Behringer Mixer RX1202FX User Manual

User Manual

EURORACK PRO RX1202FX

Premium 12-Input Mic/Line Rack Mixer with XENYX Mic

Preampliﬁers, British EQ's and 24-Bit Multi-FX Processor

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EURORACK PRO RX1202FX User Manual

9. Do not defeat the safety purpose of the polarized

or grounding-type plug. A polarized plug has two blades

with one wider than the other. A grounding-type plug

has two blades and a third grounding prong. The wide

blade or the third prong are provided for your safety. If the

provided plug does not ﬁt into your outlet, consult an

electrician for replacement of the obsolete outlet.

Limited Warranty

§ 1 Warranty

(1) This limited warranty is valid only if you purchased

the product from a BEHRINGER authorized dealer in the

country of purchase. A list of authorized dealers can be

found on BEHRINGER’s website behringer.com under

“Where to Buy“, or you can contact the BEHRINGER oﬃce

closest to you.

Important Safety

Instructions

10. Protect the power cord from being walked on or

pinched particularly at plugs, convenience receptacles,

and the point where they exit from the apparatus.

Terminals marked with this symbol carry

electrical current of suﬃcient magnitude

to constitute risk of electric shock. Use only

(2) MUSIC Group* warrants the mechanical and

electronic components of this product to be free of defects

in material and workmanship if used under normal

operating conditions for a period of one (1) year from

the original date of purchase (see the Limited Warranty

11. Use only attachments/accessories speciﬁed by

the manufacturer.

high-quality commercially-available speaker cables with

1" TS plugs pre-installed. All other installation or

modiﬁcation should be performed only by

qualiﬁed personnel.

12. Use only with the

cart, stand, tripod, bracket, terms in § 4 below), unless a longer minimum warranty

or table speciﬁed by the period is mandated by applicable local laws. If the product

manufacturer, or sold with shows any defects within the speciﬁed warranty period

the apparatus. When a cart and that defect is not excluded under § 4, MUSIC Group

is used, use caution when shall, at its discretion, either replace or repair the product

moving the cart/apparatus using suitable new or reconditioned product or parts.

This symbol, wherever it appears,

alerts you to the presence of uninsulated

dangerous voltage inside the

enclosure - voltage that may be suﬃcient to constitute a

risk of shock.

combination to avoid

In case MUSIC Group decides to replace the entire product,

this limited warranty shall apply to the replacement

product for the remaining initial warranty period, i.e.,

one (1) year (or otherwise applicable minimum warranty

period) from the date of purchase of the original product.

injury from tip-over.

This symbol, wherever it appears,

alerts you to important operating and

maintenance instructions in the

13. Unplug this apparatus during lightning storms or

when unused for long periods of time.

14. Refer all servicing to qualiﬁed service personnel.

Servicing is required when the apparatus has been

damaged in any way, such as power supply cord or plug

is damaged, liquid has been spilled or objects have fallen

into the apparatus, the apparatus has been exposed

to rain or moisture, does not operate normally, or has

been dropped.

accompanying literature. Please read the manual.

(3) Upon validation of the warranty claim, the repaired

or replacement product will be returned to the user freight

prepaid by MUSIC Group.

Caution

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 qualiﬁed personnel.

(4) Warranty claims other than those indicated above

are expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF

OF PURCHASE COVERING YOUR LIMITED WARRANTY.

THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF

OF PURCHASE.

15. The apparatus shall be connected to a MAINS socket

outlet with a protective earthing connection.

Caution

To reduce the risk of ﬁre 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 ﬁlled with liquids, such remain readily operable.

as vases, shall be placed on the apparatus.

16. Where the MAINS plug or an appliance coupler is

used as the disconnect device, the disconnect device shall

§ 2 Online registration

Please do remember to register your new BEHRINGER

equipment right after your purchase at behringer.com

under“Support”and kindly read the terms and conditions

of our limited warranty carefully. Registering your

purchase and equipment with us helps us process

your repair claims quicker and more eﬃciently.

Thank you for your cooperation!

Caution

These service instructions are for use

by qualiﬁed 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 qualiﬁed

service personnel.

§ 3 Return materials authorization

(1) To obtain warranty service, please contact the

retailer from whom the equipment was purchased.

Should your BEHRINGER dealer not be located in your

vicinity, you may contact the BEHRINGER distributor for

your country listed under“Support”at behringer.com.

If your country is not listed, please check if your problem

can be dealt with by our“Online Support”which may

also be found under“Support”at behringer.com.

Alternatively, please submit an online warranty claim at

behringer.com BEFORE returning the product. All inquiries

must be accompanied by a description of the problem

and the serial number of the product. After verifying

the product’s warranty eligibility with the original sales

receipt, MUSIC Group will then issue a Return Materials

Authorization (“RMA”) number.

1. Read these instructions.

Legal Disclaimer

2. Keep these instructions.

Technical speciﬁcations and appearance are subject to change without

notice. The information contained herein is correct at the time of printing.

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 slightly from

product. BEHRINGER products are sold through authorized dealers only.

Distributors and dealers 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.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as

radiators, heat registers, stoves, or other apparatus

(including ampliﬁers) that produce heat.

