Behringer EURODESK SX2442FX Brochure - Page 3

Page 3 of 8 EURODESK SX2442 EFFECTS PARALLEL EFFECTS: Cathedral (01-02) Plate (03-04) Concert (05-06) Stage (07-08) Room (09-10) Studio (11-12) Small Hall (13-14) Ambience (15-16) Early Reflections (17) Spring Reverb (19-20) Gated Reverb (21-22) Reverse Reverb (23-24) Chorus (25-30) Flanger (31-35) Phaser (36-39) Rotary Speaker (40-42) Delay (43-52) Chorus & Reverb (53-54) Flanger & Reverb (55-56) Phaser & Reverb (57-58) Rotary Speaker & Reverb (59-60) Delay & Reverb (61-63) Delay & Chorus (64-67) Delay & Flanger (68-70) INSERT EFFECTS: Compressor (71-73) Expander (74-76) Gate (77-78) Ultramizer (79-80) Ultrabass (81-82) Panner (83-85) Exciter (86-88) Auto Filter (89-91) Tube Distortion (92-93) Guitar Amp (94-97) Vinylizer (98) Test Tone (99) Very dense and long reverberation of a large cathedral Simulates early plate reverb Simulates a small theater or large concert hall Very dense reverb, especially for live applications Simulates room's wall reverb. This particular room has two windows and yellow wallpaper Adds spaciousness to the sound Simulates hallway reverberation Simulates the reverb of a middle-sized room without late reflections Dense reverb with pronounced early reflections Simulates spring reverb Reverb that's synthetically cut off Reverb that slowly gets louder Slight detuning of the original signal A delayed signal is added to the original signal, causing a phase shift Another phase-shift effect Simulation of a rotating electronic organ speaker Delay of the input signal with repetitions Combination of chorus and reverb Flanger combined with reverb Phaser combined with reverb Rotary Speaker effect combined with Reverb Delay combined with Reverb Widens the signals and produces repetition effects Similar to Delay & Chorus, but with audible up/downward modulation Soft or loud passages are raised or lowered in level respectively Noise and hum is reduced in level A gate opens for a specific period of time to make a specific signal pass, then closes abruptly Compression through automatic adaptation of compression parameters Combines sub-harmonics processor, bass exciter, and limiter The signal "wanders" between the sides of the stereo basis Adds synthetic harmonics to the signal, resulting in increased presence and "loudness" Level-dependent boost of a specific frequency band, similar to auto-wah or electric guitars Simulates the tube distortion of classic guitar amplifiers Guitar amp simulation Adds the clicks and noise of old vinyl records 1-kHz test tone. Virtually indistinguishable from some genres of techno. A Low Cut button eliminates the frequencies where unwanted infrasonics such as mic handling, P-pops or wind noise occur. FX1 and FX 2 dials add a blend of up to two effects, and AUX 1 and AUX 2 dials help create your monitor mix. Press the PRE button to send a raw, EQ-free signal to the monitors. Near every mono channel's fader you'll find a 1-2, 3-4 and MAIN button. By engaging the MAIN button, the signal is sent to the main mix. Or, if you engage the 1-2 button, the channel becomes part of a bus. Twist the PAN control all the way to the left to assign it to Sub 1, or all the way to the right for Sub 2. The same principle applies to the 3-4 button. A Mute button with accompanying LED cuts the signal from the channel, and a Clip LED helps you dial in a distortion-free post-EQ signal. The Solo button on individual channels routes the subgroup signal to the solo bus or PreFader Listen-depending on whether the signal has been included in a subgroup. Instead of XLR inputs, stereo channels 17-24 have left and right balanced/unbalanced line level inputs. Channels 17-20 feature the same controls as the mono channels, but with a four-band EQ that gives you control of HIGH, HIGH MID, LOW MID and LOW. This is especially useful for EQ'ing the critical midrange frequency content found in keyboard signals. Stereo channels 21 through 24, designed for signals that do not require EQ, have a simplified interface consisting of a Level, AUX 1 and AUX 2 dial. Can you say laptop backing track feeds, drum machines, tone modules, DJ mixers or CD players? Finally, all four sub-mix buses feature an independent fader (naturally), Solo switch with bright LED, and assign buttons for routing them to Left or Right stereo channels. Packed with tasty details that make your creative life easier. • We solved the problem of what to do when you want to play music during breaks but don't want to have to mute every channel or turn down every fader. Just push CD/Tape STANDBY button to A) mute all mixer channels and B) solo just your CD/Tape source. We didn't just give you a MONO output for subwoofers. We gave it a built-in variable low pass crossover, saving you money on outboard gear. • We added a footswitch jack that you can use to control either internal or external effects. • We gave you a complete Phones and Control Room assignment matrix so you can send mains, buses, CD/Tape or auxes out at the touch of a button. • We added a routing button to Talkback so you can talk directly to either a monitor mix or the house mix for public announcements. • We made the 9-band equalizer assignable to either AUX 1 or the main mix. Take On The World Not every town on the planet uses the same voltage common in yours. Unfortunately, this sometimes doesn't occur to jet-setting sound technicians until they're 5,000 miles from home. With the SX2442FX, this is never an issue. The internal autorange power supply can run on anything from 100 to 240 V with noise-free audio, top-quality transient response and low power consumption. Buy it now. Teach your great grandkids how to run it. BEHRINGER mixers last and last. We use top quality parts such as long-wear faders, sealed rotary controls and premium circuit boards. We have 20 years of experience figuring out how to compensate for clumsy load-ins, spilled drinks, crazed guitarists and millions of road miles. The result is a mixer you can count on day after day and night after night. Continued on next page