Behringer Music Mixer EURODESK User Manual

User Manual

EURODESK

SX2442FX/SX3242FX

Ultra-Low Noise Design 24/32-Input 4-Bus

Studio/Live Mixer with XENYX Mic Preampliﬁers,

British EQs and Dual Multi-FX Processor

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EURODESK SX2442FX/SX3242FX User Manual

9. Do not defeat the safety purpose of the polarized

Limited Warranty

Important Safety

Instructions

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

§ 1 Warranty

[1] This limited warranty is valid only if you purchased

blade or the third prong are provided for your safety. If the the product from a BEHRINGER authorized dealer in the

provided plug does not ﬁt into your outlet, consult an

electrician for replacement of the obsolete outlet.

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.

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

terms in § 4 below), unless a longer minimum warranty

period is mandated by applicable local laws. If the product

shows any defects within the speciﬁed warranty period

and that defect is not excluded under § 4, MUSIC Group

shall, at its discretion, either replace or repair the product

using suitable new or reconditioned product or parts.

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.

11. Use only attachments/accessories speciﬁed by

the manufacturer.

high-quality commercially-available speaker cables with

¼" 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,

or table speciﬁed by the

manufacturer, or sold with

the apparatus. When a cart

is used, use caution when

moving the cart/apparatus

combination to avoid

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.

This symbol, wherever it appears, alerts you injury from tip-over.

to important operating and maintenance

instructions in the accompanying literature.

Please read the manual.

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.

Caution

[3] Upon validation of the warranty claim, the repaired

or replacement product will be returned to the user freight

prepaid by MUSIC Group.

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.

Caution

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.

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

16. Where the MAINS plug or an appliance coupler is

or splashing liquids and no objects ﬁlled with liquids, such used as the disconnect device, the disconnect device shall

§ 2 Online registration

as vases, shall be placed on the apparatus.

remain readily operable.

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. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

[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.

Legal Disclaimer

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 Red Chip Company Ltd.

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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EURODESK SX2442FX/SX3242FX 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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EURODESK SX2442FX/SX3242FX User Manual

1. Introduction

FBQ Feedback Detection System

◊

Make sure that children cannot play unsupervised with the unit or

its packaging.

Please ensure proper disposal of all packing materials.

One of the most outstanding features of this console is the

FBQ Feedback Detection System, which is part of the graphic

equalizer. This ingenious circuit makes it possible to detect and

subsequently eliminate feedback frequencies very quickly.

FBQ increases the brightness of the EQ fader LEDs for the frequency bands where

feedback is occurring. What used to be a tedious search for feedback frequencies

is now mere child’s play.

1.1.2 Initial operation

Ensure adequate air supply and to avoid overheating do not place the unit

near radiators etc.

◊

Blown fuses must be replaced by fuses of the correct rating!

Please refer to the “Speciﬁcations” section for the applicable rating.

For connection to the mains use the enclosed power cord with cold connector

which complies with the relevant safety regulations.

XENYX Mic Preamps

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:

◊

Please make sure that all devices are properly grounded. For your own

safety, never remove or disable the ground conductors from the devices

or on the power cords. The unit must always be connected to the mains

outlet with a protective grounding connection.

•

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

◊

We would like to point out that high volume levels may damage your

hearing and/or your headphones/loudspeakers. To avoid switch-on/oﬀ

thumps from the console and any downstream devices, always make

sure that your power amp(s) or active speakers are the last components

that are switched on and the ﬁrst to be switched oﬀ. Always make sure

that the appropriate volume is set.

•

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

Important notes concerning installation

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

◊

The sound quality may diminish within the range of powerful

broadcasting stations and high-frequency sources. Increase the

distance between the transmitter and the device and use shielded

cables for all connections.

“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.

1.1.3 Online registration

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.

What is more, the EURODESK comes with two eﬀects processors

using 24-bit A/D and D/A converters and the eﬀects algorithms of

our renowned 19" multi-eﬀects device VIRTUALIZER PRO

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).

DSP2024P. Each processor oﬀers 99 presets with ﬁrst-class room

simulations, delay and modulation eﬀects as well as compressor, tube distortion

and numerous other eﬀects available—all with excellent audio quality!

The mixer is equipped with a state-of-the-art integrated

switch-mode power supply. Unlike conventional designs,

this supply automatically adapts to supply voltages between

100 and 240 V. With its considerably higher eﬃciency, it is also

more economical in terms of power consumption than standard power supply units.

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

claims more quickly and eﬃciently.

1.1 Before you get started

Thank you for your cooperation!

1.1.1 Shipment

1.2 The manual

Your product was carefully packed at the factory to ensure safe transport.

Nevertheless, if the box is damaged inspect the unit immediately for signs

of damage.

This manual is designed to give you an overview of all control elements and

at the same time inform you in detail about how to use them. To provide you

with a clear structure, we have grouped the control elements according to their

function. They can easily be found on the enclosed numbered illustrations.

If you need more detailed information on speciﬁc topics, please visit our web site

at behringer.com. The product-related information pages and the ULTRANET-

based glossary explain the relevant audio engineering terminology in full detail.

◊

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.

◊

We recommend that you use a ﬂight case to give the unit optimum

protection during use or transport.

Always use the original box to prevent damage during storage

or transport.

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EURODESK SX2442FX/SX3242FX User Manual

2. Control Elements and

Connections

The second scale has a gain from +10 to -40 dBu for the line input.

For devices with a nomal line output level of-10 dBV or +4 dBu the setting

is as follows: with GAIN fully counter-clockwise connect the external device

and adjust the output level recommended by the manufacturer. If available,

the output level display of the external device should read 0 dB with signal

peaks. For +4 dBu increase GAIN, for -10 dBV increase it further. The ﬁne-

tuning can be done with a music signal and the LEVEL SET LED, which will

illuminate when the optimum operating level has been set.