Trident Chambers, Wickhams Cay, P.O. Box 146,

Road Town, Tortola, British Virgin Islands

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EURORACK PRO RX1202FX User Manual

(2) Subsequently, the product must be returned in

its original shipping carton, together with the return

authorization number to the address indicated by

MUSIC Group.

§ 9 Amendment

(7) Any repair or opening of the unit carried out by

unauthorized personnel (user included) will void the

limited warranty.

Warranty service conditions are subject to change without

notice. For the latest warranty terms and conditions

and additional information regarding MUSIC Group’s

limited warranty, please see complete details online at

behringer.com.

(8) If an inspection of the product by MUSIC Group

shows that the defect in question is not covered by the

limited warranty, the inspection costs are payable by

the customer.

(3) Shipments without freight prepaid will not

be accepted.

* MUSIC Group Macao Commercial Oﬀshore Limited of

Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau,

including all MUSIC Group companies

§ 4 Warranty Exclusions

(9) Products which do not meet the terms of this

limited warranty will be repaired exclusively at the buyer’s

expense. MUSIC Group or its authorized service center will

inform the buyer of any such circumstance. If the buyer

fails to submit a written repair order within 6 weeks after

notiﬁcation, MUSIC Group will return the unit C.O.D. with

a separate invoice for freight and packing. Such costs will

also be invoiced separately when the buyer has sent in a

written repair order.

(1) This limited warranty does not cover consumable

parts including, but not limited to, fuses and batteries.

Where applicable, MUSIC Group warrants the valves or

meters contained in the product to be free from defects in

material and workmanship for a period of ninety (90) days

from date of purchase.

(2) This limited warranty does not cover the product

if it has been electronically or mechanically modiﬁed

in any way. If the product needs to be modiﬁed or

adapted in order to comply with applicable technical

or safety standards on a national or local level, in any

country which is not the country for which the product

was originally developed and manufactured, this

modiﬁcation/adaptation shall not be considered a defect

in materials or workmanship. This limited warranty does

not cover any such modiﬁcation/adaptation, regardless

of whether it was carried out properly or not. Under the

terms of this limited warranty, MUSIC Group shall not

be held responsible for any cost resulting from such a

modiﬁcation/adaptation.

(10) Authorized BEHRINGER dealers do not sell new

products directly in online auctions. Purchases made

through an online auction are on a“buyer beware”basis.

Online auction conﬁrmations or sales receipts are not

accepted for warranty veriﬁcation and MUSIC Group will

not repair or replace any product purchased through an

online auction.

§ 5 Warranty transferability

This limited warranty is extended exclusively to the

original buyer (customer of authorized retail dealer) and

is not transferable to anyone who may subsequently

purchase this product. No other person (retail dealer, etc.)

shall be entitled to give any warranty promise on behalf

of MUSIC Group.

(3) This limited warranty covers only the product

hardware. It does not cover technical assistance for

hardware or software usage and it does not cover

any software products whether or not contained in

the product. Any such software is provided“AS IS”

unless expressly provided for in any enclosed software

limited warranty.

§ 6 Claim for damage

Subject only to the operation of mandatory applicable

local laws, MUSIC Group shall have no liability to the buyer

under this warranty for any consequential or indirect

loss or damage of any kind. In no event shall the liability

of MUSIC Group under this limited warranty exceed the

invoiced value of the product.

(4) This limited warranty is invalid if the factory-

applied serial number has been altered or removed from

the product.

(5) Free inspections and maintenance/repair work

are expressly excluded from this limited warranty, in

particular, if caused by improper handling of the product

by the user. This also applies to defects caused by normal

wear and tear, in particular, of faders, crossfaders,

potentiometers, keys/buttons, guitar strings, illuminants

and similar parts.

§ 7 Limitation of liability

This limited warranty is the complete and exclusive

warranty between you and MUSIC Group. It supersedes

all other written or oral communications related to this

product. MUSIC Group provides no other warranties for

this product.

(6) Damage/defects caused by the following conditions

are not covered by this limited warranty:

§ 8 Other warranty rights and

national law

(1) This limited warranty does not exclude or limit the

•

improper handling, neglect or failure to operate the

unit in compliance with the instructions given in

BEHRINGER user or service manuals;

buyer’s statutory rights as a consumer in any way.

(2) The limited warranty regulations mentioned herein

are applicable unless they constitute an infringement of

applicable mandatory local laws.

•

connection or operation of the unit in any way

that does not comply with the technical or safety

regulations applicable in the country where the

product is used;

(3) This warranty does not detract from the seller’s

obligations in regard to any lack of conformity of the

product and any hidden defect.

•

damage/defects caused by acts of God/Nature

(accident, ﬁre, ﬂood, etc) or any other condition that

is beyond the control of MUSIC Group.

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EURORACK PRO RX1202FX User Manual

1. Introduction

1.1 General mixing console functions

A mixing console fulﬁls three main functions:

With 8 phantom-powered microphone inputs as well as 4 high-headroom line

inputs, the RX1202FX comprises a total of 12 channels. All channels come with

60-mm faders and the extremely musical 2-band EQ, the clip LEDs, as well

as the 2 aux sends enable an uncompromising functionality of the console.

An integrated power supply guarantees optimal ﬂexibility through worldwide

independence of any mains connection. Additionally, it oﬀers an absolutely

noiseless audio signal as well as an outstanding transient response by minimal

power consumption. With ﬁrst-class “Invisible“ Mic Preamps, the ultra-low

noise circuitry, the 24-bit eﬀects processor as well as the separate control room,

headphones and CD/tape outputs, the RX1202FX has all the features that also

distinguish our UB mixers.

