra-Low Noise Design 18-Input 3/2-Bus Mic/Line Mixer with Premium Mic
Preamplifiers and Multi-FX Processor
2 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
Table of Contents
Thank you …………………………………………………………….. 2 Important Safety Instructions
……………………………….. 3 Legal Disclaimer ……………………………………………………. 3 Limited Warranty
………………………………………………….. 3 1. Introduction ……………………………………………………… 5
1.1 General mixing console functions………………………….. 5 1.2 The user’s
manual……………………………………………………… 6 1.3 Before you get started……………………………………………… 6
2. Control Elements and Connectors …………………….. 6 2.1 Mono channels
………………………………………………………….. 6 2.2 Stereo channels…………………………………………………………. 8 2.3
Interface panel and main section…………………………… 9 3. Graphic 9-Band Equalizer
(UB1832FX-PRO only)…………………………………………… 14 4. Digital Effects Processor
………………………………….. 14 5. Rear Panel Connectors …………………………………….. 15 5.1 Main mix
outputs, insert points and control room outputs…………………………………………………….. 15 5.2
Subgroup outputs…………………………………………………… 15 5.3 Inserts
……………………………………………………………………….. 15 5.4 Direct outputs (UB2442FX-PRO
only)…………………… 15 5.5 Voltage supply, phantom power supply and fuse
………………………………… 15 6. Installation ……………………………………………………… 16 6.1 Rack
mounting…………………………………………………………. 16 6.2 Cable connections …………………………………………………..
16 7. Specifications ………………………………………………….. 18
Thank you
Congratulations! In purchasing the BEHRINGER EURORACK you have acquired a
mixer whose small size belies its incredible versatility and audio
performance.
3 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
Important Safety Instructions
Terminals marked with this symbol carry electrical current of sufficient
magnitude to constitute risk of electric shock. Use only high-quality
professional speaker cables with ¼” TS or twist-locking plugs pre-installed.
All other installation or modification should be performed only by qualified
personnel.
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. Please read the
manual.
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.
Caution 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.
Caution These service instructions are for use by qualified service personnel
only. To reduce the risk of electric shock do not perform any servicing other
than that contained in the operation instructions. Repairs have to be
performed by qualified service personnel.
1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings.
4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean
only with dry cloth. 7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions. 8. Do not install near any
heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug.
A polarized plug has two blades with one wider than the other. A grounding-
type plug has two blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug does not fit
into your outlet, consult an electrician for replacement of the obsolete
outlet.
10. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11. Use only attachments/accessories specified by the manufacturer.
injury from tip-over.
12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.
16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.
LEGAL DISCLAIMER
TECHNICAL SPECIFICATIONS AND APPEARANCES ARE SUBJECT TO CHANGE WITHOUT NOTICE
AND ACCURACY IS NOT GUARANTEED. BEHRINGER IS PART OF THE MUSIC GROUP (MUSIC-
GROUP.COM). ALL TRADEMARKS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS. MUSIC
GROUP ACCEPTS NO LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED BY ANY PERSON
WHO RELIES EITHER WHOLLY OR IN PART UPON ANY DESCRIPTION, PHOTOGRAPH OR
STATEMENT CONTAINED HEREIN. COLORS AND SPECIFICATIONS MAY VARY FROM ACTUAL
PRODUCT. MUSIC GROUP PRODUCTS ARE SOLD THROUGH AUTHORIZED FULLFILLERS AND
RESELLERS ONLY. FULLFILLERS AND RESELLERS ARE NOT AGENTS OF MUSIC GROUP AND
HAVE ABSOLUTELY NO AUTHORITY TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED
UNDERTAKING OR REPRESENTATION. THIS MANUAL IS COPYRIGHTED. NO PART OF THIS
MANUAL MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS,
ELECTRONIC OR MECHANICAL, INCLUDING PHOTOCOPYING AND RECORDING OF ANY KIND,
FOR ANY PURPOSE, WITHOUT THE EXPRESS WRITTEN PERMISSION OF MUSIC GROUP IP LTD.
ALL RIGHTS RESERVED. © 2012 MUSIC Group IP Ltd. Trident Chambers, Wickhams
Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands
LIMITED WARRANTY
§ 1 Warranty
(1) This limited warranty is valid only if you purchased the product from a
MUSIC Group Authorized Reseller in the country of purchase. A list of
authorized resellers can be found on BEHRINGER’s website behringer.com under
“Where to Buy”, or you can contact the MUSIC Group office closest to you.
(2) MUSIC Group* 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 specified warranty period and that defect is not
excluded under § 4, MUSIC Group shall, at its discretion, either replace or
repair the product using suitable new or reconditioned product or parts. In
case MUSIC Group decides to replace the entire product, this limited warranty
shall apply to the replacement product for the remaining initial warranty
period, i.e., one (1) year (or otherwise applicable minimum warranty period)
from the date of purchase of the original product.
(3) Upon validation of the warranty claim, the repaired or replacement product
will be returned to the user freight prepaid by MUSIC Group.
(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.
§ 2 Online registration
Please do remember to register your new BEHRINGER equipment right after your
purchase at 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
efficiently. Thank you for your cooperation!