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

All controls and connections are explained in full detail.

2.1 Mono input channels

2.1.1 Microphone and line inputs

[5] Mono channels are equipped with a high-slope LOW CUT ﬁlter eliminating

unwanted low-frequency signals, such as ﬂoor rumble (18 dB/oct., -3 dB

at 80 Hz).

2.1.2 Equalizer

[1]

All mono input channels are equipped with a 3-band equalizer. The maximum

boost/cut of the individual bands is 15 dB, in mid position the EQ is set to neutral.

[2]

[3]

[6]

[7]

[4]

[5]

[8]

Fig. 2.1: Connectors and controls of the mic/line inputs

Fig. 2.2: Equalizer section of input channels

[1] Each mono input channel is equipped with a balanced microphone input

on an XLR connector, which provides +48 V phantom power for condenser

microphones at the touch of a button (see rear panel).

[6] The HIGH control in the EQ section controls the high frequency range of

the respective channel. It is a shelving-type ﬁlter which can boost or cut all

frequencies above a ﬁxed frequency (12 kHz).

◊

Be sure to switch oﬀ your audio system before you activate the

phantom power supply to prevent audible switch-on thumps from

reaching your monitor speakers. Please also note the information given

in chapter 2.11 “Rear panel”.

[7] The MID control allows you to raise or lower the mid-range level. It is a semi-

parametric peak ﬁlter, which boosts or cuts the frequency range around a

variable mid-range frequency. Use the FREQ control to select the mid-range

frequency from 100 Hz to 8 kHz. Then use the MID control to boost or cut the

selected frequency range.

[2] Each mono input also has a balanced line input on ¼" TRS connectors.

Of course, these inputs can also be used with unbalanced plugs

(¼" TS connector).

[8] The LOW control boosts or cuts the low-frequency range. Like the HIGH ﬁlter

it is a shelving-type ﬁlter, which raises or lowers the level of all frequencies

below a speciﬁc frequency (80 Hz).

[3] The INSERT I/O connector is used to process a signal with dynamic

processors or equalizers. This insert point isprefader, pre-EQ and

pre-aux send.

2.1.3 Aux/FX send buses

Unlike reverb and other eﬀects, which are usually added to the dry signal,

dynamic processors process the entire signal. So, aux send buses are not the

best solution here. Instead, dynamic processors and equalizers are inserted

into the signal path. Once processed, the signal then re-enters the mixing

console at the same point where it left. Signal interruption only occurs if

a plug is inserted into the corresponding jack (¼" stereo plug: tip = signal

output, ring = input). All mono input channels are equipped with insert

points. They can also be used as pre-EQ direct outputs, without signal

ﬂow interruption. For this you need a cable with a ¼" TS connector on the

recorder/eﬀects processor end, and a bridged stereo ¼" TRS connector on

the console end (tip and ring interconnected).

Aux sends enable you to take the signals from one or multiple channels and

collect them on one bus. This signal is then present at one of the aux send jacks,

from where it can be routed to an active monitor speaker or external eﬀects

device, for example. The FX returns are subsequently used as a return bus for the

processed signal.

[9]

[10]

[11]

[4] The GAIN control adjusts the input gain. Be sure to set this control fully

counter-clockwise before you connect or disconnect a signal source to or

from one of the inputs.

GAIN has a dual scale: the ﬁrst scale has a gain from +10 to +60 dB for

the MIC input.

Fig. 2.3: AUX/FX send controls in the channel strips

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[9] On each channel, the AUX 1 and AUX 2 controls allow you to determine the

level of the aux signals sent from the channel. The main aux send signal

comprising the aux send signals from all channels can then be adjusted

with the corresponding master AUX SEND controls [51], and is present at the

AUX SEND outputs [52]. Both aux sends are mono, post-EQ, with a gain of up

to +15 dB.

[15] The SOLO switch routes the channel signal to the solo bus (Solo In Place)

or the PFL bus (Pre Fader Listen). Thus, you can monitor a channel signal

without aﬀecting the main output signal. The signal to be monitored is

taken either pre (PFL, mono) or post-panorama control (Solo, stereo) and

post-channel fader (depending on the position of the SOLO/PFL switch [40]).

[16] The SUB switch routes the signal to the respective subgroups.

Your EURODESK features 4 subgroups (1-2 and 3-4). With the PAN control on

the input channel (see [12]) you can determine to which of the two groups the

signal is routed (hard left: sub 1 or 3, hard right: sub 2 or 4).

[10] Press the PRE switch to set all aux sends to pre-fader. In this case,

the volume of the aux signals is no longer dependent on the fader position,

so you can create completely independent monitor mixes.

◊

For most applications when controlling an external eﬀects device from [17] The MAIN switch routes the signal to the main mix.

one of the aux buses, the aux sends must be set post-fader, so that

the eﬀect volume in a channel depends on the position of the channel

fader. Otherwise, the eﬀect signal would still be audible, even if the

channel was turned down completely. For this type of application it is

advisable to leave the PRE switch out (= not pressed).

[18] The channel fader governs the level of the channel signal as part of the main

mix (or submix).

2.2 Stereo channels

[11] FX 1 and FX 2 controls provide a direct route to the built-in eﬀects processor. 2.2.1 Channel inputs

Additionally, they can be used to control an external eﬀects unit, via the

FX SEND 1 and 2 outputs (similar to the AUX SEND 1 and 2 jacks). To ensure

that the internal eﬀects processor and the FX SEND outputs actually get a

signal, the corresponding FX control must not be set fully counter-clockwise

(-oo), and the master FX SEND (see [60]) must be turned up. The FX buses are

hard wired post-fader.