•

Signal processing:

Preampliﬁcation

Microphones convert sound waves into voltage that has to be ampliﬁed

several-fold; then, this voltage is turned into sound that is reproduced

in a loudspeaker. Because microphone capsules are very delicate in their

construction, output voltage is very low and therefore susceptible to

interference. Therefore, mic signal voltage is ampliﬁed directly at the mixer

input to a higher signal level that is less prone to interference. This higher,

interference-safe signal level has to be achieved through ampliﬁcation

using an ampliﬁer of the highest quality in order to amplify the signal

and add as little noise to it as possible. The IMP “Invisible” Mic Preamp

performs this role beautifully, leaving no traces of noise or sound coloration.

Interference that could take place at the preampliﬁcation level could aﬀect

signal quality and purity, and would then be passed on to all other devices,

resulting in inaccurate sounding program during recording or playback.

As sub-mixer, monitor mixer or as line mixer for audio/video installations,

the RX1202FX is the ﬁrst choice for demanding ﬁxed installations and mobile use.

IMP “INVISIBLE” MIC PREAMP

The microphone channels are ﬁtted with BEHRINGER’s premium quality

IMP invisible mic preamps that boast the following features:

Level-setting

•

130 dB dynamic range for an incredible amount of headroom

Signals fed into the mixer using a DI box (Direct Injection) or the output of a

sound card or a keyboard, often have to be adjusted to the operating level of

your mixing console.

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

Frequency response correction

Using the equalizers found in each channel strip, you can simply,

quickly and eﬀectively adjust the way a signal sounds.

They are perfectly matched to every conceivable microphone with up to

60 dB gain and +48 volt phantom power supply

•

Signal distribution:

They enable full utilization of the greatly extended dynamic range of your

24-bit/192 kHz HD recorder, thereby maintaining optimal audio quality.

Individual, processed signals from the channel strips are compiled on busses

and are fed into the main section for further processing. Connections for

recording equipment, power ampliﬁers, headphones as well as CD/tape

connectors are available here. The mix is sent to the internal FX processors or

external eﬀects processors via aux sends and returns. Similarly, a mix can be

created for the musicians on the stage (monitor mix).

MULTI-EFFECTS PROCESSOR

In addition, the RX1202FX oﬀers an eﬀects processor equipped with 24-bit

A/D and D/A converters. The FX processor puts at your disposal 100 presets

with ﬁrst-class room simulations, delay and modulation eﬀects, and many

multi-eﬀects in outstanding audio quality.

Mix:

All other mixing console functions fall under this vital category. Creating a

mix means primarily adjusting the volume levels of individual instruments

and voices to one another as well as giving them the appropriate weight

within the overall frequency spectrum. Likewise, you’ll have to sensibly

spread individual voices across the stereo image of a signal. At the end of

this process, adjusting the level of the entire mix to other equipment in

the signal path is required (e. g. recorder/crossover/ampliﬁer).

Caution!

◊

We would like to inform you that high volume can damage your

hearing and/or the headphones or loudspeakers. Before turning on

the device, please move the MAIN MIX fader of the main section all

the way down. Always take care to keep an appropriate volume level.

The interface of BEHRINGER mixing consoles is optimized for these tasks,

enabling you to easily keep track of the signal path.

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EURORACK PRO RX1202FX User Manual

1.2 The user’s manual

1.3.3 Online registration

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 area

of behringer.com.

Please register your new BEHRINGER equipment right after your purchase

by visiting http://behringer.com and read the terms and conditions of our

warranty carefully.

Should your BEHRINGER product malfunction, it is our intention to have it

repaired as quickly as possible. To arrange for warranty service, please contact

the BEHRINGER retailer from whom the equipment was purchased. Should your

BEHRINGER dealer not be located in your vicinity, you may directly contact

one of our subsidiaries. Corresponding contact information is included in

the original equipment packaging (Global Contact Information/European

Contact Information). Should your country not be listed, please contact the

distributor nearest you. A list of distributors can be found in the support area

of our website (http://behringer.com).

◊

The block diagram supplied with the mixing console gives you

an overview of the connections between the inputs and outputs,

as well as the associated switches and controls.

For the moment, just try and trace the signal path from the microphone input

to the FX SEND connector. Don’t be put oﬀ by the huge range of possibilities;

it’s easier than you think! If you look at the overview of the controls at the same

time, you’ll be able to quickly familiarize yourself with your mixing console and

you’ll soon be making the most of all its many possibilities.

Registering your purchase and equipment with us helps us process your repair

claims more quickly and eﬃciently.

Thank you for your cooperation!

1.3 Before you get started

2. Control Elements and Connectors

1.3.1 Shipment

This chapter describes the various control elements of your mixing console.

All controls, switches and connectors will be discussed in detail.

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 that may

have occurred during transit.

2.1 Mono channels

◊

If the unit is damaged, please do NOT return it to us, but notify your

dealer and the shipping company immediately, otherwise claims for

damage or replacement may not be granted.

◊

To assure optimal protection of your EURORACK during use or transport,

we recommend utilizing a carrying case.

Please always use the original packaging to avoid damage due

to storage or shipping.