§ 3 Return materials authorization
(1) To obtain warranty service, please contact the retailer from whom the
equipment was purchased. Should your MUSIC Group Authorized Reseller not be
located in your vicinity, you may contact the MUSIC Group Authorized Fulfiller
for your country listed under
4 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
“Support”at 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 behringer.com. Alternatively, please submit an online warranty
claim at 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 product’s warranty eligibility with the original
sales receipt, MUSIC Group will then issue a Return Materials Authorization
(“RMA”) number.
(2) Subsequently, the product must be returned in its original shipping
carton, together with the return authorization number to the address indicated
by MUSIC Group.
(3) Shipments without freight prepaid will not be accepted.
§ 4 Warranty Exclusions
(1) This limited warranty does not cover consumable parts including, but not
limited to, fuses and batteries. Where applicable, MUSIC Group warrants the
valves or meters contained in the product to be free from defects in material
and workmanship for a period of ninety (90) days from date of purchase.
(2) This limited warranty does not cover the product if it has been
electronically or mechanically modified in any way. 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. This limited warranty does not cover any such
modification/adaptation, regardless of whether it was carried out properly or
not. Under the terms of this limited warranty, MUSIC Group shall not be held
responsible for any cost resulting from such a modification/adaptation.
(3) This limited warranty covers only the product hardware. It does not cover
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 altered or removed from the product.
(5) Free inspections and maintenance/repair work are expressly excluded from
this 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,
guitar strings, illuminants and similar parts.
(6) Damage/defects caused by the following conditions are not covered by this
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, fire, flood, etc) or
any other condition that is beyond the control of MUSIC Group.
(7) Any repair or opening of the unit carried out by unauthorized personnel
(user included) will void the limited warranty.
(8) If an inspection of the product by MUSIC Group shows that the defect in
question is 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 buyer’s expense. MUSIC Group 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 notification,
MUSIC Group 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) MUSIC Group Authorized Resellers do not sell new products directly in
online auctions. Purchases made through an online auction are on a”buyer
beware”basis. Online auction confirmations or sales receipts are not accepted
for warranty verification and MUSIC Group will not repair or replace any
product purchased through an online auction.
§ 5 Warranty transferability
This limited warranty is extended exclusively to the original buyer (customer
of authorized reseller) and is not transferable to anyone who may subsequently
purchase this product. No other person (reseller, etc.) shall be entitled to
give any warranty promise on behalf of MUSIC Group.
§ 6 Claim for damage
Subject only to the operation of mandatory applicable local laws, MUSIC Group
shall have no liability to the buyer under this warranty for any consequential
or indirect loss or damage of any kind. In no event shall the liability of
MUSIC Group under this limited warranty exceed the invoiced value of the
product.
§ 7 Limitation of liability
This limited warranty is the complete and exclusive warranty between you and
MUSIC Group. It supersedes all other written or oral communications related to
this product. MUSIC Group provides no other warranties for this product.
§ 8 Other warranty rights and national law
(1) This limited warranty does not exclude or limit the buyer’s statutory
rights as a consumer in any way.
(2) The limited warranty regulations mentioned herein are applicable unless
they constitute an infringement of applicable mandatory local laws.
(3) This warranty does not detract from the seller’s obligations in regard to
any lack of 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
MUSIC Group’s limited warranty, please see complete details online at
behringer. com.
- MUSIC Group Macao Commercial Offshore Limited of Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau, including all MUSIC Group companies
5 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
1. Introduction
1.1 General mixing console functions
The BEHRINGER EURORACK mixing console offers you premium-quality microphone
preamplifiers with optional phantom power supply, balanced line inputs and the
ability to connect external effects devices. Because of its extensive and
carefully thought-out routing possibilities, your EURORACK lends itself
equally to both live and studio use.
IMP Invisible Mic Preamp
The microphone channels are fitted with BEHRINGER’s brand new high-end IMP
INVISIBLE MIC PREAMPs that 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 full utilisation of
the greatly extended dynamic range of your
24-bit/192 kHz HD recorder, thereby maintaining optimal audio quality
Multi-effects processor
Additionally, your EURORACK mixing console has an effects processor with
24-bit A/D and D/A converters included, which gives you 100 presets producing
first-class reverb, delay and modulation effects plus numerous multi-effects
in excellent audio quality.
The mixing consoles of the PRO series feature a state-of-the-art integrated
switch-mode power supply. One of the great advantages is that (compared to
conventional circuits) a switch-mode power supply adapts to mains voltages
between 100 and 240 volts automatically. Furthermore, due to its much greater
efficiency, it consumes much less energy than a conventional power supply
unit.
FBQ Feedback Detection System
The FBQ Feedback Detection System integrated into the graphic EQ of your
UB1832FX-PRO is one of this mixer’s most outstanding features.
This ingenious circuitry lets you immediately recognize and eliminate feedback
frequencies. The FBQ Feedback Detection System uses the LEDs in the frequency
band faders of the graphic EQ to indicate the critical frequencies. This way,
what once used to be a labor-intensive search for feedback frequencies is now
an activity that even a child could master.
Voice Canceller
We have added another useful feature to the EURORACK UB1832FX-PRO: the Voice
Canceller.