[19]

◊

Please also read chapter 2.10 “Eﬀects section” and

3 “Digital eﬀects processor”.

[20]

2.1.4 Mono channel fader and further control elements

Fig. 2.5: Stereo channel inputs

[12]

[19] Each stereo channel is equipped with two balanced line-level inputs on

¼" TRS connectors for the left and right channels. The channels can also

process mono signal, as long as you use the “LEFT” jack only.

[13]

[20] All stereo channel strips have a GAIN control for gain adjustment. Its scale

ranges from +20 to -20 dB and allows you to adapt the input level to the

line inputs.

[14]

[15]

2.2.2 Stereo channel equalizer

[16]

[17]

[18]

[21]

Fig. 2.4: Channel fader, pan control, mute button, etc.

[12] The PAN control determines the position of the channel signal in the

stereo mix as well as the subgroup to which the channel signal is routed

(see chapter 2.4).

Fig. 2.6: Stereo channel equalizer

[13] Use the MUTE switch to mute the channel signal, so it is no longer part of

The stereo channels are equipped with a stereo equalizer. The ﬁlter types

the main mix. At the same time, all aux buses set to post-fader are muted for and cutoﬀ frequencies for HIGH and LOW ﬁlters are the same as on the mono

the respective channel, while the pre-fader monitor buses remain operative. channels. Instead of one semi-paramtric midrange band, the stereo channels

The MUTE LED is illuminated when the channel is muted.

have two separate midrange bands [21] (HIGH MID and LOW MID) with ﬁxed

mid-frequencies (3 kHz and 400 Hz). Stereo EQs are preferable for processing

the frequency response of stereo signals. With two mono equalizers you might

encounter problems with diﬀerent settings between the left and right channels.

[14] The CLIP LED illuminates when the channel overloads. In this case,

please reduce the input gain using the GAIN control. This LED also illuminates

when you activate the solo function with the SOLO switch below.

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2.2.3 Stereo channel aux/FX send buses

2.4 Subgroups 1 - 4

Basically, the aux and FX buses on the stereo channels are the same as on the

mono channels. Since aux buses are always mono, the signal from a stereo

channel is ﬁrst mixed to mono before it is routed to the aux bus.

[26]

2.2.4 Stereo channel fader and other control elements

[27]

[22]

[25]

Fig. 2.9: Subgroups 1 - 4

The EURODESK has 4 subgroups enabling you to create mono or stereo mixes

from multiple input signals. Subgroups are controlled from one (mono) or two

(stereo) subgroup faders. Additionally, it is possible to connect the subgroup

outputs as tape sends to a multi-track recorder.

[25] The subgroup faders determine the volume of the subgroup signal at the

subgroup output [28]. Depending on the position of the routing switch [27]

you can thus control the subgroup volume in the main mix.

[26] The SOLO switch routes the subgroup signal to the solo bus (Solo In Place)

or PFL bus (Pre Fader Listen), so that you can monitor the subgroup signal

without aﬀecting the main or sub output signals. The signal to be monitored

is taken either pre (PFL, mono) or post-subgroup fader (Solo, stereo),

depending on the position of theSOLO/PFL switch [40]). The SOLO LED

illuminates when the SOLO switch is pressed.

Fig. 2.7: Channel fader, balance control, mute switch, etc.

[22] The BAL(ANCE) control has the same function as the PAN control on

the mono channels. It determines the relative volume of the left and

right input signals before they are routed to the stereo main mix bus

(or to two subgroups).

[27] Use the routing switches for the subgroups to send the subgroup signal to

the main mix. You can route it to the left stereo side (=LEFT pressed), to the

right stereo side (=RIGHT pressed) or to both (=LEFT and RIGHT pressed).

For example, when you have created a stereo submix using subgroups

1 and 2, be sure to route group 1 to the left and group 2 to the right side

to maintain proper stereo positioning. If it is a mono submix with just one

subgroup, route it to the left and right sides of the main mix to make the

signal audible on both sides.

All other control elements of the stereo channels work in the same ways as their

counterparts on the mono channels (faders, MUTE switches, etc.).

◊

Please note: When you route a stereo channel to the subgroups

using the SUB switches, please be sure to set the BAL control to

its mid position, so that the signal is sent to two subgroups and

remains stereo.

2.3 Stereo channels 21-24 (SX2442FX) or

29-32 (SX3242FX)

[28]

[23]

Fig. 2.10: Subgroup outputs 1 - 4

[28] These four SUBGROUP OUT (puts) carry the signals of the individual

subgroups. For multi-tracking connect the outputs to the inputs of a

multi-track recorder (see chapter 4.1 “Studio set-up”).

[24]

Fig. 2.8: Auxiliary stereo channels

Your EURODESK has two stereo channels with an aux send section [23]

(AUX 1 and AUX 2) and one LEVEL control. [24] For these channels, the aux buses

are hard-wired to pre-fader and are therefore particularly useful for monitoring.

They have no routing switches and are always sent to the main mix. Like the

normal stereo channels they have two line-level inputs on ¼" TRS connectors

for the left and right channels, and a SOLO switch.

Similar to the CD/TAPE inputs (see [49]) the auxiliary stereo channels can

be connected to CD players, tape decks, etc., for example, to feed in

playback material.

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2.5 Mono out section for

subwoofer applications

[33] Use this high-precision MAIN fader to control the output level of the main mix.

