Behringer EURORACK UB1204-PRO Quick Start Manual page 8

14
EURORACK UB1204FX-PRO/UB1204-PRO
EURORACK UB1204FX-PRO/UB1204-PRO Controls
Controls
MIC – Each mono input channel offers a balanced
(1)
(EN)
microphone input via the XLR connector and also
features a switchable +48 V phantom power supply for
condenser microphones.
LINE – IN Each mono input also features a balanced
(2)
line input on a 1/4" connector. Unbalanced devices
(mono jacks) can also be connected to these inputs.
LOW CUT – The mono channels of the mixing consoles
(3)
have a high-slope LOW CUT filter for eliminating
unwanted, low-frequency signal components
(75 Hz, 18 dB/octave).
GAIN – Use the GAIN control to adjust the input
(4)
gain. This control should always be turned fully
counterclockwise whenever you connect or disconnect a
signal source to one of the inputs.
EQUALIZER – All mono input channels include a 3-band
(5)
equalizer. All bands provide boost or cut of up to 15 dB.
In the central position, the equalizer is inactive.
AUX 1 (MON) – In the UB1204FX-PRO, aux send 1 can
(6)
be switched pre-fader and is thus particularly suitable
for setting up monitor mixes. In the UB1204-PRO,
the first aux send is labeled MON and is permanently
switched pre-fader.
PRE – When the PRE switch is pressed, aux send 1 is
(7)
sourced pre-fader.
AUX 2 (FX) – The aux send labeled FX is for sending to
(8)
effects devices and is thus set up to be post-fader. In the
UB1204FX-PRO, the FX send is routed directly to the
built-in effects processor.
PAN – The PAN control determines the position of the
(9)
channel signal within the stereo image. This control
features a constant-power characteristic, which means
the signal is always maintained at a constant level,
irrespective of position in the stereo panorama.
MUTE/ALT 3-4 – You can use the MUTE/ALT 3-4 switch
(10)
to divert the channel from the main mix bus to the
Alt 3-4 bus. This mutes the channel from the main mix.
MUTE LED – The MUTE LED indicates that the relevant
(11)
channel is diverted to the submix (Alt 3-4 bus).
CLIP LED – The CLIP LED lights up when the input
(12)
signal is driven too high. In this case, turn down the
GAIN control and, if necessary, check the setting of the
channel EQ.
SOLO – The SOLO switch (UB1204FX-PRO only) is used
(13)
to route the channel signal to the solo bus (Solo In Place)
or to the PFL bus (Pre Fader Listen). This enables you to
monitor a channel signal without affecting the main
output signal. The signal you hear is sourced either
before (PFL, mono) or after (solo, stereo) both the pan
control and the channel fader.
CHANNEL INPUTS – Each stereo channel has two
(14)
balanced line level inputs on 1/4" connectors for left and
right channels. If only the connector marked "L" is used,
the channel operates in mono. Stereo channels are
designed to handle typical line level signals.
LEVEL – For level matching, the stereo inputs feature
(15)
a LEVEL switch which selects between +4 dBu and
-10 dBV. At -10 dBV (home-recording level), the input is
more sensitive than at +4 dBu (studio level).
AUX SEND 1 (MON) – The AUX SEND control MON acts as
(16)
master control for aux send 1 and determines the level
of the summed signal. In the UB1204FX-PRO, the MON
control is called AUX SEND 1.
AUX SEND 2 (FX) – Similarly, the FX control
(17)
(AUX SEND 2) determines the level for aux send 2.
SOLO – You can use the SOLO switch
(18)
(UB1204FX-PRO only) to separately monitor the
aux sends via the CONTROL ROOM/PHONES outputs and
check these with the level meters.
AUX SEND 1 – If you use aux send 1 pre-fader, you would
(19)
usually connect the AUX SEND 1 connector to monitors
via a power amp (or an active monitor system). If you
use aux send 1 post-fader, proceed as described under
aux send 2.
AUX SEND 2 – The AUX SEND 2 connector outputs the
(20)
signal you picked up from the individual channels using
the FX control. You can connect this to the input of an
effects device in order to process the FX bus signal.
Once an effects mix is created, the processed signal can
then be routed from the effects device output back into
the STEREO AUX RETURN connectors.
STEREO AUX RETURN 1 – The STEREO AUX RETURN 1
(21)
connectors generally serve as the return path for the
effects mix generated using the post-fader aux send.
This is where you connect the output signal of the
external effects device. If only the left connector is used,
the AUX RETURN automatically operates in mono.
STEREO AUX RETURN 2 – The STEREO AUX RETURN 2
(22)
connectors serve as the return path for the effects mix
generated using the FX control. If these connectors
already function as additional inputs, you can route
the effects signal back into the console via a different
channel, with the added benefit that the channel EQ
can be used to adjust the frequency response of the
effects return signal.
STEREO AUX RETURN 1 – STEREO AUX RETURN 1 is a
(23)
stereo control which determines the level of the signal
in the main mix.
STEREO AUX RETURN MON – The STEREO AUX RETURN
(24)
MON control has a special function: it can be used to add
an effect to a monitor mix.
STEREO AUX RETURN 2 (FX) – The STEREO AUX
(25)
RETURN 2 control determines the level of signals fed into
the AUX RETURN 2 connectors which are routed to the
main mix.