Never let unsupervised children play with the EURORACK or

with its packaging.

Please dispose of all packaging materials in an

environmentally-friendly fashion.

1.3.2 Initial operation

Be sure that there is enough space around the unit for cooling purposes and to

avoid overheating please do not place your mixing console on high-temperature

equipment such as radiators or power amps.

◊

Never connect the EURORACK to the power supply unit when the latter

is connected to the mains! First connect the power supply unit to the

console, then connect the power supply unit to the mains.

Fig. 2.1: Connectors and controls on the mono channels

MIC

◊

Please make sure that all units have a proper ground connection.

For your own safety, never remove or disable the ground

conductor from the unit or on the AC power cord. The unit should

always be connected to a mains socket outlet with a protective

earthing connection.

Each mono input channel oﬀers a balanced microphone input via the

XLR connector and also features a switchable +48 V phantom power supply

for condenser microphones.

◊

Please mute your playback system before you activate the

phantom power supply to prevent switch-on thumps being

directed to your loudspeakers. Please also note the instructions

in chapter 2.4 “Main section”.

◊

When installing the product, ensure the appliance coupler or

power cord is easily accessible for disconnecting the unit from mains.

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EURORACK PRO RX1202FX User Manual

LINE IN

The MON path—as the name already implies—is meant to be used as monitor

signal path. For this application, it is important that the controller works as

pre-fader, which means it does not rely on the fader position. For this reason the

AUX send path is unsuitable for the connection to eﬀects devices. By using the

MON controller, you can produce a mono mix of individual signals that can be

routed over the MON plug, located on the backside, to a headphones ampliﬁer

(e.g. MINIAMP AMP800) or a power ampliﬁer for monitoring.

Each mono input also features a balanced line input on a 1" connector.

Unbalanced devices (mono connectors) can also be connected to these inputs.

◊

Please remember that you can only use either the microphone

or the line input of a channel at any one time. You can never use

both simultaneously!

INSERT

PAN

The INSERT connector is input and output at the same time. This allows you

to insert external signal processors (compressors, gate, etc.) in the channel.

The signal retrieval occurs after the TRIM and is practically a diversion of

the signal. The input signal of the connected signal processor is diverted,

processed and led back to the channel for further processing.

The PAN control determines the position of the 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.

CLIP

TRIM

The CLIP LEDs of the mono channels illuminate when the input signal is driven

too high, which could cause distortion. If this happens, use the TRIM control to

reduce the preamp level until the LED does not light anymore.

Use the TRIM control to adjust the input gain. This control should always be

turned fully counterclockwise whenever you connect or disconnect a signal

source to one of the inputs.

Channel fader

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 channel fader determines the level of the channel signal in the Main Mix.

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 TRIM control is turned all the way

down, connect your equipment. Set the TRIM 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 TRIM slightly, for -10 dBV a

bit more. Tweaking is done using the CLIP LED.

◊

Caution: The channel fader needs to be open so that the eﬀects

processor receives a signal from this channel because the FX bus

to the eﬀects processor is switched to post-fader!

2.2 Stereo channels

HIGH/LOW

All mono input channels include a 3-band equalizer. All bands provide boost

or cut of up to 15 dB. In the central position, the equalizer is inactive.

The upper (HIGH) and the lower band (LOW) 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 band are 12 kHz and 80 Hz respectively.

MON/FX

FX send buses (or AUX send buses) enable you to extract signals from one or

more channels and collect these on a bus. You can retrieve the signal at the send

connector to direct it to an external eﬀects device, for example. The AUX return

input is used as the return path. The send buses of the RX1202FX are mono buses.

As the name suggests, the FX sends of the EURORACK mixing consoles are

intended to drive eﬀects devices (reverb, delay, etc.) and are therefore conﬁgured

post-fader. This means that the mix between dry signal and eﬀect remains at

the level determined by the channel’s aux send, irrespective of the channel fader

setting. If this were not the case, the eﬀects signal of the channel would remain

audible even when the fader is lowered to zero.

Fig. 2.2: Connectors and controls on the stereo channels

LINE IN

In the RX1202FX, the FX send is routed directly to the built-in eﬀects processor.

To make sure that the eﬀects processor receives an input signal, you shouldn’t

turn this control all the way to the left (-∞).

Each stereo channel has two balanced line level inputs on 1" connectors

for left and right channels. If only the connector marked “L” (left) is used,

the channel operates in mono. The stereo channels are designed to handle

typical line level signals. Both inputs will also accept unbalanced connectors.

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EURORACK PRO RX1202FX User Manual

TRIM

MAIN OUT

The controller works the same as the one for the mono channels.

However, the level control range is limited from +20 to -20 dBu

because the stereo channels only process line signals.

The MAIN OUT connectors are balanced and laid out as XLR

connectors. Here the summed signal of the main mix has a level of

0 dBu. According to the way you want to use the mixer and which

equipment you have, following devices can be connected:

HIGH/LOW

Live PA systems:

The stereo-channel equalizer features 2 bands like the one used for the

mono channels.

A stereo dynamics processor (optional), stereo equalizer (optional) and the

stereo power ampliﬁer for full-range loudspeakers with passive crossovers.

MON/FX

If you wish to use multi-way loudspeaker systems without an integrated

crossover, you have to use an active crossover and several power ampliﬁers.

