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In purchasing the BEHRINGER XENYX you have acquired a mixer whose small size belies its incredible versatility and audio performance. The XENYX Series represents a milestone in the development of mixing console technology. With the new XENYX microphone preamps including phantom power as an option, balanced line inputs and a powerful effects section, the mixing consoles in the XENYX Series are optimally equipped for live and studio applications. Owing to state-of-the-art circuitry, your XENYX console produces a warm analog sound that is unrivalled. With the addition of the latest digital technology, these best-in-class consoles combine the advantages of both analog and digital technology.
Terminals marked with this symbol carry electrical current of suffi cient 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 modifi cation should be performed only by qualifi ed personnel.
This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be suffi cient 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.
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 qualifi ed personnel.
To reduce the risk of fi re 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 fi lled with liquids, such as vases, shall be placed on the apparatus.
These service instructions are for use by qualifi ed 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 qualifi ed service personnel.
XENYX Mic Preamp
The microphone channels feature high-end XENYX Mic Preamps that compare well with costly outboard preamps in terms of sound quality and dynamics and 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 you to use the greatly extended dynamic range of your 24-bit/192-kHz HD recorder to the full, thereby maintaining optimal audio quality
"British EQ"
The equalizers used for the XENYX Series are based on the legendary circuitry of top-notch consoles made in Britain, which are renowned throughout the world for their incredibly warm and musical sound character. Even with extreme gain settings these equalizers ensure outstanding audio properties.
KLARK TEKNIK Effects Processor
Additionally, your XENYX mixing console has an effects processor designed by KLARK TEKNIK that has 24-bit A/D and D/A converters included, which gives you 32 presets producing first-class reverb, delay and modulation effects plus numerous multi-effects in excellent audio quality.
The XENYX mixing consoles are equipped with a state-of-the-art switched-mode power supply (SMPS). Unlike conventional circuitry an SMPS provides an optimum supply current regardless of the input voltage. And thanks to its considerably higher efficiency a switched-mode power supply uses less energy than conventional power supplies.
FBQ Feedback Detection System
The FBQ Feedback Detection System integrated into the graphic EQ of your QX1832USB 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 XENYX QX1832USB: the Voice Canceller. 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.
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.
A mixing console fulfils three main functions:
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.
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.
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.
This chapter describes the various control elements of your mixing console. All controls, switches and connectors will be discussed in detail.
MIC
Each mono input channel offers a balanced microphone input via the XLR connector and also features switchable +48 V phantom power supply for condenser microphones. The XENYX preamps provide undistorted and noise-free gain as is typically known only from costly outboard preamps.
LINE IN
Each mono input also has a balanced line input on a ¼" jack. You can also connect unbalanced devices using mono cables to these inputs.
INSERT
WIRELESS INPUT
This connector accepts a USB receiver for use with BEHRINGER ULM wireless microphones. Note that only one source may be used per channel, either the wireless connection, XLR input, or the ¼" input.
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 dBu) refers to the line input and shows its sensitivity. The settings for equipment with standard 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).
COMPRESSOR
Each mono channel features a built-in compressor which lowers the dynamic range of the signal and increases its perceived loudness. The loud peaks are squashed down and the quiet sections are boosted. Turn the COMP knob clockwise to add more compression effect. The adjacent LED with light when the effect is engaged.
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). The circuitry of the British EQ is based on the technology used in the best-known top-of-the-line consoles and providing a warm sound without any unwanted side effects. The result are extremely musical equalizers which, unlike simple equalizers, cause no side effects such as phase shifting or bandwidth limitation, even with extreme gain settings of ±15 dB.
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.
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 - QX1832USB) 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.
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.
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").
SUB (1-2 and 3-4)
The SUB switch routes the signal to the corresponding subgroups. The QX2442USB 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).
Each stereo channel has two balanced line level inputs on jacks for left and right channels. Channels 9/10 and 11/12 on the QX2442USB 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 QX2442USB, 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 (QX2442USB only).
LEVEL
For level matching, the stereo inputs on the QX1622USB, QX1832USB and QX2222USB 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).
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.
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.
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).
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.
Turning up the AUX 1 control in a channel routes the signal to the aux send bus 1.
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 control 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 level for effects processing, i.e. regulates the level to an external (or the internal) effects device. QX1622USB and QX1832USB: 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 CONTROL ROOM/PHONES 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).