Using this auxiliary mono output you can route the main mix signal to a separate

power amp. The tunable low-pass ﬁlter allows you to limit the signal content to

the low-frequency range to get a perfect subwoofer signal. This signal is mono

because very low frequencies disperse quickly, so there would be no beneﬁt to

position this signal in the stereo mix.

[34]

Fig. 2.14: XLR main out connectors

[30]

[31]

[29]

[34] The MAIN OUT(puts) are balanced XLR connectors with a nominal operating

level of +4 dBu and provide the main mix signal.

[36]

[35]

Fig. 2.15: Main out connectors and main insert

[35] The MAIN OUT ¼" TRS connectors outputs also provide the main mix signal.

Fig. 2.11: Mono out fader and low-pass ﬁlter

[36] Like the channel inserts, the MAIN INSERT connectors can be used to

connect a dynamics processor or equalizer for further processing of the

mix signal. The MAIN INSERT refers to the Main Outs (XLR and ¼" TRS

connectors), the MONO OUT (see [32]) and, if the MAIN switch in the

PHONES/CONTROL ROOM section is pressed, also to the PHONES/CTRL ROOM

output (see [46]).

[29] The MONO fader controls the volume of the signal present at the

MONO OUT (see [32]).

[30] The FREQ control adjusts the cut-oﬀ frequency of the low-pass ﬁlter

(30 to 200 Hz). Frequencies above cut-oﬀ are ﬁltered out when activated.

[31] Use the LOW PASS FILTER switch to activate the ﬁlter function (LED illuminates).

[37]

[38]

[39]

[32]

ﬁg. 2.12: Mono out connector

[32] The MONO OUT connector provides the line-level mono signal for

connection to the inputs of a power amp or active speaker. You can also use

this output as a monitor bus, e.g. to connect a headphone ampliﬁer. In this

case, the signal should of course not be limited by the low-pass ﬁlter.

2.6 Main out section

[40]

Fig. 2.16: Level meter

[37] The red “+48 V” LED illuminates when phantom power is on.

Phantom power is required for the operation of condenser microphones,

and can be switched on with the corresponding switch on the rear of

the console.

[38] The POWER LED is illuminated when the console is switched on.

[39] The high-precision level meter accurately indicates the output signal level.

For example, when you press the SOLO switch on one of the input channels,

its signal level will be displayed here, either pre-fader (PFL) or post-fader

(SOLO), depending on the position of the SOLO/PFL switch (see [40]). In PFL

mode only the left display is active, because the PFL signals are mono.

[33]

Fig. 2.13: Main out fader

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[40] The SOLO/PFL switch determines whether the monitored signal is pre

(PFL) or post-fader (SOLO) after pressing the SOLO/PFL switch (the LED

illuminates). The level meter indicates the corresponding signal (see [39]).

When you adjust a signal with the GAIN control, it is advisable to select PFL

mode, so that the level shown is independent of the channel fader position.

◊

IMPORTANT! High volume levels may damage your hearing and/or

your headphones/loudspeakers. To avoid switch-on/oﬀ thumps from

the console and any downstream devices, always make sure that the

power amp(s) or active speaker(s) are the last components that are

switched on and the ﬁrst to be switched oﬀ. Always make sure that the

appropriate volume is set.

2.6.1 Talkback

2.7 CD/Tape

The talkback function of the EURODESK allows you to communicate with

the musicians in the recording room or on the stage. The talkback signal

is present at the AUX SEND outputs, which are particularly useful for

monitor/ headphone mixes.

[44]

[48]

[41]

Fig. 2.20: CD/tape

[47] TO MAIN controls the volume of, for example, a CD player connected to the

CD/tape input connectors (see [49]).

[42]

[43]

Fig. 2.17: Talkback section

[48] When the STANDBY switch is pressed, all input channels are muted. Only the

CD/tape signal will be routed to the main mix. In this way, you can prevent

the microphones from pickung up unwanted sounds or noise that would

interfere with CD playback during a break. The main mix and channel faders

can remain in their normal positions while playing back music from CD

(using the CD/TAPE INPUTs [49]), so you don’t lose your mix.

[41] The LEVEL control determines the volume of the talkback signal at the

AUX 1/2 outputs.

[42] Use the TALK TO AUX 1/2 switch to activate the built-in talkback

microphone. Its signal is sent to the AUX SEND jacks 1 and 2. Keep the

switch pressed while you’re speaking.

[49] [50]

[43] This is the built-in talkback microphone.

2.6.2 Phones & control room

[44]

[43]

Fig. 2.21: CD/tape connectors

Fig. 2.18: Phones/control room section

[49] The CD/TAPE INPUT RCA connectors are for the connection of CD players,

tape decks or other line-level sources. The signal volume is adjusted with

the TO MAIN control.

[44] The PHONES/CTRL R control adjusts the volume of the headphones

connected to the PHONES/CTRL ROOM OUT jack (see [46]). If you have an

active monitor speaker or power amp connected here, you can also control

the monitor volume.

[50] The CD/TAPE OUTPUT RCA connectors provide the stereo main mix signal to

a tape deck or DAT recorder to record your mix. The signal is taken pre-fader,

so that it will not be inﬂuenced by the fader positions.

[45] These switches select the signal sent to the PHONES/CTRL ROOM jack.

Available sources are: MAIN, CD/TAPE, AUX 1/2 and subgroups 1 - 2 and 3 - 4. 2.8 Master Aux Send 1 and 2

[46]

[51]

Fig. 2.19: Phones/control room output

[46] Connect your headphones or monitor speaker to the PHONES/CTRL

ROOM OUT ¼" TRS connector.

