Behringer EURORACK UB1622FX-PRO Quick Start Manual page 9

16
EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO
EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX- PRO/UB1622FX-PRO Controls
Controls
MIC – Each mono input channel offers a balanced
(1)
(EN)
microphone input via XLR as well as switchable phantom
power (+48 volt) for powering condenser microphones.
LINE IN – Each mono input also has a balanced line input
(2)
on a 1/4" jack. You can also connect unbalanced devices
using mono jacks to these inputs.
INSERT – Insert points enable the processing of a signal
(3)
with dynamic processors or equalizers. They are sourced
pre-fader, pre-EQ and pre-aux send.
GAIN – Use the GAIN control to adjust the input gain.
(4)
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.
LOW CUT – Additionally, the mono channels of the
(5)
mixing consoles have a high-slope LOW CUT filter
for eliminating unwanted, low-frequency signal
components (75 Hz, 18 dB/octave).
EQUALIZER – The upper (HIGH) and the lower (LOW)
(6)
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.
PRE – When the PRE switch is pressed down,
(7)
the associated aux send is taken pre-fader.
FX – The aux send marked FX offers a direct route to the
(8)
built-in effects processor and is therefore post-fader and
post-mute.
PAN – The PAN control determines the position of the
(9)
channel signal within the stereo image.
MUTE – The MUTE switch breaks the signal path
(10)
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.
(11)
CLIP LED – The CLIP-LED lights up when the input
(12)
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
(13)
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).
SUB (1-2 and 3-4) – The SUB switch routes the signal
(14)
to the corresponding subgroups. The UB2442FX-PRO has
4 subgroups (1-2 and 3-4).
MAIN – The MAIN switch routes the signal to the
(15)
main mix bus.
LOW CUT and MIC GAIN – These two control elements
(16)
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
(17)
levels on channels 13-16 (UB2442FX-PRO only).
LEVEL – For level matching, the stereo inputs on the
(18)
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).
BAL – The BAL (ANCE) control has a similar function
(19)
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).
AUX SEND 1, 2 and 4 – The AUX SEND 1 control governs
(20)
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.
AUX SEND 3 (FX) – The FX control determines the signal
(21)
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
(22)
monitor the aux sends via the PHONES/CTRL ROOM
outputs and check these with the level meters.
AUX SEND JACKS – The AUX SEND jack should be used
(23)
when hooking up a monitor power amp or active monitor
speaker system. The relevant aux path should be set
pre-fader.
AUX SEND (FX) – The AUX SEND (FX) jack carries
(24)
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.
STEREO AUX RETURN – The STEREO AUX RETURN 1
(25)
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.
STEREO AUX RETURN FX – The STEREO AUX RETURN FX
(26)
jacks accept the effects mix return (created using the
channel FX sends).
The first aux send (MON) on this console is used to set up
(27)
the monitor mix from the channels and route it to the
MON SEND fader.
MUTE – Press the MUTE switch to mute the
(28)
monitor send.
SOLO – The SOLO switch routes the monitor send to the
(29)
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.
STEREO AUX RETURN 1 – The STEREO AUX RETURN 1
(30)
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.
STEREO AUX RETURN 1/2 (TO AUX SEND) – The two
(31)
right-hand STEREO AUX RETURN controls have a
special function: they can be used to add an effect to a
monitor mix.
17
Quick Start Guide
STEREO AUX RETURN FX – On consoles UB1622FX-PRO 2-TRACK TO MAIN – When the 2-TRACK TO MAIN
(32) (48)
and UB1832FX-PRO this is the STEREO AUX RETURN 2, switch is depressed, the 2-track input is routed to the
on consoles UB2222FX-PRO and UB2442FX-PRO this main mix and thus serves as an additional input for
is the STEREO AUX RETURN 3. Use the STEREO AUX tape machines. You can also connect MIDI instruments
RETURN FX control to determine the level of the signal or other signals here that do not require any
routed from the AUX RETURN FX jacks to the main mix. further processing.
If nothing is connected to these jacks, the output of the
MODE – The MODE switch determines whether the
(49)
built-in effects module will appear.
channels' SOLO switch operates as PFL (Pre Fader Listen)
MAIN MIX TO SUBS – This switch routes the signal fed or as solo (Solo In Place).
(33)
in via the STEREO AUX RETURN FX jacks either to the
MAIN SOLO – The MAIN SOLO LED lights up as soon as
(50)
main mix (not pressed) or to the submix (pressed).
a channel or aux send solo switch is pressed. The MODE
SOLO RETURNS – Additionally, this model allows you switch must be set to "Solo".
(34)
to route the aux returns together to the solo bus and
PFL – The PFL LED indicates that the peak meter is set
(51)
the PFL bus. The LED lights up when Solo is on.
to PFL mode.
STEREO AUX RETURN 4 (UB2442FX-PRO only) –
(35)
PHONES JACK – You can connect headphones to
(52)
This control behaves the same way as the other
this 1/4" stereo jack (UB2442FX-PRO: 2 phones jacks).
stereo aux returns. Additionally, it provides for a
The signal routed to the PHONES connection is the same
simple monitor path using the switch PHONES/CTRL
as that routed to the control room output.