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 microphone capsules are very delicate in their
construction, output voltage is very low and therefore susceptible to
interference. Therefore, mic signal voltage is amplified directly at the mixer
input to a higher signal level that is less prone to interference. This
higher, interference-safe signal level has to be achieved through
amplification using an amplifier of the highest quality in order to amplify
the signal and add as little noise to it as possible. The IMP “Invisible” Mic
Preamp performs this role beautifully, leaving no traces of noise or sound
coloration. Interference that could take place at the preamplification level
could affect signal quality and purity, and would then be passed on to all
other devices, resulting in inaccurate sounding program during recording or
playback.
Level-setting
Signals fed into the mixer using a DI-box (Direct Injection) or the output of
a sound card or a keyboard, often have to be adjusted to the operating level
of your mixing console.
Frequency response correction
Using the equalizers found in each channel strip, you can simply, quickly and
effectively adjust the way a signal sounds.
Effects mixing
In addition to the effects processor contained in your mixer, using the insert
connectors on the mono channels and both aux busses lets you insert additional
signal processors into your signal path.
· Signal distribution:
Individual signals adjusted at each channel strip are laid out at the aux
sends and returns, and are either fed into external effects processors or fed
back to the internal effects processor. Then, the signals are brought back
into the main mix either via the aux return connectors or via direct internal
wiring. The mix for the on-stage musicians is also created using the aux sends
(monitor mix). Similarly, for example, signals for recording equipment, power
amplifiers, headphones and 2-track outputs can also be taken.
· 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, you’ll 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 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.
The control surface of BEHRINGER mixing consoles is optimized in such a way that these functions become easy to fulfil while the signal path remains simple to follow.
Caution!
We should like to draw your attention to the fact that extreme volumes may
damage your hearing and/or your headphones or loudspeakers. Turn the MAIN MIX
faders and phones control in the main section fully down before you switch on
the unit. Always be careful to set the appropriate volume.
6 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
1.2 The user’s manual
The user’s 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://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.
For the moment, just try and trace the signal path from the microphone input
to the aux send 1 connector. Don’t be put off by the huge range of
possibilities; it’s easier than you think! If you look at the overview of the
controls at the same time, you’ll be able to quickly familiarize yourself with
your mixing console and you’ll soon be making the most of all its many
possibilities.
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.
2.1 Mono channels
2.1.1 Microphone and line inputs
1.3 Before you get started
1.3.1 Shipment
Your mixing console was carefully packed in the factory to guarantee safe
transport. Nevertheless, we recommend that you carefully examine the packaging
and its contents for any signs of physical damage, which may have occurred
during transit.
If the unit is damaged, please do NOT return it to us, but notify your dealer
and the shipping company immediately, otherwise claims for damage or
replacement may not be granted.
UB2222FXPRO
UB2442FXPRO
Fig. 2.1: Connectors and controls of mic/line inputs
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 inoperative.
Please ensure that only qualified people install and operate the mixing
console. During installation and operation, the user must have sufficient
electrical contact to earth, otherwise electrostatic discharges might affect
the operation of the unit.
1.3.3 Online registration
Please register your new BEHRINGER equipment right after your purchase by
visiting http://behringer.com and read the terms and conditions of our
warranty carefully.
Should your BEHRINGER product malfunction, it is our intention to have it
repaired as quickly as possible. To arrange for warranty service, please
contact the BEHRINGER 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 (http://behringer.com).
Registering your purchase and equipment with us helps us process your repair
claims more quickly and efficiently.
Thank you for your cooperation!
MIC
Each mono input channel offers a balanced microphone input via XLR as well as
switchable phantom power (+48 volt) for powering condenser microphones. Please
mute your monitor system before you switch on phantom
power. Otherwise potentially damaging thumps will be sent to your speakers.
Please also note the instructions in chapter 5.5 “Voltage supply, phantom
power and fuse”.
LINE IN
Each mono input also has a balanced line input on a 1/4″ jack. You can also
connect unbalanced devices using mono jacks to these inputs. Please remember
that you can use either the microphone input or the
line input of a channel, but not both at the same time!
INSERT
Insert points enable the processing of a signal with dynamic processors or
equalizers. They are sourced pre-fader, pre-EQ and pre-aux send. Detailed
information on using insert points can be found in chapter 5.3. Unlike the
UB2442FX-PRO, the UB1622FX-PRO, UB1832FX-PRO
and UB2222FX-PRO have their insert points located on the rear of the console.
7 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
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 +4 dBu, 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, low-frequency signal components (75 Hz,
18 dB/octave).
2.1.2 Equalizer
All mono input channels have a 3-band equalizer with semi-parametric mid
bands. All bands provide boost or cut of up to 15 dB. In the central position,
the equalizer is off (flat).
2.1.3 Monitor and effects busses (Aux Sends)
UB1622FXPRO
UB2442FXPRO
Fig. 2.3: Aux Send control MON and FX in the channel strips
Monitor and effects busses (AUX sends) source their signals via a control from
one or more channels and sum these signals to a so-called bus. This bus signal
is sent to an aux send connector (for monitoring applications: MON OUT) and
then routed, for example, to an active monitor speaker or external effects
device. In the latter case, the effects return can then be brought back into
the console via the aux return connectors.
All monitor and effects busses are mono, are tapped into post EQ and offer
amplification of up to +15 dB.