Often, limiters are already built into active crossovers (e.g. BEHRINGER SUPER-X

PRO CX2310 and ULTRADRIVE PRO DCX2496). Active crossovers are implemented

directly before the power ampliﬁer, and they divide the frequency range into

several segments that are ﬁrst ampliﬁed in the ampliﬁers and then passed on

to the corresponding loudspeakers.

The MON/FX buses of the stereo channels work like those of the mono channels.

Since both paths are mono, the signal of a stereo channel is initially mixed to a

summed mono signal before reaching the MON/FX bus.

BAL

The BAL(ANCE) control determines the levels of left and right input signals

relative to each other before both signals are then routed to the main stereo

mix bus. If a channel is operated in mono via the left line input, this control

has the same function as the PAN control used in the mono channels.

Recording:

For mastering, using a stereo compressor such as the COMPOSER PRO-XL

MDX2600 can be recommended. Use it to custom-tailor the dynamic

characteristics of your signal to the dynamic range of the recording equipment

you are using. The signal is in this case passed on from the compressor into

the recorder.

CLIP

The CLIP LEDs of the stereo channels light up when the input signal’s level is too

high. In this case, reduce the preampliﬁcation with the TRIM controller until the

LED goes out.

CTRL OUT

Channel fader

The CTRL OUT connectors are used for controlling the summed signal

(eﬀects mix and main mix) as well as for individual signals over studio monitor

speakers. By using the PHONES/CONTROL ROOM controller in the main section,

you can control the level of both outputs.

As with the mono channels, the channel fader determines the level of the

channel strip for the stereo channels in the main mix.

2.3 Connector array of the main section

CD/TAPE IN

The CD/TAPE INs are used to bring an external signal source (e.g. CD player,

tape deck, etc.) into the console. They can also be used as a standard stereo line

input, so the output of a second EURORACK or BEHRINGER ULTRALINK PRO MX882

can be connected. Alternatively, the line or tape output of a hi-ﬁ ampliﬁer with

source selection switch could also be hooked up here, allowing you to easily listen

to additional sources (e.g. cassette recorder, minidisk player, sound card etc.).

CD/TAPE OUT

These connections are laid out as RCA connectors and are wired parallel to

MAIN OUT. Connect the inputs of a computer sound card or a recorder here.

The output signal level is set up using the highly accurate MAIN MIX fader.

AUX SENDS

The FX connector routes the signal, which you have extracted from the individual

channels by using the FX controller; the MON plug does the same to the signal

that has been extracted by using the MON controller. Connect the input of

an external eﬀects processor to the FX plug, with which you want to modify

the signal sum of the FX bus. Then, route the eﬀects signal back to the mixer

over the AUX RETURN connectors. With the MON outputs, you can connect an

ampliﬁer/headphones ampliﬁer for the musicians to monitor.

Fig. 2.3: Connectors of the main section

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◊

EURORACK PRO RX1202FX User Manual

When the connected eﬀects device does not receive an input signal,

none of the FX controllers are probably turned up, which also applies

to the integrated eﬀects -processor.

POWER

The blue POWER LED indicates that the console is powered on.

◊

Adjust your external eﬀects processor to 100% wet (eﬀects signal only), LEVEL INDICATOR

because the eﬀects signal is added to the main mix along with the

The 4-segment display accurately displays the relevant signal level.

“dry” channel signals.

Level Control:

AUX RETURN

To level the signal, you should set the channel fader of the input channels to 0 dB

and raise the input ampliﬁcation with the TRIM controller to the extent that a

level of maximal 0 dB is displayed.

You can connect the outputs of an external eﬀects device to the AUX RETURN

connectors. In this case, the eﬀects signal is routed directly to the main mix bus

and is then mixed with the “dry” signal. It is also possible to route the eﬀects

signal as mono by using the L connector.

When recording to digital recorders, the recorder’s peak meter should not go into

overload. While analog recorders can be overloaded to some extent, creating only

a certain amount of distortion, digital recorders distort quickly when overloaded.

In addition, digital distortion is not only undesirable, but also renders your

recording completely useless.

◊

You can also use the AUX RETURN connectors as additional stereo input

channels, although, in this case, there are no possibilities to control the

level, timbre and panning.

2.4 Main section

When recording to an analog device, 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. This is why, for example, a Hi-Hat should only be driven as

far as -10 dB. Snare drums should be driven to approx. 0 dB.

◊

The CLIP LEDs of your EURORACK display the level virtually

independent of frequency. A recording level of 0 dB is

recommended for all signal types.

MAIN MIX

Use the MAIN MIX fader to adjust the volume of the main out.

PHONES

The connector is used to connect a pair of headphones. The volume level

is changed with the PHONES/CONTROL ROOM controller.

PHONES/CONTROL ROOM

Fig. 2.4: Control elements of the main section

Use the PHONES/CONTROL ROOM control to adjust the signal level of the

CTRL OUT and PHONES outputs.

+48 V

FX SOLO

The red “+48 V”-LED lights up when the phantom power supply is switched on.

Phantom powering is necessary to use condenser microphones and is activated

with the PHANTOM ON switch found on the backside.

If you want to only listen to the eﬀects signal with your headphones or monitor

speakers, then press the FX SOLO switch. The signal of the eﬀects device can

then be heard individually; the main mix or CD/tape signal is inaudible at the

◊

Connect microphones before you switch on the phantom power supply. PHONES and CTRL OUT outputs.