ROOM ONLY.
LEFT/RIGHT SWITCH – The switches located above
(53)
PHONES/CTRL ROOM ONLY – Use this switch to route
(36)
the subgroup faders assign the subgroup signal either
the signal appearing at the AUX RETURN 4 jacks to the
to the left or right side of the main bus. Similarly, it can
control room and headphones outputs.
be routed to both sides or none at all. In the latter case,
MON – The MON switch routes the signals appearing at the submix is present only at the corresponding
(37)
the AUX RETURN 2 jacks to the monitor path, along with subgroup outputs.
the monitor signals from the channels.
EQUALIZER – Use this switch to activate the
(54)
XPQ – The XPQ surround function can be graphic equalizer.
(38)
enabled/ disabled with the XPQ TO MAIN switch.
MAIN MIX/MONITOR – This toggles the graphic
(55)
This is a built-in effect that widens the stereo width,
equalizer between the main mix and the monitor mix.
thus making the sound more lively and transparent.
With the switch up (not depressed), the equalizer
Use the SURROUND control to determine the intensity
is active in stereo on the main mix, and inactive
of this effect.
on the monitor mix. When the switch is depressed
VOICE CANCELLER – Here, you have a filter circuitry the equalizer is active in mono on the monitor mix,
(39)
that lets you almost entirely remove the vocal portion and inactive on the main mix.
of a recording. The filter is constructed in such a way
FEEDBACK DETECTION – The switch turns on the
(56)
that voice frequencies are targeted without majorly
FBQ Feedback Detection System. It uses the LEDs in
affecting the rest of the signal. Additionally, the filter
the frequency band faders to indicate the critical
seizes only the middle of the stereo image,
frequencies. On a per-need basis, lower the frequency
exactly there where the vocals are typically located.
range in question somewhat in order to avoid feedback.
2-TRACK INPUT – The 2-TRACK INPUT jacks The graphic stereo equalizer has to be turned on in
(40)
(RCA) are designed to accept a 2-track recorder order to use this function.
(e.g. DAT recorder), or they can be used as stereo line
24-BIT MULTI-EFFECTS PROCESSOR – Here you can
(57)
input. The output signal of a second EURORACK or
find a list of all presets stored in the multi-effects
the BEHRINGER ULTRALINK PRO MX882 can also be
processor. This built-in effects module produces
connected here.
high-grade standard effects such as reverb, chorus,
2-TRACK OUTPUT – These connectors are wired
flanger, delay and various combination effects. Use the
(41)
in parallel to the MAIN OUT and carry the main mix Aux Send FX on the channels and the Aux Send FX
signal (unbalanced). Connect this to the inputs of your master control to determine the input signal of the
recording device. The final output level can be adjusted effects processor.
via the high-precision MAIN MIX fader.
LEVEL – The LED level meter on the effects module
(58)
LAMP SOCKET – Use this BNC socket to connect a should display a sufficiently high level. Take care to
(42)
gooseneck lamp (12 V DC, max. 0.5 A). ensure that the clip LED only lights up at peak levels.
If it is lit constantly, you are overloading the effects
2-TRACK – The 2-TRACK switch routes the signal
(43)
processor and this could cause unpleasant distortion.
from the 2-TRACK INPUT jacks to the level meter,
the CONTROL ROOM OUT outputs and the PHONES PROGRAM – You can select the effect preset by turning
(59)
jack—this is a simple way to check recorded signals via the PROGRAM control. The display flashes with the
monitor speakers or headphones. number of the current preset. To recall the selected
preset, press on the button; the flashing stops. You can
SUB 1-2 or SUB – The SUB 1-2 switch routes subgroup
(44)
also recall the selected preset with the foot switch.
1-2 to the level meter, CONTROL ROOM OUT and phones.
MAIN OUTPUTS – The MAIN outputs carry the MAIN
(60)
SUB 3-4 – The SUB 3-4 switch performs a similar
(45)
MIX signal and are on balanced XLR jacks with a
function for subgroup 3-4 (UB2442FX-PRO only).
nominal level of +4 dBu.
MAIN MIX – The MAIN MIX switch sends the main mix
(46)
CONTROL ROOM OUTPUTS (CTRL OUT) – The control
(61)
to the CONTROL ROOM OUT and the PHONES output as
room output is normally connected to the monitoring
well as to the level meter.
system in the control room and carries the stereo mix
or, when selected, the solo signals.
PHONES/CTRL ROOM – Use this control to adjust the
(47)
control room output level and the headphones volume.
MAIN INS(ERTS) – These are the insert points for the
(62)
main mix. In the signal path, they are post-main mix
amp, but pre-main fader(s).
SUB OUTPUTS – The subgroup outputs are
(63)
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.).
INSERTS – Insert points are very useful to process
(64)
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.
DIRECT OUTPUTS – The direct outputs of the
(65)
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.
FUSE HOLDER/IEC MAINS RECEPTACLE
(66)
POWER SWITCH – Use the POWER switch to turn on
(67)
the mixing console. The POWER switch should always
be in the "Off" position when you are about to connect
your unit to the mains.
PHANTOM SWITCH – The PHANTOM switch activates
(68)
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!
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