Pre-fader/Post-fader
When using effects on a channel signal, it is usual to have the aux send post
fader so that the balance between effect and dry signal stays constant even
when the channel fader is altered. If this were not the case, the effects
signal of the channel would remain audible even when the channel fader is
turned all the way down. For monitoring, the aux sends are generally pre-
fader, i.e. they operate independently of the position of the channel fader.
PRE
When the PRE switch is pressed down, the associated aux send is taken pre-
fader.
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 80 Hz
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.
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 (UB2442FX-PRO and UB2222FX-PRO),
otherwise the internal effects return will be muted. This is not relevant if
you use the FX OUT jack to drive an external effects device.
UB1622FX-PRO and UB1832FX-PRO: On these con-soles, the above note refers to
the STEREO AUX RETURN 2 jacks as these models do not have a dedicated effect
output.
8 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
2.1.4 Routing switch, PAN, SOLO and channel fader
SUB (1-2 and 3-4) The SUB switch routes the signal to the corresponding
subgroups. The UB2442FX-PRO has 4 subgroups (1-2 and 3-4).
MAIN The MAIN switch routes the signal to the main mix bus. The channel fader
determines the channel’s volume in the main mix (or submix).
2.2 Stereo channels
2.2.1 Channel inputs
UB2442FXPRO Fig. 2.4: The panorama and routing controls and the channel fader
PAN
The PAN control determines the position of the channel signal within the
stereo image. When working with subgroups, you can use the PAN control to
assign the signal to just one output, which gives you additional flexibility
in recording situations. For example, when routing to subgroups 3 and 4,
panning hard left will route the signal to group output 3 only, and panning
hard right will route to group output 4 only.
MUTE
The MUTE switch breaks the signal path pre-channel fader, hence muting that
channel in the main mix. The aux sends which are set to post-fader are
likewise muted for that channel, while 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”).
UB2222FX-PRO
UB2442FX-PRO
Fig. 2.5: The various stereo channel inputs
UB2442FX-PRO
Each stereo channel has two balanced line level inputs on jacks for left and right channels. Channels 9/10 and 11/12 on the UB2442FX-PRO 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 UB2442FX-PRO,
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 (UB2442FX-
PRO only).
9 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
LEVEL
For level matching, the stereo inputs on the UB1622FX-PRO, UB1832FX-PRO and
UB2222FX-PRO have a LEVEL switch to select between +4 dBu and -10 dBV. At -10
dBV (homerecording level), the input is more sensitive than at +4 dBu (studio
level).
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.
AUX SEND 1, 2 and 4
The AUX SEND 1 control governs the master send level of the mix created by the
individual channel AUX 1 sends.
Likewise, the AUX SEND 2 contol is the master control for the aux 2 bus, and
AUX SEND 4 controls the AUX 4 bus.
2.2.3 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.
2.2.4 Routing switch, solo and channel fader
All Models Fig. 2.6: Balance control and mute switch
BAL The BAL (ANCE) control has a similar function to the PAN control in the
mono channels. The balance control determines the levels of the left and right
input signals relative to each other before both signals are routed to the
left/right main mix bus (or odd/even subgroup). The remaining control elements
in the stereo channels perform the same functions as their counterparts in the
mono channels (MUTE switch, MUTE and CLIP LEDs, SOLO switch, SUB and MAIN
switches and channel fader).
UB2442FX-PRO Fig. 2.7: The AUX SEND controls of the main section
AUX SEND 3 (FX)
The FX control determines the signal level for effects processing, i.e.
regulates the level to an external (or the internal) effects device. UB1622FX-
PRO and UB1832FX-PRO: On these consoles, this function is performed by the AUX
SEND 2 control (FX).
SOLO You can use the SOLO switch to separately monitor the aux sends via the /
PHONES/CTRL ROOM 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).
2.3.2 Aux send jacks
2.3 Interface panel and main section
Where it was useful to trace the signal flow from top to bottom in order to
gain an understanding of the channel strips, we now look at the mixing console
from left to right. The signals are, so to speak, collected from the same
point on each of the channel strips and then routed to the main section all
together.
2.3.1 MON control, aux sends 1, 2 and 3 (FX)
Turning up the AUX 1 control in a channel routes the signal to the aux send
bus 1. As the UB1832FX-PRO is equipped with an additional monitor path,
its first aux control in the channel strips is named MON. The console also has
a dedicated master fader (MON SEND) for this aux path.
UB2442FXPRO Fig. 2.8: Aux send jacks
UB1832FXPRO
AUX SEND jacks
The AUX SEND jack should be used when hooking up a monitor power amp or active
monitor speaker system. The relevant aux path should be set pre-fader.
On the UB2222FX-PRO, aux send 1 is hard wired as pre-fader and hence called
MON. Model UB1832FX-PRO has a dedicated monitor output (MON OUT jack), cf.
chapter 2.3.4.
As already mentioned, the aux sends in the channels–if set post-fader–can be
used to connect to external effects devices.
10 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
AUX SEND (FX)
The AUX SEND (FX) jack carries the master aux mix (from the channel’s FX
controls). You can connect this to an external effects device to process the
FX bus. The processed signal can then be brought from the effects device back
into the STEREO AUX RETURN jacks.
