Behringer EURORACK UB2222FX-PRO Quick Start Guide - Page 9

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EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO

Quick Start Guide

(1)

MIC

–

Each mono input channel offers a balanced

microphone input via XLR as well as switchable phantom

power (+48 volt) for powering condenser microphones.

(2)

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.

(3)

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.

(4)

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.

(5)

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).

(6)

EQUALIZER

–

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.

(7)

PRE

–

When the PRE switch is pressed down,

the associated aux send is taken pre-fader.

(8)

FX

–

The aux send marked FX offers a direct route to the

built-in effects processor and is therefore post-fader and

post-mute.

(9)

PAN

–

The PAN control determines the position of the

channel signal within the stereo image.

(10)

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.

(11)

MUTE

LED

– The MUTE LED indicates a muted channel.

(12)

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.

(13)

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).

(14)

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).

(15)

MAIN

–

The MAIN switch routes the signal to the

main mix bus.

(16)

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).

(17)

LINE GAIN

–

Use this control to adjust the line signal

levels on channels 13-16 (UB2442FX-PRO only).

(18)

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).

(19)

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).

(20)

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.

(21)

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).

(22)

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.

(23)

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.

(24)

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.

(25)

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.

(26)

STEREO AUX RETURN FX

–

The STEREO AUX RETURN FX

jacks accept the effects mix return (created using the

channel FX sends).

(27)

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.

(28)

MUTE

–

Press the MUTE switch to mute the

monitor send.

(29)

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.

(30)

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.

(31)

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.

(32)

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.

(33)

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).

(34)

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.

(35)

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.

(36)

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.

(37)

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.

(38)

XPQ

–

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.

(39)

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.

(40)

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.

(41)

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.

(42)

LAMP SOCKET

–

Use this BNC socket to connect a

gooseneck lamp (12 V DC, max. 0.5 A).

(43)

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.

(44)

SUB 1-2 or SUB

–

The SUB 1-2 switch routes subgroup

1-2 to the level meter, CONTROL ROOM OUT and phones.

(45)

SUB 3-4

–

The SUB 3-4 switch performs a similar

function for subgroup 3-4 (UB2442FX-PRO only).

(46)

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.

(47)

PHONES/CTRL ROOM

–

Use this control to adjust the

control room output level and the headphones volume.

(48)

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.

(49)

MODE

–

The MODE switch determines whether the

channels’ SOLO switch operates as PFL (Pre Fader Listen)

or as solo (Solo In Place).

(50)

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”.

(51)

PFL

–

The PFL LED indicates that the peak meter is set

to PFL mode.

(52)

PHONES JACK

–

You can connect headphones to

this °" 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.

(53)

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.

(54)

EQUALIZER

–

Use this switch to activate the

graphic equalizer.

(55)

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.

(56)

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.

(57)

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.

(58)

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.

(59)

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.

(60)

MAIN OUTPUTS

–

The MAIN outputs carry the MAIN

MIX signal and are on balanced XLR jacks with a

nominal level of +4 dBu.

(61)

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.

(62)

MAIN INS(ERTS)

–

These are the insert points for the

main mix. In the signal path, they are post-main mix

amp, but pre-main fader(s).

(63)

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. The EURORACK UB2442FX-PRO already

has subgroup outputs wired in parallel (1-5, 2-6, etc.).

(64)

INSERTS

–

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.

(65)

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.

(66)

FUSE HOLDER/IEC MAINS RECEPTACLE

(67)

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.

(68)

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!

Check Out behringer.com for Full Manual

(EN)

Controls

EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-

PRO/UB1622FX-PRO Controls

Behringer EURORACK UB2222FX-PRO Quick Start Guide - Page 9

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