MAIN MIX/ALT 3-4 – The MAIN MIX/ALT 3-4 switch
(26)
routes the signal connected to STEREO AUX
RETURN 2 to either main mix (not pressed) or submix
(Alt 3-4, pressed).
2-TRACK INPUT – The 2-TRACK INPUT RCA connectors
(27)
are provided for connecting a 2 track machine
(e.g. DAT recorder). They can also be used as stereo
line input.
2-TRACK OUTPUT – These connectors are wired in
(28)
parallel with the MAIN OUT and carry the main mix signal
(unbalanced). Connect the 2-TRACK OUTPUT to the inputs
of your recording device. The final output level can be
adjusted via the high-precision MAIN MIX fader.
2-TRACK – The 2-TRACK switch routes the signal
(29)
from the 2-TRACK IN connectors to the level meter,
the CONTROL ROOM OUT outputs and the PHONES
connector this is a simple way to check recorded signals
via monitor speakers or headphones.
ALT 3-4 – Similarly, the ALT 3-4 switch routes the
(30)
signal from the Alt 3-4 bus to the same path for
monitoring purposes.
MAIN MIX – The MAIN MIX switch sends the main mix
(31)
signal to the above-mentioned outputs and to the
level meter.
PHONES/CTRL RM – Use this control to set control room
(32)
output level and headphones volume respectively.
2-TRACK TO MAIN – When the 2-TRACK TO MAIN switch
(33)
is depressed, the 2-track input is routed to the main mix
and thus serves as an additional input for 2-track
machines. You can also connect MIDI instruments or
other signal sources here that do not require any further
processing. At the same time, this switch disables the
main mix to 2-TRACK OUTPUT link.
15
Quick Start Guide
POWER – The blue POWER LED indicates that the FX FOOTSW – Connect a standard foot switch to the
(34) (49)
device is switched on. foot switch connector; use this to switch the effects
processor on and off. A dot at the bottom of the display
+48 V – The red "+48 V" LED lights up when the
(35)
indicates if the effects processor is muted via the
phantom power supply is switched on. The phantom
foot switch.
power supply is necessary for condenser microphones
and is activated using the switch on the rear of LEVEL – The LED level meter on the effects module
(50)
the device. should display a sufficiently high level. Take care to
ensure that the clip LED only lights up at peak levels.
MODE (UB1204FX-PRO only) – The MODE
(36)
switch determines whether the channels' SOLO PROGRAM – You can select the effect preset by turning
(51)
switch operates as PFL (Pre Fader Listen) or as solo the PROGRAM control. The display flashes the number
(Solo In Place). of the current preset. To recall the selected preset,
press the button; the flashing stops. You can also recall
MAIN SOLO (UB1204FX-PRO only) – The MAIN SOLO
(37)
the selected preset with the foot switch.
LED lights up as soon as a channel or aux send solo
switch is pressed. The MODE switch also has to be set
at "Solo".
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PFL (UB1204FX-PRO only) – The PFL LED indicates
(38)
that the peak meter is set to PFL mode.
PHONES – You can connect headphones to this 1/4"
(39)
TRS connector. The signal on the PHONES connection is
sourced from the control room output.
ALT 3-4 AND MAIN MIX FADER – Use the high-
(40)
precision quality faders to control the output level of
the Alt 3-4 subgroup and main mix.
MAIN OUTPUTS – The MAIN outputs carry the
(41)
MAIN MIX signal and are on balanced XLR connectors
with a nominal level of +4 dBu.
ALT 3-4 OUTPUTS – The ALT 3-4 outputs are
(42)
unbalanced and carry the signals of the channels that
you have assigned to this group using the MUTE switch.
This can be used to route a subgroup to a further
mixing console for example, or or it could be used as
a recording output working in tandem with the main
output. This means you could record to four tracks
simultaneously. The icing on the cake, so to speak,
is that you could connect Y-cables to these four outputs
and then connect your 8-track recorder in such a way
that you have 2 x 4 tracks (e.g. channel 1 feeds track 1
and track 2, etc.). In the first recording pass, you record
on tracks 1, 3, 5 and 7 and in the second pass, on tracks
2, 4, 6 and 8.
CONTROL ROOM OUTPUTS – The control room
(43)
output is normally connected to the monitor system
in the control room and provides the stereo mix or,
when required, the solo signal.
FUSE HOLDER – The console is connected to the mains
(44)
via the cable supplied which meets the required safety
standards. Blown fuses must only be replaced by fuses
of the same type and rating.
IEC MAINS RECEPTACLE – The mains connection is via
(45)
a cable with IEC mains connector. An appropriate mains
cable is supplied with the equipment.
POWER – Use the POWER switch to power up the
(46)
mixing console.
PHANTOM – The PHANTOM switch activates the
(47)
phantom power supply for the XLR connectors of
the mono channels which is required to operate
condenser microphones. The red +48 V LED lights
up when phantom power is on. As a rule, dynamic
microphones can still be used with phantom power
switched on, provided that they are wired in a
balanced configuration. In case of doubt, contact the
microphone manufacturer!
24-BIT MULTI-EFFECTS PROCESSOR – Here you
(48)
can find a list of all presets stored in the
multi-effects processor.