Please do not connect microphones to the mixer (or the stagebox/

wallbox) while the phantom power supply is switched on. In addition,

the monitor/PA loudspeakers should be muted before you activate the

phantom power supply. After switching on, wait approx. one minute to

allow for system stabilization.

CD/TAPE TO CTRL

Press the CD/TAPE TO CTRL switch if you want to monitor the CD/TAPE IN via

the CTRL OUT and PHONES outputs. A typical studio application of this function

is recording music into a digital audio workstation (DAW) with simultaneous

reproduction (see ch. 3.1).

◊

Caution! You must never use unbalanced XLR connectors (PIN 1 and

3 connected) on the MIC input connectors if you want to use the

phantom power supply.

◊

When you are recording a signal over the CD/TAPE OUT and

simultaneously want to monitor over the CD/TAPE IN, the CD/TAPE

TO MIX switch is not allowed to be pressed. Otherwise a feedback loop

would occur because this signal would be sent over the Main Mix back

to the CD/TAPE OUT. In case of such an application, you should send the

CD/TAPE signal to the monitor speakers or headphones by using the

CD/TAPE TO CTRL switch. In contrast to the main mix, this signal is not

sent to the CD/TAPE OUT.

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10 EURORACK PRO RX1202FX User Manual

CD/TAPE TO MIX

2.6 Voltage supply, phantom power supply

and fuse

When the CD/TAPE TO MIX switch is pressed, the CD/tape input is assigned to

the main mix providing an additional input for tape machines, MIDI instruments

or other signal sources that do not require any processing.

FUSE HOLDER/IEC MAINS RECEPTACLE

The mains connection is made via a cable with an IEC mains connector and

meets the required safety standards. An appropriate mains cable is supplied

with the equipment. Blown fuses must only be replaced by fuses of the same

type and rating.

2.5 Digital eﬀects processor

Fig. 2.5: Eﬀects section

Fig. 2.6: Voltage supply and fuse

100 FIRST-CLASS EFFECTS

POWER switch

The EURORACK RX1202FX features a built-in digital stereo eﬀects processor.

This eﬀects processor oﬀers a large number of standard eﬀects such as Hall,

Chorus, Flanger, Delay and various combination eﬀects. Using the FX control,

you can feed signals into the eﬀects processor. The integrated eﬀects

module has the advantage of requiring no wiring. This way, the danger of

creating ground loops or uneven signal levels is eliminated at the outset,

completely simplifying the handling.

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.

SIG and CLIP LED

◊

Attention: The POWER switch does not fully disconnect the unit from

the mains. Unplug the power cord completely when the unit is not

used for prolonged periods of time.

The SIG LED on the eﬀects module shows the presence of a signal whose level

is high enough. This LED should always be on. However, make sure that the

CLIP LED lights up only sporadically. If it is lit constantly, you are overdriving

the eﬀects processor, which leads to unpleasant distortion. If this occurs,

turn the FX controls down somewhat.

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!

PROGRAM

The PROGRAM control has two functions: by turning the PROGRAM control,

you dial the number of an eﬀect. The number of the preset you just dialed up

blinks in the display. To conﬁrm your selection, press the PROGRAM control;

the blinking stops.

◊

Connect microphones before you switch on the phantom power supply.

Please do not connect microphones to the mixer (or the stagebox/

wallbox) while the phantom power supply is switched on. In addition,

the monitor/PA loud-speakers should be muted before you activate the

phantom power supply. After switching on, wait approx. one minute to

allow for system stabilization.

FX TO MAIN

By using the FX TO MAIN controller, the eﬀects signal is sent to the main mix.

No eﬀects signal is to be heard in the summed signal of the mixer when the

controller is positioned entirely to the left. Choose this position if you want to

use an external eﬀects device for the FX output.

◊

Caution! Please also note the information given in chapter 4.2

“Audio connections”.

An overview of all the multieﬀect processor’s presets are to be found in

the appendix.

SERIAL NUMBER

Please note the important information on the serial number given in

chapter 1.3.3.

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11 EURORACK PRO RX1202FX User Manual

3. Applications

3.1 Recording studio

TRUTH B200A

Keyboard

MIDI sound module

HPS3000

B-2 Pro

MD Recorder

HPS3000

V-Amp 3

Laptop

F-Control FCA202

Mini Amp Amp 800

Electric Guitar

Fig. 3.1: The RX1202FX in a recording studio

Even though most of the tasks in a studio can nowadays be accomplished using

a computer, a mixing console remains an unavoidable piece of equipment that

lets you eﬀectively manage audio inputs and outputs: microphone signals

need to be pre-ampliﬁed prior to being recorded, and the quality of microphone

sound is often worked on; recording and playback signals must be routed to the

appropriate connectors or integrated into the mix; the volume of headphones

and studio monitors needs to be adjusted, and so on. The well-equipped main

section of the RX1202FX is extremely useful in this case.

Record and playback:

The recording signal is preampliﬁed in a mixer’s channel, processed with the

EQ and routed back to the main bus. Determine the recording level with the

LEVEL fader. The entire level to the computer is adjusted with the MAIN MIX

fader. To ensure that the signal is really being recorded, you should not listen

in to the main mix signal (i.e. the output signal of the console, prior to recording)

of the phones or control room bus. Instead, listen in to the returned signal

of the soundcard that is connected to the CD/TAPE inputs, in which case you

have a kind of read-after-write control. In this case, press the CD/TAPE TO CTRL

switch and adjust the volume level with the PHONES/CONTROL ROOM controller.