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.
As already mentioned, the aux sends in the channels— if set post-fader— can be used to connect to external effects devices.
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.
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.
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).
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.
One of the ways that the QX1832USB differs from the other models of this series is that it has a separate monitor output.
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.
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.
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.
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. An example follows (QX1622USB wired to an effects device):
Monitor mix with effect
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. 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.
Tab. 2.1: Connectors and controls for monitor mix with effect
External effects device receives signal from... | External effects device routes signal back to... | The effect signal reaches the monitor mix via... | |
QX1622USB | AUX SEND 2 | STEREO AUX RETURN 1 connectors | STEREO AUX RETURN 1 (TO AUX SEND 1) control |
QX1832USB | AUX SEND 1 | STEREO AUX RETURN 2 connectors | MONITOR switch of the FX/AUX 2 RET |
QX2222USB | AUX SEND 2 | STEREO AUX RETURN connectors 1 or 2 | STEREO AUX RETURN 1 (TO AUX SEND 1) control |
QX2442USB | AUX SEND 2 | STEREO AUX RETURN 1 connectors | STEREO AUX RETURN 1 (TO AUX SEND 1) control |
optional: | AUX SEND 1 | STEREO AUX RETURN 2 connectors | STEREO AUX RETURN 2 (TO AUX SEND 2) control |
STEREO AUX RETURN FX
On consoles QX1622USB and QX1832USB this is the STEREO AUX RETURN 2, on consoles QX2222USB and QX2442USB 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.
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). On the QX2442USB you can select which subgroup the signal is assigned to (switches 1-2 / 3-4, to the right of MAIN MIX / TO SUBS).
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 (QX2442USB 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.
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.
The QX1832USB 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.
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.
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.
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-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 XENYX 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. MP3 player, MD player, sound card, etc.). Using the voice canceller function (QX1832USB only), you can process all signals being brought into your mixing console via these connectors.
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.
Use this BNC socket to connect a gooseneck lamp (12 V DC, max. 0.5 A).
2-TR/USB
The 2-TR/USB switch routes the signal from the 2-TRACK and USB inputs 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 (QX2442USB only).
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.
PHONES/CTRL ROOM
Use this control to adjust the control room output level and the headphones volume.
2-TR/USB TO MAIN
When the 2-TR/USB TO MAIN switch is depressed, the 2-track input is routed to the main mix and thus serves as an additional input. 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.
POWER
The 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.
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.
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 the 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 QX2442USB all aux returns, and on the QX1832USB only aux return 2 can be routed to the solo bus. The solo bus is, as a rule, taken post-fader.
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 (LEVEL SET)
The PFL (LEVEL SET) LED indicates that the peak meter is set to PFL mode.
PHONES jack
You can connect headphones to this ¼" stereo jack (QX2442USB: 2 phones jacks). The signal routed to the PHONES connection is the same as that routed to the control room output.
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.
The graphic stereo equalizer allows you to tailor the sound to the room acoustics.
EQ IN
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.
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.
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).
Your mixer has a built-in multi-FX processor designed by KLARK TEKNIK, a renowned leader in signal processing. Follow these steps to add an effect to one or more channels.
FX OUT
Mixing consoles QX2222USB and QX2442USB 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.
FX FOOTSW.
Connect a standard foot switch to the foot switch jack and use this to switch the effects processor on and off. Connect a dual footswitch to the FX FOOTSW jack to control PARAMETER 3 (TAP) with the second footswitch.
LEVEL
The level meter on the effects module should display a sufficiently high level. Take care to ensure that the overload (OL) meter segment only lights up at peak levels. If it is lit constantly, you are overloading the effects processor and this could cause unpleasant distortion.
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, ¼" phone jacks carry the main mix signal in a balanced format (QX1622USB: here, the phone jack outputs are unbalanced and located on the top 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) (QX2442USB 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.
SUB OUTPUTS
The subgroup outputs are unbalanced and provide the mix of those channels assigned to each subgroup with the SUB switch (QX2442USB: 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 XENYX QX2442USB already has subgroup outputs wired in parallel (1-5, 2-6, etc.).
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).
Direct outputs (QX2442USB only)
DIRECT OUTPUTS
The direct outputs of the QX2442USB (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.