Fig. 2.22: Master aux sends

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[51] These are the master AUX SEND controls 1 and 2 for adjusting the volume

level sent to the corresponding aux send connectors (see [52]). This way,

you can control the mix of all AUX 1 or AUX 2 signals of the input channels.

The AUX SEND section also has a SOLO switch.

2.10 Eﬀects section

[57]

[52]

[58]

[59]

[60]

[65]

[61]

Fig. 2.23: Master aux send outputs

[52] Use the AUX SEND outputs 1 and 2 to take the master AUX SEND

signals and route them to an external eﬀects device or your monitor

speakers. Subsequently, you can return the eﬀect signal, e.g. via the

STEREO FX RETURN inputs (see [67]) or speciﬁc input channels.

[62] [63] [64]

Fig. 2.25: The digital eﬀects processor

2.9 Graphic 9-band stereo equalizer

[57] Here you will ﬁnd a list of all multi-eﬀects presets (see also chapter 3

[53]

[56]

“Digital eﬀects processor”).

[58] The FX LED level meters show the eﬀects processor’s input signal.

Be sure that the clip LED only illuminates with signal peaks. If it is lit

all the time, the eﬀects processor is overloading and hence producing

unpleasant distortion.

[59] The Eﬀect displays show the currently selected presets.

[60] This is the master FX 1 (or 2) SEND control for adjusting the volume of all

FX send signals at the corresponding FX send jacks (see [66]) and at the

inputs of the built-in eﬀects processor. Use it to control the master signal of

all FX 1/FX 2 signals from the input channels. When neither of the FX SEND

controls is turned up, the eﬀects processor will not receive a signal.

[55] [54]

Fig. 2.24: The graphic stereo equalizer

[61] Turn the FX 1 (or FX 2) control to select an eﬀects preset. Then, push it

[53] Your EURODESK is equipped with a graphic 9-band stereo equalizer

processing either the main or the AUX 1 signal. Use the EQ to adapt the

sound to the room acoustics.

brieﬂy to conﬁrm your selection and activate the new eﬀect.

[62] The FX 1 (or 2) TO AUX 1 controls allow you to add the eﬀect signal from

the built-in eﬀects processor (FX1 or FX2) to the AUX 1 monitor signal.

Naturally, the eﬀects processor must be provided with an input signal

(i.e. the FX controls in the channel strips plus the FX SEND controls and the

channel faders must be turned up).

[54] Use the EQ IN switch to switch the equalizer on. In this case, the fader

LEDs illuminate.

[55] With the MAIN/AUX 1 switch you can determine the signal to be processed,

either main or AUX 1.

[63] This is the FX 1 (or 2) TO AUX 2 control adding the eﬀect signal from the

eﬀects processor to the AUX 2 monitor signal. See [62]for further details.

[56] Press the FBQ IN switch to activate the FBQ Feedback Detection System.

The frequencies causing feedback are indicated by the brightly lit fader

LEDs, while all other LEDs are darker. Simply lower the level of the brightly

lit faders until feedback disappears.

[64] The FX 1 (or 2) TO MAIN control routes the eﬀect signal either to the main

mix or the subgroups 1 and 2 (or 3 and 4), depending on the position of the

selector switch (see [65]). When it is hard left, no eﬀect signal will be audible.

Here, too, the FX controls in the channel strips plus the FX SEND controls and

the channel faders must be turned up.

◊

When the switch is in the “AUX 1” position (see [55]), the EQ fader

LEDs show both the MAIN and the AUX 1 signal simultaneously.

However, if feedback occurs in one of the signals, those signals without

feedback will be faded out to enable clear identiﬁcation of where

feedback is occurring. If the MAIN signal happens to be the one carrying

feedback, put the switch [55] to “MAIN” and then use the 9-band EQ to

remove the feedback.

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[65] These selector switches route the eﬀect signal to the main mix or to the

subgroups 1-2 or 3-4. If the MAIN/SUB switch is not pressed, the eﬀect

signal is sent to the main mix and the SUB 1/2 / SUB 3/4 switch below

is inoperative. If the upper switch is pressed (SUB), however, the lower

switch determines whether the eﬀect signal is routed to subgroups 1 and 2

(SUB 1/2) or 3 and 4 (SUB 3/4).

[70] With the PHANTOM switch you can activate the phantom power supply

for the XLR connectors of the mono channels for condenser microphones.

The +48 V-LED [37]illuminates when phantom power is on. In most cases,

dynamic microphones can still be used as long as they are connected in

a balanced conﬁguration. If in doubt, please contact the manufacturer of

your microphone!

[71] The mains connection is a standard IEC receptacle. An appropriate power

[67]

[66]

cord is supplied with the unit.

[72] FUSE HOLDER. Before connecting the unit to the mains, ensure that

the voltage setting matches your local voltage. Blown fuses should only

be replaced by fuses of the same type and rating. Please also read the

information given in chapter 6 “Speciﬁcations”.

[73] SERIAL NUMBER.

Fig. 2.26: FX send and return connectors

3. Digital Eﬀects Processor

[66] The FX SEND 1 and 2 connectors also provide the master FX send signals,

for example, to connect them to the inputs of an external eﬀects device.

However, these are “dry” signals only with no “eﬀect signals” from the

built-in eﬀects processor!

[67] The Stereo FX RETURN inputs 1 and 2 return the eﬀect signals from external

eﬀects processors and add them to the main mix.