2.3.3 Stereo aux return connectors
2.3.4 The monitor section of the UB1832FX-PRO One of the ways that the
UB1832FX-PRO differs from the other models of this series is that it has a
separate monitor output.
UB1832FX-PRO Fig. 2.10: Monitor output of the UB1832FX-PRO
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.
UB1832FXPRO Fig. 2.9: The aux return connectors
UB2442FXPRO
On the UB2222FX-PRO, UB1832FX-PRO and UB1622FX-PRO the STEREO AUX RETURN jacks are located on the front panel of the unit.
STEREO AUX RETURN
The STEREO AUX RETURN 1 jacks generally serve as the return for the effects
mix (created using the post-fader aux sends) by connecting the output of an
external effects device. If only the left jack is connected, the AUX RETURN is
automatically switched to mono.
You can also use these jacks as additional line inputs.
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)”.
STEREO AUX RETURN FX
The STEREO AUX RETURN FX jacks accept the effects mix return (created using
the channel FX sends). If these jacks are already in use as additional inputs,
you can route the effects signal back into the console via a different
channel. The advantage of this is that you can now use that channel’s EQ on
the effects return signal.
In this instance, the FX control of the channel being used as an effects
return should be turned fully counterclockwise, otherwise feedback problems
could occur!
If you wish to use the internal effects processor, do not plug any connectors
into the STEREO AUX RETURN FX jacks, unless you want to tap the processed
signal via the FX OUT (UB2222FX-PRO and UB2442FX-PRO only).
UB1832FX-PRO Fig. 2.11: Monitor fader of the UB1832FX-PRO
MUTE Press the MUTE switch to mute the monitor send.
SOLO The SOLO switch routes the monitor send to the solo bus (post-fader and
post-mute) or to the PFL bus (pre-fader and pre-mute). The position of the
MODE switch in the main section determines which of the buses is selected.
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.
UB2442FX-PRO Fig. 2.12: Stereo aux return and stereo aux return (to aux send) controls
11 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
STEREO AUX RETURN 1/2 (TO AUX SEND)
MAIN MIX / TO SUBS
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 (UB1622FX-
PRO wired to an effects device):
Monitor mix with effect
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 UB2442FX-PRO you can select which subgroup the signal is assigned to
(switches 1-2 / 3-4, to the right of MAIN MIX / TO SUBS).
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.
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 (UB2442FX-PRO 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.
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 receives signal from…
Extenal effects device routes signal back to…
The effect signal reaches the
monitor mix via…
UB1622FX-PRO AUX SEND 2
UB1832FX-PRO AUX SEND 1
UB2222FX-PRO AUX SEND 2
UB2442FX-PRO AUX SEND 2
: Optional AUX SEND 1
STEREO AUX RETURN 1 STEREO AUX RETURN 1
Connectors
(TO AUX SEND 1) Control
STEREO AUX RETURN 2 MONITOR Switch of the
Connectors
FX/AUX 2 RET
STEREO AUX RETURN STEREO AUX RETURN 1 Connectors 1 or 2 (TO AUX SEND 1) Control
STEREO AUX RETURN 1 STEREO AUX RETURN 1
Connectors
(TO AUX SEND 1) Control
STEREO AUX RETURN 2 STEREO AUX RETURN 2
Connectors
(TO AUX SEND 2) Control
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.
2.3.6 Supplement to UB1832FX-PRO
The UB1832FX-PRO 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.
Tab. 2.1: Connectors and controls for monitor mix with effect
STEREO AUX RETURN FX
On consoles UB1622FX-PRO and UB1832FX-PRO this is the STEREO AUX RETURN 2, on
consoles UB2222FX-PRO and UB2442FX-PRO this is the STEREO AUX RETURN 3.
Use the STEREO AUX RETURN FX control to determine the level of the signal
routed from the AUX RETURN FX jacks to the main mix. If nothing is connected
to these jacks, the output of the built-in effects module will appear.
UB1832FX-PRO Fig. 2.13: The FX/AUX 2 return fader of the UB1832FX-PRO
MON The MON switch routes the signals appearing at the AUX RETURN 2 jacks to
the monitor path, along with the monitor signals from the channels. If you
wish to route the effect signal to the monitor mix, you can also switch aux 1
to pre-fader, drive the effect device from the aux 1 output and return the
effect signal via AUX RETURN 2 to the monitor signal.
12 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
2.3.7 XPQ Surround function (UB1832FX-PRO only)
2-TRACK 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.
2.3.9 Lamp socket (UB2442FX-PRO only)
UB1832FX-PRO
Use this BNC socket to connect a gooseneck lamp (12 V DC, max. 0.5 A).
Fig. 2.14: Control elements of the surround function
2.3.10 Level meter and monitoring
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 transparent. 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 2-TRACK 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.
2.3.8 2-Track input, 2-Track output
UB2442FX-PRO
Fig. 2.16: Control room and phones sections of the UB2442FX-PRO
2-TRACK The 2-TRACK switch routes the signal from the 2-TRACK INPUT jacks to
the level meter, the CONTROL ROOM OUT outputs and the PHONES jack–this is a
simple way to check recorded signals via monitor speakers or headphones.