This way you can record further tracks to an existing playback (so-called

overdubs). In the process, use the Direct Monitoring function of your DAW

(Digital Audio Workstation).

Cabling:

Connect your sound sources to the mic or line inputs of the mixer. Join your

master machine (DAT/MD recorder) to the main outputs. Your monitor speaker

is connected to the CTRL OUT connector, the headphones to the PHONES

output. Now attach the CD/TAPE outputs with the inputs of the sound

card of your Digital Audio Workstation (DAW). Hook up the outputs of the

computer’s soundcard to the CD/TAPE inputs. Connect a headphone ampliﬁer

to the MON connector to be able to provide performing musicians with a

monitoring signal.

Determine the amount of the input signals (keyboard, guitar, sound module

and microphone) in the mono and stereo channels that are to be sent to the

MON output by using the MON controller of the corresponding channel.

◊

With this application, the CD/TAPE TO MIX switch should not be pressed;

otherwise, the playback signal from the sound card output would be

routed back to the computer and would be added to the recording.

This would not only be undesirable, it would also create a feedback loop.

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12 EURORACK PRO RX1202FX User Manual

3.2 Live sound

VP1520

Keyboard

Electric Guitar

Drum Machine

EP2000

VIRTUE VT250FX

COMPOSER PRO-XL MDX2600

HPS3000

CD Player

MD Recorder

XM8500

EP2000

V-VERB PRO REV2496

BX4500H

EUROLIVE F1220A

Electric Bass

BB410

Fig. 3.2: Live application of the RX1202FX

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13 EURORACK PRO RX1202FX User Manual

This illustration shows a typical arrangement for a live setup. Two vocal

microphones and the line outputs of a guitar and a bass ampliﬁer are connected

to the mono channels of the RX1202FX. A keyboard and a drum computer are

connected to the stereo channels. The power ampliﬁer in your sound system is

connected to the main outputs; equipment such as compressors, equalizers or

crossovers are located between the mixer and the amp in the signal path. If you

wish to make a live recording, you can connect your recording equipment

(in this case, a minidisk recorder) to the CD/TAPE outputs. A CD player that is

playing during intermissions is connected via the CD/TAPE inputs. If you connect

a recorder/player combo (e. g. a tape deck recorder), the CD/TAPE TO MIX switch

should not be pressed during a recording because this way the signal intended

for recording would be directly re-routed back to the mixing console, and then

back to the recorder... this would cause a feedback loop as soon as you hit the

record button. A loud, unpleasant, even painful sound would result.

Balanced use with XLR connectors

input

1 = ground/shield

2 = hot (+ve)

3 = cold (-ve)

Connect two monitor speakers over a power ampliﬁer to the MON output

which musicians can then use on stage. Determine the amount of the input

signals (microphone, bass, keyboard, drum computer and guitar) in the mono

and stereo channels that are to be sent to the MON output by using the MON

controller of the corresponding channel.

output

For unbalanced use, pin 1 and pin 3 have to be bridged

Fig. 4.1: XLR connections

4. Installation

4.1 Mains connection

AC POWER IN

Unbalanced ¼" TS connector

strain relief clamp

The power supply is delivered through the power supply line to be found on

the backside. The connection complies with the required security regulations.

sleeve

◊

Never connect the EURORACK to the power supply line while the latter

is already connected to the mains! Rather connect the console with the

power supply line before plugging it into the mains.

tip

◊

Please note that the mixer warms up when in operation.

This is absolutely normal.

sleeve

(ground/shield)

4.2 Audio connections

You will need a large number of cables for diﬀerent applications.

The illustrations below show how the connectors should be wired.

Be sure to use only high-grade cables.

tip

(signal)

Please use commercial RCA cables to connect the CD/tape inputs and outputs.

You can, of course, also connect unbalanced equipment to the balanced

inputs/outputs. To do this, use either mono plugs or stereo plugs with the

ring and sleeve bridged (pins 1 and 3 in the case of XLR connectors).

Fig. 4.2: 1" mono plug

◊

Caution! Never use unbalanced XLR connectors (PIN 1 and 3 connected)

on the MIC input connectors when using the phantom power supply.

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14 EURORACK PRO RX1202FX User Manual

5. Speciﬁcations

Mono Inputs

Balanced ¼" TRS connector

strain relief clamp

MIC (IMP Invisible Mic Preamp)

Type

sleeve

ring

tip

XLR, electr. balanced

Mic E.I.N. (20 Hz – 20 kHz)

@ 0 Ω source resistance

@ 50 Ω source resistance

@ 150 Ω source resistance

Frequency response

Gain range

-132 dB / -134 dB A-weighted

-130 dB / -132 dB A-weighted

-128 dB / -130 dB A-weighted

<10 Hz – 200 kHz

sleeve

ground/shield

+10 to +60 dB

ring

cold (-ve)

Max. input level

+12 dBu @ +10 dB gain

approx. 2.6 kΩ balanced

-110 dB / -112 dB A-weighted

0.003%, A-weighted

tip

hot (+ve)

Impedance

Signal-to-noise ratio

Distortion (THD+N)

For connection of balanced and unbalanced plugs,

ring and sleeve have to be bridged at the stereo plug.