The XENYX mixer line has built-in USB connectivity, allowing stereo signals to be sent to and from the mixer and a computer. The audio sent from the mixer to a computer is identical to the MAIN MIX. Audio being sent to the mixer from a computer can be routed to the main mix with the 2-TR/USB TO MAIN button. Connect the USB type B plug into the USB jack on the mixer, and the other end into a free USB port on your computer. There are no required drivers, but we recommend that PC users install the ASIO driver which can be downloaded from behringer.com. Note - the mixer cannot be bus-powered via USB. Always use the internal power supply to power the unit.
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.
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.
PHANTOM switch
The PHANTOM switch activates the phantom power (necessary to operate condenser microphones) on the XLR sockets. 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!
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.
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).
QX2442USB
Microphone Inputs | |
XENYX Mic preamps | 10 |
Type | XLR connector, balanced, discrete input circuit |
Mic E.I.N. (20 Hz - 20 kHz) | |
@ 0 Ω source resistance | -134 dB / -136 dB A-weighted |
@ 50 Ω source resistance | -131 dB / -133 dB A-weighted |
@ 150 Ω source resistance | -129 dB / -131 dB A-weighted |
Frequency response | <10 Hz - 150 kHz (-1 dB) <10 Hz - 200 kHz (-3 dB) |
Gain range | +10 dB to +60 dB |
Max. input level | +12 dBu @ +10 dB gain |
Impedance | 2 kΩ balanced |
Signal-to-noise ratio | 108 dB / 110 dB A-weighted (0 dBu In @ +22 dB gain) |
Distortion (THD+N) | 0.005% / 0.004% A-weighted |
Phantom power | Switchable, +48 V |
Line Input | |
Type | ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Gain range | -10 dB to +40 dB |
Max. input level | 30 dBu |
Frequency Response (Mic In → Main Out) | |
<10 Hz - 160 kHz | ±3 dB |
Stereo Inputs | |
Type | 4 x ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Gain range | -20 dB to +20 dB |
Max. input level | +22 dBu |
2-Track In | |
Type | RCA connector |
Impedance | 10 kΩ |
Max. input level | +22 dBu |
Equalizer 3-Band Semi-Parametric | |
Low | 80 Hz / ±15 dB |
Mid | Variable 100 Hz - 8 kHz / ±15 dB |
High | 12 kHz / ±15 dB |
Equalizer 4-Band Fixed | |
Low | 80 Hz / ±15 dB |
Low mid | 500 Hz / ±15 dB |
High mid | 3 kHz / ±15 dB |
High | 12 kHz / ±15 dB |
Channel Inserts | |
Type | ¼" TRS connector, unbalanced |
Max. input level | +22 dBu |
AUX Sends | |
Type | 4 x ¼" TRS connector, balanced |
Impedance | 120 Ω |
Max. output level | +22 dBu |
AUX Returns | |
Type | 4 x ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Max. input level | +22 dBu |
Main Outputs | |
Type | XLR and ¼" connectors, balanced |
Impedance | 240 Ω balanced, 120 Ω unbalanced |
Max. output level | +28 dBu |
Control Room Output | |
Type | ¼" TRS connector, balanced |
Impedance | 120 Ω |
Max. output level | +22 dBu |
Phones Output | |
Type | ¼" TRS connector, unbalanced |
Impedance | 25 Ω |
Max. output level | +21 dBu / 150 Ω (+25 dBm) |
2-Track Out | |
Type | RCA connector |
Impedance | 1 kΩ |
Max. output level | +22 dBu |
DSP | |
Type | KLARK TEKNIK |
Converter | 24-bit Sigma-Delta 64/128-times oversampling |
Sampling rate | 40 kHz |
Wireless Input | |
USB dongle | Accepts signals from 2 independent Behringer ULM mics |
Main Mix System Data (Noise) | |