SUB 1-2 or SUB The SUB 1-2 switch routes subgroup 1-2 to the level meter,
CONTROL ROOM OUT and phones.
SUB 3-4
The SUB 3-4 switch performs a similar function for subgroup 3-4 (UB2442FX-PRO only).
Fig. 2.15: 2-track connectors and lamp socket
UB2442FXPRO
MAIN MIX
The MAIN MIX switch sends the main mix to the CONTROL ROOM OUT and the PHONES
output as well as to the level meter.
2-TRACK INPUT
The 2-TRACK 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 EURORACK 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 2-TRACK INPUT, you can easily listen to additional sources
(e.g. cassette recorder, MD player, sound card, etc.).
Using the voice canceller function (UB1832FX-PRO only), you can process all
signals being brought into your mixing console via these connectors.
PHONES/CTRL ROOM
Use this control to adjust the control room output level and the headphones
volume.
2-TRACK TO MAIN
When the 2-TRACK TO MAIN switch is depressed, the 2-track input is routed to
the main mix and thus serves as an additional input for tape machines. You can
also connect MIDI instruments or other signals here that do not require any
further processing. At the same time, this switch disables the main mix to
tape output link.
13 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
POWER
The blue POWER LED indicates that the device is switched on.
+48 V
The red “+48 V” LED lights up when phantom power is switched on. Phantom power
is required to operate condenser microphones. While phantom power is switched
on, do not connect or
disconnect microphones on the mixer (or the stagebox/wallbox). Connect any
micro-phones before switching on phantom power. Additionally, monitor/PA
speakers should be muted before you activate the phantom power supply. After
switching on, wait approx. one minute before adjusting the input gain so that
the system has time to stabilize.
LEVEL METER
The high-precision level meters always give you an accurate display of signal
level.
LEVEL SETTING:
When recording to digital recorders, the recorder’s 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 -10 dB.
Snare drums should be driven to approx. 0 dB. The peak meters of your EURORACK
display level almost independent
of frequency. A recording level of 0 dB is recommended for all types of
signal.
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 The PFL LED indicates that the peak meter is set to PFL mode.
PHONES Jack You can connect headphones to this 1/4″ stereo jack (UB2442FX-PRO:
2 phones jacks). The signal routed to the PHONES connection is the same as
that routed to the control room output.
All Model Fig. 2.17: PHONES jack
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 PFL’d 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 channel’s position in the stereo image is
maintained. The solo bus carries the output signals of the channel pan
controls, the aux sends and the stereo line inputs. On the UB2442FX-PRO all
aux returns, and on the UB1832FX-PRO only aux return 2 can be routed to the
solo bus. The solo bus is, as a rule, taken post-fader.
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.
UB2442FX-PRO Fig. 2.18: Subgroup and main mix faders
14 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
3. Graphic 9-Band Equalizer (UB1832FX-PRO only)
Fig. 3.1: The graphic stereo equalizer of the UB1832FX-PRO
UB1832FX-PRO
The graphic stereo equalizer allows you to tailor the sound to the room acoustics.
24BIT DUAL ENGINE DSP
LEVEL 24BIT A/D & D/A CONVERTER
Fig. 4.1: Digital effects module
All Models
EQUALIZER
FX OUT
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.
Mixing consoles UB2222FX-PRO and UB2442FX-PRO have a separate output for the
effects device, which is unbalanced and stereo (tip = left signal; ring =
right signal; sleeve = ground/shielding). Thus, you can record, for example, a
vocal track enhanced with reverb in parallel to a “dry” vocal track; when
doing the mix-down later on, you can freely determine the amount of reverb
added.
The UB2442FX-PRO has the effect output on the rear, UB2222FX-PRO has it
located next to the aux sends on the front panel.
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!
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).
FX FOOTSW
Connect a standard foot switch to the foot switch jack and use this to switch
the effects processor on and off. A light at the bottom of the display
indicates wheater the effects processor has been muted by the foot switch. In
Chapter 6.2 you will find an illustration showing how to connect your
foot switch correctly.
LEVEL
The LED level meter on the effects module should display a sufficiently high
level. Take care to ensure that the clip LED only lights up at peak levels. If
it is lit constantly, you are overloading the effects processor and this could
cause unpleasant distortion.
4. Digital Effects Processor
24-BIT MULTI-EFFECTS PROCESSOR
Here you can find a list of all presets stored in the multi-effects processor.
This built-in effects module produces high-grade standard effects such as
reverb, chorus, flanger, delay and various combination effects. Use the Aux
Send FX on the channels and the Aux Send FX master control to determine the
input signal of the effects processor.
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.
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.
15 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
5. Rear Panel Connectors
5.3 Inserts
5.1 Main mix outputs, insert points and control room outputs
Fig. 5.3: Insert points
UB1622FX-PRO
UB2442FX-PRO Fig. 5.1: Main Mix outputs, main mix insert points and control
room outputs
MAIN OUTPUTS The MAIN outputs carry the MAIN MIX signal and are on balanced
XLR jacks with a nominal level of +4 dBu. In parallel with this, 1/4″ phone
jacks carry the main mix signal in a balanced format (UB1622FX-PRO: here, the
phone jack outputs are unbalanced and located on the front panel).