Fig. 3.1: List of all eﬀects presets

[68]

99 FIRST-CLASS PRESETS

Fig. 2.27: Footswitch connectors

Here is the list of all multi-eﬀects presets. The built-in

eﬀects processor oﬀers you various standard eﬀects such as

reverb, chorus, ﬂanger, delay and a variety of combination

[68] The FOOTSW(ITCH) connector allows you to connect a standard dual

footswitch to separately enable/disable FX 1 or FX 2. The tip of the ¼" plug

controls FX 1, the ring controls FX 2.

eﬀects from our renowned studio eﬀects processor

VIRTUALIZER PRO DSP2024P. Use the FX control on the channels and the FX SEND

control to supply the eﬀects processor with signals. A built-in digital stereo

eﬀects processor has the beneﬁt of no external wiring, thus reducing the risk of

ground loops or level diﬀerences. Handling is therefore much easier.

2.11 Rear panel

PARALLEL FX

The eﬀects presets 1 to 70 provide classic “add-to-mix” eﬀects. So, when you

turn up the FX 1 (or 2) TO MAIN control, you create a mix of the (dry) channel

signal and the eﬀect signal. The balance between the two signals can be set

with the FX send and FX 1/2 TO MAIN controls.

This also applies to adding eﬀect signals to the AUX 1 (or 2) monitor mix, with the

exception that the mix here is adjusted with the AUX 1 (or 2) control in the

channel strip and the FX TO AUX 1 (or 2) potentiometer. Of course, the eﬀects

processor must receive a signal from the channel using the FX 1 (or 2) control.

Make sure that the PRE switch in the corresponding channel strip(s) is pressed.

Otherwise, the AUX buses will be set post-fader making the volume of the

AUX monitor signal dependent on the position of the channel fader(s).

[72]

[71]

[69] [70]

[73]

Fig. 2.28: The rear panel of the EURODESK

INSERT FX (channel is muted)

[69] Use the POWER switch to put the mixer into operation. This switch should

always be in the “Oﬀ” position when you connect your unit to the mains.

Eﬀects presets #71 and higher process the entire signal, unlike the “add-to-

mix” eﬀects. When you use an insert preset, be sure to separate the respective

channel from all buses (SUB button and MAIN button not pressed) and only

route the eﬀect signal to the main mix (FX 1/2 control, FX SEND 1/2 control and

FX TO MAIN 1/2 control).

◊

Please note: The POWER switch does not fully disconnect the unit from

the mains. To disconnect the unit from the mains, pull out the main

cord plug or appliance coupler. When installing the product, ensure the

plug or appliance coupler is readily operable. Unplug the power cord

when the unit is not used for prolonged periods of time.

◊

The channel fader of the corresponding channel remains active and

governs (in combination with the FX controls) the signal level sent to

the built-in eﬀects processors.

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4. Wiring Examples

4.1 Studio set-up

The following wiring example shows a studio set-up for 4-track-recording:

the drums are mixed down to two subgroups and then routed via the subgroup

outputs to two tracks of the multi-track recorder. The remaining two subgroups

are used to record the guitar, keyboard (stereo channel) and two vocal signals

on the remaining two tracks. The four return paths from the recorder are

connected to four separate mono input channels on the EURODESK. The built-in

compressor is used only for the bass, which is why this input channel is separate

from all buses (SUB and MAIN switch not pressed). The bass signal is directly

routed from the built-in eﬀects processor to the respective subgroups

(FX TO MAIN control). The MAIN/SUB switch in the FX1 section is pressed,

but NOT the SUB 1/2 SUB 3/4 button.

Keyboard

Bass

Drums

Multi-track-

recorder

Guitar

Vocals 1

Vocals 2

Tape Returns

Subgroups Outs

EUROPOWER EP1500

HPS3000

TRUTH B2030P

SUB 3-4 switch

pressed

SUB 3-4 switch

pressed

SUB 1-2 switch

pressed

MAIN switch

pressed

SUB/MAIN switches

not pressed

Fig. 4.1: Wiring the console for studio operation

◊

Please make sure that none of the subgroup routing switches

(1-2 and 3-4) is pressed in the channels connected to the recorder

returns. Otherwise, a feedback loop will be created as soon as you

start recording. Only press the MAIN switch on these input channels,

so that the tape return signals are routed to the main outs and

Phones/CTRL room outputs of the console.

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4.2 Live set-up

Keyboard

Bass

Guitar

Vocals 1

Vocals 2

Drums

EUROPOWER EP1500

2 x EUROLIVE PROFESSIONAL

Stack (B1800X PRO & B1220 PRO)

EUROPOWER EP1500

SUB 1-2 switch

pressed

MAIN switch

pressed

L/R switch

pressed

EUROLIVE PROFESSIONAL

B1220 PRO

SUB/MAIN switches

not pressed

Fig. 4.2: Wiring the console for live operation

This example shows a classic live set-up. As in the studio example, four drum

microphones, bass, keyboard (stereo channel), guitar and two vocal microphones

are connected. The four drum channels (kick drum, snare, overhead L, overhead R)

are mixed down to two subgroups and then routed to the main mix. This way,

it is possible to conveniently control the volume of the entire drums in the main

mix with the two subgroup faders. The built-in compressor insert eﬀect is used

for the bass. The corresponding input channel is separate from all buses and the

bass signal is routed directly from the internal eﬀects processor to the main mix

bus. The MAIN/SUB switch must not be pressed in this case and the position of the

SUB 1/2 SUB 3/4 switch is irrelevant.

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5. Audio Connectors

The inputs and outputs of the BEHRINGER EURODESK are designed as unbalanced

¼" TS connectors—except for the balanced line inputs of the mono and stereo

channels and the main out connectors. Of course, all inputs and outputs work

with both balanced and unbalanced connectors. The tape ins and outs are stereo

RCA connectors.

tip

sleeve

shield

◊

Please ensure that only qualiﬁed personnel install and operate the

EURODESK. During installation and operation, the user must have

suﬃcient electrical contact to earth. Electrostatic charges might

aﬀect the operation of the unit.