Line In

Type

Fig. 4.3: 1" stereo plug

1" TRS connector, electronically balanced

Impedance

approx. 20 kΩ balanced

10 kΩ unbalanced

¼" TRS headphones connector

Gain range

-10 dB to +40 dB

strain relief clamp

sleeve

ring

tip

Max. input level

+22 dBu @ 0 dB gain

Stereo Inputs

Type

1" TRS connector, electronically balanced

Impedance

approx. 20 kΩ balanced

10 kΩ unbalanced

sleeve

ground/shield

Max. input level

+22 dBu

Insert

ring

Type

1" TRS connector (Tip=Send, Ring=Return)

right signal

tip

left signal

Auxiliary Inputs

CD/TAPE IN

Type

Fig. 4.4: Stereo plug for headphones connection

RCA connectors, unbalanced

approx. 20 kΩ

Impedance

Max. input level

+22 dBu

Aux Return

Type

1" TRS connector, balanced

Impedance

approx. 20 kΩ balanced

10 kΩ unbalanced

Max. input level

+22 dBu

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15 EURORACK PRO RX1202FX User Manual

Outputs

Main Mix System Data¹

AUX SENDS (FX)

Noise

Type

1" TRS connector, impedance balanced

Main mix @ -∞,

Channel fader -∞

-98 dB / -101 dB A-weighted

-85 dB / -88 dB A-weighted

-77 dB / -80 dB A-weighted

Impedance

approx. 240 Ω balanced

120 Ω unbalanced

Main mix @ 0 dB,

Channel fader -∞

Max. output level

+22 dBu

Main mix @ 0 dB,

Aux Sends (MON)

Channel fader @ 0 dB

Type

1" TRS connector, impedance balanced

Fade Attenuation²

(Crosstalk attenuation)

Main fader closed

Impedance

approx. 240 Ω balanced

120 Ω unbalanced

90 dB

Max. output level

+22 dBu

Channel fader closed

Main Out

Frequency Response

Type

XLR connectors, balanced

approx. 240 Ω balanced

Microphone input to Main Out

<20 Hz – 105 kHz

Impedance

120 Ω unbalanced

+1 dB / -1 dB

+3 dB / -3 dB

Max. output level

+28 dBu balanced

+22 dBu unbalanced

<10 Hz – 170 kHz

Eﬀects Section

Converter

Ctrl Out

24-bit Sigma-Delta

Type

1" TRS connector, impedance balanced

Frequency rate

Presets

40 kHz

100

Impedance

120 Ω unbalanced

approx. 240 Ω balanced

Max. output level

+22 dBu

Power Supply

Power consumption

Voltage

18 W

Cd/Tape Out

100 – 240 V~, 50/60 Hz

100 – 240 V~: T 1.6 A H 250 V

IEC (power) cable

Type

RCA connectors, unbalanced

approx. 1 kΩ

Fuse

Impedance

Max. output level

Mains connection

+22 dBu

Dimensions/Weight

Phones

Dimensions (H x W x D)

approx. 5 1/5 x 19 x 5 9/10"

approx. 133 x 482 x 150 mm

Type

1" TRS connector

Max. output level

+19 dBu / 150 Ω (316 mW)

Weight (net)

approx. 6.4 lbs / 2.9 kg

Measuring conditions:

Low

100 Hz / 15 dB

12 kHz / 15 dB

1: 20 Hz – 20 kHz; measured at main output. Channels1 – 8 gain @ unity; EQ ﬂat; all channels on main mix;

channels 1/3/5/7 leftmost, channels 2/4/6/8 rightmost. Reference = +6 dBu.

High

2: 1 kHz relative to 0 dBu; 20 Hz – 20 kHz; line input; main output; gain @ unity.

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16 EURORACK PRO RX1202FX User Manual

FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

EURORACK PRO

RX1202FX

Responsible Party Name:

Address:

MUSIC Group Services US Inc.

18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,

USA

Phone/Fax No.:

Phone: +1 425 672 0816

Fax: +1 425 673 7647

EURORACK PRO RX1202FX

complies with the FCC rules as mentioned in the following paragraph:

This equipment has been tested and found to comply with the limits for a Class B

digital device, pursuant to part 15 of the FCC Rules. These limits are designed

to provide reasonable protection against harmful interference in a residential

installation. This equipment generates, uses and can radiate radio frequency

energy and, if not installed and used in accordance with the instructions, may cause

harmful interference to radio communications. However, there is no guarantee that

interference will not occur in a particular installation. If this equipment does cause

harmful interference to radio or television reception, which can be determined

by turning the equipment oﬀ and on, the user is encouraged to try to correct the

interference by one or more of the following measures:

•

Reorient or relocate the receiving antenna.

Increase the separation between the equipment and receiver.

Connect the equipment into an outlet on a circuit diﬀerent from that to which the

receiver is connected.

•

Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC rules. Operation is subject to the

following two conditions:

(1) this device may not cause harmful interference, and

(2) this device must accept any interference received, including interference that may

cause undesired operation.

Important information:

Changes or modiﬁcations to the equipment not expressly approved by MUSIC Group

can void the user’s authority to use the equipment.

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We Hear You

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