CONTROL ROOM OUTPUTS (CTRL OUT) The control room output is normally connected
to the monitoring system in the control room and carries the stereo mix or,
when selected, the solo signals.
MAIN INS(ERTS) (UB2442FX-PRO only) These are the insert points for the main
mix. In the signal path, they are post-main mix amp, but pre-main fader(s).
Use them to insert, for example, a dynamics processor or graphic equalizer.
Please also note the information on insert points in chapter 5.3.
5.2 Subgroup outputs
On the UB2442FX-PRO the channel insert points are located on the control panel
between the line input and the GAIN control.
Insert points are very useful to process channel signals with dynamic
processors or equalizers. Unlike reverb or other effects devices, whose
signals are usually added to the dry signal, dynamic processors are most
effective on the complete signal. In this case, aux send paths are a less-
than-perfect solution. It is better to interrupt the signal path and insert a
dynamic processor and/or equalizer. After processing, the signal is routed
back to the console at precisely the same point it left. However, the channel
signal path is interrupted only if a plug is inserted into the corresponding
jack (stereo phone plug: tip = signal output; ring = return input). All mono
input channels are equipped with inserts.
They are pre-fader, pre-EQ and pre-aux send. Inserts can also be used as pre-
EQ direct outputs, without interrupting the signal path. To this end, you will
need a cable fitted with mono phone plugs on the tape machine or effect device
end, and a bridged stereo phone plug on the console side (tip and ring
connected).
5.4 Direct outputs (UB2442FX-PRO only)
Fig. 5.4: Direct outputs
UB2442FX-PRO
DIRECT OUTPUTS
The direct outputs of the UB2442FX-PRO (1 each per mono input channel) are
ideal for recording if several tracks are to be recorded simultaneously. These
unbalanced phone jacks are post-EQ, post-mute and post-fader.
Fig. 5.2: Subgroup outputs
UB2442FX-PRO
5.5 Voltage supply, phantom power supply and fuse
SUB OUTPUTS
The subgroup outputs are unbalanced and provide the mix of those channels
assigned to each subgroup with the SUB switch (UB2442FX-PRO: switches 1-2 or
3-4) next to the channel faders. Thus, you can, for example, route a subgroup
to a second console or use the output as a recording output in parallel to the
main outputs. In this way, you can record several tracks simultaneously. With
an 8-track recorder, use Y cables and wire the inputs of your machine so that
you have 2 x 4 tracks available (e.g. channel 1 to track 1 and 2, etc.). In
the first pass, you can record the tracks 1, 3, 5 and 7, in the second the
tracks 2, 4, 6 and 8.
The EURORACK UB2442FX-PRO already has subgroup outputs wired in parallel (1-5,
2-6, etc.).
Fig. 5.5: Voltage supply and fuse
All models
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.
16 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
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 all-pole 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 wired in a balanced
configuration. In case of doubt, contact the microphone manufacturer!
Connect microphones before you switch on the phantom power supply. Please do
not connect microphones to the mixer (or the stagebox/ wallbox) while the
phantom power supply is switched on. In addition, the monitor/PA loud-speakers
should be muted before you activate the phantom power supply. After switching
on, wait approx. one minute to allow for system stabilization.
Caution! Please also note the information given in chapter 6.2.1 “Audio
connections”.
6.2 Cable connections
You will need a large number of cables for the various connections of the
console. The illustrations below show the wiring of these cables. Be sure to
use only high-grade cables.
¼” TS footswitch connector strain relief clamp sleeve tip
sleeve pole 1/ground
tip pole 2 The footswitch connects both poles momentarily
Fig. 6.1: Foot switch connector
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).
SERIAL NUMBER
Please note the important information on the serial number given in chapter
1.3.3.
Balanced use with XLR connectors
21 3
6. Installation
6.1 Rack mounting
input
1 = ground/shield 2 = hot (+ve) 3 = cold (-ve)
The packaging of your mixing console contains two 19″ rack mounts for
12
installation on the side panels of the console.
3
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.
output For unbalanced use, pin 1 and pin 3 have to be bridged
Fig. 6.2: XLR connections
Caution! You must never use unbalanced XLR connectors (PIN 1 and 3 connected)
at the MIC input jacks if you want to use the phantom power supply.
17 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
Unbalanced ¼” TS connector strain relief clamp sleeve
tip
Insert send return ¼” TRS connector
strain relief clamp
sleeve ring tip
sleeve (ground/shield)
Fig. 6.3: 1/4″ mono plug
tip (signal)
Balanced ¼” TRS connector
strain relief clamp
sleeve ring tip
sleeve ground/shield
ring cold (-ve) tip hot (+ve)
For connection of balanced and unbalanced plugs, ring and sleeve have to be
bridged at the stereo plug.
Fig. 6.4: 1/4″ stereo plug
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.