Fig. 5.3: RCA cable

Balanced use with XLR connectors

Unbalanced ¼" TS connector

Strain relief clamp

Sleeve

input

Tip

1 = ground/shield

2 = hot (+ve)

3 = cold (-ve)

Sleeve

(ground/shield)

output

Tip

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

(signal)

Fig. 5.4: XLR connectors

Fig. 5.1: ¼" TS connector

¼" TS footswitch connector

Balanced ¼" TRS connector

strain relief clamp

sleeve

strain relief clamp

sleeve

ring

tip

sleeve

pole 1/ground

sleeve

ground/shield

ring

cold (-ve)

tip

pole 2

tip

hot (+ve)

The footswitch connects both poles momentarily

For connection of balanced and unbalanced plugs,

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

Fig. 5.5: ¼" TRS footswitch connector

Fig. 5.2: ¼" TRS connector

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¼" TRS headphones connector

strain relief clamp

sleeve

ring

tip

sleeve

ground/shield

ring

right signal

tip

left signal

Fig. 5.6: ¼" TRS connector for headphones

Insert send return ¼" TRS connector

strain relief clamp

sleeve

ring

tip

sleeve

ground/shield

ring

return (in)

tip

send (out)

Connect the insert send with the input and the

insert return with the output of the eﬀects device.

Fig. 5.7: Insert send and return ¼” TRS connector

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6. Presets

Eﬀect

Description

Application examples

Solo instruments/vocals in slow pieces.

PARALLEL EFFECTS

Cathedral

Very dense and long reverberation of a large cathedral.

Simulates the sound of early plate reverberators.

Simulates a small theater or large concert hall.

Very dense reverb, especially for live applications.

You can clearly hear the walls of the room.

Plate

A classic for drums (snare) and vocals.

Creates an “atmosphere”(e.g. radioplay voices).

Dissipates the sound of keyboard pads, for example.

Reverb eﬀect that isn’t directly noticeable.

Gives a sound source more “class”in the mix.

Perfect for processing drums.

Concert

Stage

Room

Studio

Adds spaciousness to the sound; signals sound natural, not “ﬂat”.

Simulates a small, lively (strongly reﬂecting) hall.

Reproduces a middle-sized room without late reﬂections.

Very dense reverb with pronounced early reﬂections.

Simulates a classic spring reverberation.

Small Hall

Ambience

Extremely versatile eﬀect.

Early Reﬂections

Spring Reverb

Gated Reverb

Reverse Reverb

Chorus

Drums, percussion, slap bass

Extremely versatile eﬀect.

Reverb that is synthetically cut oﬀ

Produces a very “crisp”snare sound.

Reverb with reversed envelope, i.e. it slowly gets louder.

Slight detuning of the original signal.

Produces a very spaced out vocal sound.

Extremely versatile eﬀect (guitar, vocals, bass, keyboards etc.).

Organ/keyboards.

Flanger

A slightly delayed signal is added to the original signal, producing phase shifting of the signals.

Another phase-shift eﬀect.

Phaser

Rotary Speaker

Delay

Simulation of a classic eﬀect for electronic organ.

Delay of the input signal with several repetitions.

Combination of chorus and reverb.

Extremely versatile eﬀect.

Chorus & Reverb

Flanger & Reverb

Phaser & Reverb

Rotary Speaker & Reverb

Delay & Reverb

Delay & Chorus

Delay & Flanger

INSERT EFFECTS

Compressor

A classic eﬀect for vocals.

Flanger combined with a reverb eﬀect.

All-purpose eﬀect.

Phaser combined with a reverb eﬀect.

All-purpose eﬀect.

Rotary Speaker eﬀect combined with reverb.

Delay combined with reverb.

Organ/keyboards/electric guitar.

The most common combination for vocals, solo guitar, etc.

Makes vocals stand out in the mix. Good intelligibility is preserved.

Ideal for creating a slightly spaced out sound.

Widens the signals and produces interesting repetition eﬀects.

Similar to Delay & Chorus, but with audible up/downward modulation.

Soft or loud passages are raised or lowered in level respectively.

Single signals, especially from microphones.

No dynamics limitation (see Compressor), but quite the opposite: interference

(noise, hum, etc.) is reduced in level.

Expander

Gate

A gate opens for a speciﬁc period of time to make a speciﬁc signal pass, and then closes abruptly.

Extremely eﬃcient compression through automatic adaptation of compression parameters.

“Controls”feedback-prone microphones/eliminates interference.

Gives mix signals a constant output level.

Ultramizer

Gives keyboard sounds some special “class”/sound eﬀect for

electric basses.

Ultrabass

Combines sub-harmonics processor, bass exciter and limiter.

Panner

The signal “wanders”between the sides of the stereo basis.

Special eﬀect, e.g. for radioplay soundtracking.

Exciter

Adds synthetic harmonics to the signal, resulting in increased presence and “loudness”.

Both mix and single signals. Improves intelligibility of vocal signals.

Auto Filter

Tube Distortion

Guitar Amp

Vinylizer

Level-dependent boost of a speciﬁc frequency band, similar to auto-wah eﬀect for electric guitars. DJ-ing/sound eﬀects for live events/electric guitar or bass.

Simulates the tube distortion of classic guitar ampliﬁers.

Guitar amp simulation.

Electric guitar/vocals/keyboards.

Electric guitar or bass.

Adds the clicks and noise of old vinyl records.

1-kHz test tone.

DJ-ing/sound eﬀects for live events.

Makes P.A. level setting easier.