Main mix @ -∞, channel fader @ -∞ | -102 dB / -105 dB A-weighted |
Main mix @ 0 dB, channel fader @ -∞ | -85 dB / -88 dB A-weighted |
Main mix @ 0 dB, channel fader @ 0 dB | -77 dB / -79 dB A-weighted |
Power Supply | |
Mains voltage | 100 – 240 V~, 50/60 Hz |
Power consumption | 50 W |
Fuse (100 - 240 V~, 50/60 Hz) | T 1.6 A H 250 V |
Mains connector | Standard IEC receptacle |
USB | |
Connector | Type B |
Audio | Stereo in/out |
Converter | 16-bit |
Sample rate | 48 kHz |
Physical/Weight | |
Dimensions (W x D x H) | 445 x 440 x 140 mm (17.5 x 17.3 x 5.5") |
Weight | 5.7 kg (12.6 lbs) |
QX2222USB
Microphone Inputs | |
XENYX Mic preamps | 8 |
Type | XLR connector, balanced, discrete input circuit |
Mic E.I.N. (20 Hz - 20 kHz) | |
@ 0 Ω source resistance | -134 dB / -136 dB A-weighted |
@ 50 Ω source resistance | -131 dB / -133 dB A-weighted |
@ 150 Ω source resistance | -129 dB / -131 dB A-weighted |
Frequency response | <10 Hz - 150 kHz (-1 dB) <10 Hz - 200 kHz (-3 dB) |
Gain range | +10 dB to +60 dB |
Max. input level | +12 dBu @ +10 dB gain |
Impedance | 2 kΩ balanced |
Signal-to-noise ratio | 106 dB / 108 dB A-weighted (0 dBu In @ +22 dB gain) |
Distortion (THD+N) | 0.005% / 0.004% A-weighted |
Phantom power | Switchable, +48 V |
Line Input | |
Type | ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Gain range | -10 dB to +40 dB |
Max. input level | 30 dBu |
Frequency Response (Mic In → Main Out) | |
<10 Hz - 160 kHz | ±3 dB |
Stereo Inputs | |
Type | 4 x ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Gain range | -20 dB to +20 dB |
Max. input level | +22 dBu |
2-Track In | |
Type | RCA connector |
Impedance | 10 kΩ |
Max. input level | +22 dBu |
Equalizer 3-band semi-parametric | |
Low | 80 Hz / ±15 dB |
Mid | Variable 100 Hz - 8 kHz / ±15 dB |
High | 12 kHz / ±15 dB |
Equalizer 4-Band Fixed | |
Low | 80 Hz / ±15 dB |
Low mid | 500 Hz / ±15 dB |
High mid | 3 kHz / ±15 dB |
High | 12 kHz / ±15 dB |
Channel Inserts | |
Type | ¼" TRS connector, unbalanced |
Max. input level | +22 dBu |
AUX Sends | |
Type | 3 x ¼" TRS connector, balanced |
Impedance | 120 Ω |
Max. output level | +22 dBu |
AUX Returns | |
Type | 3 x ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Max. input level | +22 dBu |
Main Outputs | |
Type | XLR and ¼" connectors, balanced |
Impedance | 240 Ω balanced, 120 Ω unbalanced |
Max. output level | +28 dBu |
Control Room Output | |
Type | ¼" TRS connector, balanced |
Impedance | 120 Ω |
Max. output level | +22 dBu |
Phones Output | |
Type | ¼" TRS connector, unbalanced |
Impedance | 25 Ω |
Max. output level | +21 dBu / 150 Ω (+25 dBm) |
2-Track Out | |
Type | RCA connector |
Impedance | 1 kΩ |
Max. output level | +22 dBu |
DSP | |
Type | KLARK TEKNIK |
Converter | 24-bit Sigma-Delta |
64/128-times oversampling | |
Sampling rate | 40 kHz |
Wireless Input | |
USB dongle | Accepts signals from 2 independent Behringer ULM mics |
Main Mix System Data (Noise) | |
Main mix @ -∞, channel fader @ -∞ | -100 dB / -103 dB A-weighted |
Main mix @ 0 dB, channel fader @ -∞ | -85 dB / -88 dB A-weighted |
Main mix @ 0 dB, channel fader @ 0 dB | -78 dB / -80 dB A-weighted |
Power Supply | |
Mains voltage | 100 – 240 V~, 50/60 Hz |
Power consumption | 50 W |
Fuse (100 - 240 V~, 50/60 Hz) | T 1.6 A H 250 V |
Mains connector | Standard IEC receptacle |
USB | |
Connector | Type B |
Audio | Stereo in/out |
Converter | 16-bit |
Sample rate | 48 kHz |
Physical/Weight | |