Fig. 6.5: Insert send/return stereo plug
¼” TRS headphones connector strain relief clamp sleeve ring tip
sleeve ground/shield
ring right signal tip left signal
Fig. 6.6: Stereo plug for headphones connection
18 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
7. Specifications
Microphone Inputs (IMP Invisible Mic Preamp)
Type
Mic E.I.N. (20 Hz – 20 kHz) @ 0 source resistance @ 50 source resistance @ 150
source resistance Frequency response
Gain range Max. input level Impedance Signal-to-noise ratio
Distortion (THD+N)
XLR, electronically balanced, discrete input circuit
-134 dB / 135.7 dB A-weighted -131 dB / 133.3 dB A-weighted -129 dB / 130.5 dB A-weighted <10 Hz – 150 kHz (-1 dB), <10 Hz – 200 kHz (-3 dB) +10 to +60 dB +12 dBu @ +10 dB Gain approx. 2.6 k balanced 110 dB / 112 dB A-weighted (0 dBu In @ +22 dB gain) 0.005% / 0.004% A-weighted
Line Input Type
Impedance
Gain range Max. input level
1/4″ TRS connector electronically balanced
approx. 20 k balanced approx. 10 k unbalanced
-10 to +40 dB
30 dBu
Fade-Out Attenuation1 (Crosstalk Attenuation)
Main fader closed
90 dB
Channel muted
89 dB
Channel fader closed
89 dB
Frequency Response
Microphone Input to Main Out <10 Hz – 90 kHz <10 Hz – 160 kHz
+0 dB / -1 dB +0 dB / -3 dB
Stereo Inputs Type
Impedance Max. input level
1/4″ TRS connector, electronically balanced
approx. 20 k
+22 dBu
EQ Stereo Channels Low Low Mid High Mid High
Aux Sends Type Impedance Max. output level
Stereo Aux Returns Type
Impedance Max. input level
Main Outputs Type
UB1622FX-PRO only: Impedance
Max. output level
Control Room Outputs Type Impedance Max. output level
Headphones Outputs Type Max. output level DSP Converter
Sampling rate
EQ Mono Channels
Low Mid High
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 +22 dBu
1/4″ TRS connector, electronically balanced approx. 20 k bal. / 10 k unbal.
+22 dBu
XLR, electronically balanced and 1/4″ TRS balanced 1/4″ TS connector
unbalanced approx. 240 symm. / approx. 120 unbalanced +28 dBu +22 dBu
(UB1622FX-PRO)
1/4″ TS connector unbalanced approx. 120 +22 dBu
1/4″ TRS connector, unbalanced +19 dBu / 150 (+25 dBm) 24-bit 24-bit Sigma-
Delta, 64/128-times oversampling 40 kHz
19 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
Main Mix System Data2
Noise Main mix @ -, Channel fader @ – Main mix @ -0 dB, Channel fader @ –
Main mix @ 0 dB, Channel fader @ 0 dB
-101 dB -100 dB (UB2442FX-PRO)
-93 dB -96 dB (UB1622FX-PRO) -87 dB (UB2442FX-PRO)
-81 dB -83 dB (UB1622FX-PRO) -80 dB (UB2442FX-PRO)
Power Supply Mains voltage Power consumption
Fuse Mains connection
100 to 240 V~, 50/60 Hz
47 W (UB2442FX-PRO) 46 W (UB2222FX-PRO) 43 W (UB1832FX-PRO) 37 W (UB1622FX-
PRO)
100 – 240 V ~: T 1.6 A H 250 V
Standard IEC receptacle
Physical UB2442FX-PRO
Dimensions (H x W x D)
UB2222FX-PRO / UB1832FX-PRO Dimensions (H x W x D)
UB1622FX-PRO Dimensions (H x W x D)
approx. 5.3 x 17.3 x 16.5″ approx. 135 x 440 x 420 mm
approx. 3.5 x 16.9 x 14″ approx. 90 x 430 x 355 mm
approx. 3.8 x 11.9 x 13.8″ approx. 97 x 301 x 351 mm
Weight (Net)
UB2442FX-PRO UB2222FX-PRO UB1832FX-PRO UB1622FX-PRO
approx. 14.5 lbs / 6.6 kg approx. 12.1 lbs / 5.5 kg approx. 11.7 lbs / 5.3 kg approx. 9.5 lbs / 4.3 kg
Measuring conditions:
1: 1 kHz rel. to 0 dBu; 20 Hz – 20 kHz; line input; main output; unity gain.
2: 20 Hz – 20kHz; measured at main output. Channels 1 – 4 unity gain; EQ flat;
all channels on main mix;
channels 1/3 as far left as possible, channels 2/4 as far right as possible.
Reference = +6 dBu.
BEHRINGER is constantly striving to manintain the highest professional
standards. As a result of these efforts, modifications may be made from time
to time to existing products without prior notice. Specifications and
appearance may differ from those listed or liiustrated.
20 EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO User Manual
FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
EURORACK UB2442FX-PRO/UB2222FX-PRO/ UB1832FX-PRO/UB1622FX-PRO
Responsible Party Name: Address:
Phone/Fax No.:
MUSIC Group Services US Inc.
18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA
Phone: +1 425 672 0816 Fax: +1 425 673 7647
EURORACK UB2442FX-PRO/UB2222FX-PRO/ UB1832FX-PRO/UB1622FX-PRO
complies with the FCC rules as mentioned in the following paragraph:
This equipment has been tested and found to comply with the limits for a Class
B 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 following measures:
· 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 for help.
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 user’s authority to use the equipment.
We Hear You
References
Read User Manual Online (PDF format)
Read User Manual Online (PDF format) >>