Test Tone

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7. Speciﬁcations

Mono Inputs

CD/Tape In

Microphone inputs (XENYX Mic preamp)

Type

RCA connector

approx. 10 kΩ

+22 dBu

Type

XLR connector, electronically

balanced, discrete input circuit

Impedance

Max. input level

Mic E.I.N.¹(20 Hz - 20 kHz)

@ 0 Ω source resistance

@ 50 Ω source resistance

@ 150 Ω source resistance

Equalizer

-134 dB / 135.7 dB A-weighted

-131 dB / 133.3 dB A-weighted

-129 dB / 130.5 dB A-weighted

EQ mono channels

LOW

80 Hz / 15 dB

MID

100 Hz to 8 kHz / 15 dB

12 kHz / 15 dB

Frequency Response

<10 Hz - 160 kHz

<10 Hz - 200 kHz

Gain range

HIGH

-1 dB

LOW CUT

EQ stereo channels

LOW

80 Hz, 18 dB/oct.

-3 dB

+10 dB to +60 dB

+12 dBu @ +10 dB GAIN

approx. 2.6 kΩ balanced

80 Hz / 15 dB

500 Hz / 15 dB

3 kHz / 15 dB

12 kHz / 15 dB

Max. input level

Impedance

LOW MID

HIGH MID

HIGH

Signal-to-noise ratio

110 dB / 112 dB A-weighted

(0 dBu In @ +22 dB GAIN)

Distortion (THD + N)

0.005 % / 0.004 % A-weighted

Channel Inserts

Type

¼" TRS jack, unbalanced

+22 dBu

Line Input

Max. input level

Type

¼" TRS jack,

electronically balanced

AUX/FX Send

Type

Impedance

approx. 20 kΩ balanced,

approx. 10 kΩ unbalanced

¼" mono jack, unbalanced

approx. 120 Ω

Impedance

Max. output level

Gain range

-10 dB to +40 dB

+22 dBu

Max. input level

+22 dBu @ 0 dB GAIN

Fade-out attenuation²(Crosstalk attenuation)

FX Returns

Type

Main fader closed

Channel muted

90 dB

84 dB

85 dB

¼" mono jack, unbalanced

approx. 10 kΩ

Impedance

Max. input level

Channel fader muted

+22 dBu

Frequency response (Mic In → Main Out)

Subgroup Outputs

Type

<10 Hz - 90 kHz

<10 Hz - 160 kHz

+0 dB / -1 dB

¼" mono jack, unbalanced

approx. 120 Ω

+0 dB / -3 dB

Impedance

Stereo Inputs

Type

Max. output level

+22 dBu

2 x ¼" TRS jack, balanced

Main Outputs (XLR)

Impedance

approx. 20 kΩ balanced,

approx. 10 kΩ unbalanced

Type

XLR connector,

electronically balanced

Gain range

-20 dB to +20 dB

Impedance

approx. 240 Ω balanced,

approx. 120 Ω unbalanced

Max. input level

+22 dBu @ 0 dB GAIN

Max. output level

+28 dBu

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19 EURODESK SX2442FX/SX3242FX User Manual

Main Outputs (¼")

Physical/Weight

SX2442FX

Type

¼" TRS jack, electronically balanced

Impedance

approx. 240 Ω balanced,

approx. 120 Ω unbalanced

Dimensions (H x W x D)

3.9 x 26.9 x 16.1"

100 x 682 x 410 mm

Max. output level

+28 dBu

Weight (net)

SX3242FX

19 lbs / 8.6 kg

Main Inserts

Type

Dimensions (H x W x D)

3.9 x 35.3 x 16.1"

100 x 896 x 410 mm

¼" TRS jack, unbalanced

+22 dBu

Max. input level

Weight (net)

24.3 lbs / 11.0 kg

Mono Output

Type

¹Equivalent Input Noise

¼" mono jack, unbalanced

approx. 120 Ω

²Measuring conditions: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain.

Impedance

Max. output level

Low pass

³20 Hz - 20 kHz; measured at main output. Channels 1 - 4 unity gain; EQ ﬂat; all channels on main mix;

channels 1/3 as far left as possible; channels 2/4 as far right as possible; reference = +6 dBu.

+22 dBu

BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these eﬀorts,

modiﬁcations may be made from time to time to existing products without prior notice. Speciﬁcations and

appearance may diﬀer from those listed or illustrated.

variable, 30 Hz to 200 Hz, 18 dB/oct.

Phones/CTRL Room Output

Type

¼" TRS jack, unbalanced

Max. output level

+19 dBu / 150 Ω (+25 dBm)

CD/Tape Out

Type

RCA connector

approx. 1 kΩ

+22 dBu

Impedance

Max. output level

DSP

Type

Texas Instruments

Converter

24-bit delta-sigma,

64/128-times oversampling

Sampling rate

46 kHz

Main Mix System Data³(Noise)

Main mix @ -∞, channel fader @ -∞

-100 dB / -102.5 dB A-weighted

Main mix @ 0 dB, channel fader @ -∞ -82 dB / -85 dB A-weighted

Main mix @ 0 dB, channel fader @ 0 dB -72 dB / -75 dB A-weighted

Power Supply

Power consumption

Fuse (100 - 240 V~, 50/60 Hz)

Mains connector

50 W

T 2,0 A H 250 V

Standard IEC receptacle

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20 EURODESK SX2442FX/SX3242FX User Manual

FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

EURODESK SX2442FX/SX3242FX

Responsible party name:

Address:

MUSIC Group Services USA, Inc.

18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,

USA

Phone/Fax No.:

Phone: +1 425 672 0816

Fax: +1 425 673 7647

EURODESK SX2442FX/SX3242FX

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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