Dimensions (W x D x H) | 430 x 370 x 90 mm (16.9 x 14.6 x 3.5") |
Weight | 4.8 kg (10.6 lbs) |
QX1832USB
Microphone Inputs | |
XENYX Mic preamps | 6 |
Type | XLR connector, balanced, discrete input circuit |
Mic E.I.N. (20 Hz - 20 kHz) | |
@ 0 Ω source resistance | -134 dB / -136 dB A-weighted |
@ 50 Ω source resistance | -131 dB / -133 dB A-weighted |
@ 150 Ω source resistance | -129 dB / -131 dB A-weighted |
Frequency response | <10 Hz - 150 kHz (-1 dB) <10 Hz - 200 kHz (-3 dB) |
Gain range | +10 dB to +60 dB |
Max. input level | +12 dBu @ +10 dB gain |
Impedance | 2 kΩ balanced |
Signal-to-noise ratio | 109 dB / 112 dB A-weighted (0 dBu In @ +22 dB gain) |
Distortion (THD+N) | 0.005% / 0.004% A-weighted |
Phantom power | Switchable, +48 V |
Line Input | |
Type | ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Gain range | -10 dB to +40 dB |
Max. input level | 30 dBu |
Frequency Response (Mic In → Main Out) | |
<10 Hz - 160 kHz | ±3 dB |
Stereo Inputs | |
Type | 4 x ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Gain range | -20 dB to +20 dB |
Max. input level | +22 dBu |
2-Track In | |
Type | RCA connector |
Impedance | 10 kΩ |
Max. input level | +22 dBu |
Equalizer 3-band semi-parametric | |
Low | 80 Hz / ±15 dB |
Mid | Variable 100 Hz - 8 kHz / ±15 dB |
High | 12 kHz / ±15 dB |
Equalizer 4-band Fixed | |
Low | 80 Hz / ±15 dB |
Low mid | 500 Hz / ±15 dB |
High mid | 3 kHz / ±15 dB |
High | 12 kHz / ±15 dB |
Channel Inserts | |
Type | ¼" TRS connector, unbalanced |
Max. input level | +22 dBu |
AUX Sends | |
Type | 2 x ¼" TRS connector, unbalanced |
Impedance | 120 Ω |
Max. output level | +22 dBu |
AUX Returns | |
Type | 2 x ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Max. input level | +22 dBu |
Main Outputs | |
Type | XLR and ¼" connectors, balanced |
Impedance | 240 Ω balanced, 120 Ω unbalanced |
Max. output level | +28 dBu |
Control Room Output | |
Type | ¼" TRS connector, balanced |
Impedance | 120 Ω |
Max. output level | +22 dBu |
Phones Output | |
Type | ¼" TRS connector, unbalanced |
Impedance | 25 Ω |
Max. output level | +21 dBu / 150 Ω (+25 dBm) |
2-Track Out | |
Type | RCA connector |
Impedance | 1 kΩ |
Max. output level | +22 dBu |
DSP | |
Type | KLARK TEKNIK |
Converter | 24-bit Sigma-Delta |
64/128-times oversampling | |
Sampling rate | 40 kHz |
Wireless Input | |
USB dongle | Accepts signals from 2 independent Behringer ULM mics |
Main Mix System Data (Noise) | |
Main mix @ -∞, channel fader @ -∞ | -100 dB / -103 dB A-weighted |
Main mix @ 0 dB, channel fader @ -∞ | -88 dB / -91 dB A-weighted |
Main mix @ 0 dB, channel fader @ 0 dB | -80 dB / -82 dB A-weighted |
Power Supply | |
Mains voltage | 100 – 240 V~, 50/60 Hz |
Power consumption | 50 W |
Fuse (100 - 240 V~, 50/60 Hz) | T 1.6 A H 250 V |
Mains connector | Standard IEC receptacle |
USB | |
Connector | Type B |
Audio | Stereo in/out |
Converter | 16-bit |
Sample rate | 48 kHz |
Physical/Weight | |
Dimensions (W x D x H) | 430 x 370 x 90 mm (16.9 x 14.6 x 3.5") |
Weight | 4.7 kg (10.4 lbs) |
QX1622USB
Microphone Inputs | |
XENYX Mic preamps | 4 |
Type | XLR connector, balanced, discrete input circuit |
Mic E.I.N. (20 Hz - 20 kHz) | |
@ 0 Ω source resistance | -134 dB / -136 dB A-weighted |
@ 50 Ω source resistance | -131 dB / -133 dB A-weighted |
@ 150 Ω source resistance | -129 dB / -131 dB A-weighted |
Frequency response | <10 Hz - 150 kHz (-1 dB) <10 Hz - 200 kHz (-3 dB) |
Gain range | +10 dB to +60 dB |
Max. input level | +12 dBu @ +10 dB gain |
Impedance | 2 kΩ balanced |
Signal-to-noise ratio | 107 dB / 110 dB A-weighted (0 dBu In @ +22 dB gain) |
Distortion (THD+N) | 0.005% / 0.004% A-weighted |
Phantom power | Switchable, +48 V |
Line Input | |
Type | ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Gain range | -10 dB to +40 dB |
Max. input level | 30 dBu |
Frequency Response (Mic In → Main Out) | |
<10 Hz - 160 kHz | ±3 dB |
Stereo Inputs | |
Type | 4 x ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Gain range | -20 dB to +20 dB |
Max. input level | +22 dBu |
2-Track In | |
Type | RCA connector |
Impedance | 10 kΩ |
Max. input level | +22 dBu |
Equalizer 3-Band Semi-Parametric | |
Low | 80 Hz / ±15 dB |
Mid | Variable 100 Hz - 8 kHz / ±15 dB |
High | 12 kHz / ±15 dB |
Equalizer 4-Band Fixed | |
Low | 80 Hz / ±15 dB |
Low mid | 500 Hz / ±15 dB |
High mid | 3 kHz / ±15 dB |
High | 12 kHz / ±15 dB |
Channel Inserts | |
Type | ¼" TRS connector, unbalanced |
Max. input level | +22 dBu |
AUX Sends | |
Type | 2 x ¼" TRS connector, balanced |
Impedance | 120 Ω |
Max. output level | +22 dBu |
AUX Returns | |
Type | 2 x ¼" TRS connector, balanced |
Impedance | 20 kΩ balanced, 10 kΩ unbalanced |
Max. input level | +22 dBu |
Main Outputs | |
Type | XLR and ¼" connectors, balanced |
Impedance | 240 Ω balanced, 120 Ω unbalanced |
Max. output level | +28 dBu |
Control Room Output | |
Type | ¼" TRS connector, balanced |
Impedance | 120 Ω |
Max. output level | +22 dBu |
Phones Output | |
Type | ¼" TRS connector, unbalanced |
Impedance | 25 Ω |
Max. output level | +21 dBu / 150 Ω (+25 dBm) |
2-Track Out | |
Type | RCA connector |
Impedance | 1 kΩ |
Max. output level | +22 dBu |
DSP | |
Type | KLARK TEKNIK |
Converter | 24-bit Sigma-Delta |
64/128-times oversampling | |
Sampling rate | 40 kHz |
Wireless Input | |
USB dongle | Accepts signals from 2 independent Behringer ULM mics |
Main Mix System Data (Noise) | |
Main mix @ -∞, channel fader @ -∞ | -100 dB / -102 dB A-weighted |
Main mix @ 0 dB, channel fader @ -∞ | -88 dB / -91 dB A-weighted |
Main mix @ 0 dB, channel fader @ 0 dB | -82 dB / -85 dB A-weighted |
Power Supply | |
Mains voltage | 100 – 240 V~, 50/60 Hz |
Power consumption | 50 W |
Fuse (100 - 240 V~, 50/60 Hz) | T 1.6 A H 250 V |
Mains connector | Standard IEC receptacle |
USB | |
Connector | Type B |
Audio | Stereo in/out |
Converter | 16-bit |
Sample rate | 48 kHz |
Physical/Weight | |
Dimensions (W x D x H) | 325 x 348 x 90 mm (12.8 x 13.7 x 3.5") |
Weight | 3.5 kg (7.7 lbs) |
Asio is a trademark or registered trademark of Steinberg Media Technologies GmbH.
TECHNICAL SPECIFICATIONS AND APPEARANCES ARE SUBJECT TO CHANGE WITHOUT NOTICE AND ACCURACY IS NOT GUARANTEED. BEHRINGER, KLARK TEKNIK, MIDAS, BUGERA, AND TURBOSOUND ARE 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.
© 2013 MUSIC Group IP Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands
For the applicable warranty terms and conditions and additional information regarding MUSIC Group' s Limited Warranty, please see complete details online at www.music-group.com/warranty.
Here you can download full pdf version of manual, it may contain additional safety instructions, warranty information, FCC rules, etc.
Download Behringer XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB - Bus Mixer Manual
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