User’s Manual
Version 1.0 January 2006
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XENYX 1622FX/1832FX/2222FX/2442FX
FOREWORD
TABLE OF CONTENTS
Dear Customer,
I1. INTRODUCTION ........................................................ 4
I'm sure you're one of
those people who have
devoted themselves
body and soul to your
chosen area and no
doubt this has made you
an expert in your field.
1.1 General mixing console functions .................................. 4
1.2 The user’s manual .......................................................... 5
1.3 Before you get started ................................................... 5
1.3.1 Shipment ................................................................ 5
1.3.2 Initial operation ....................................................... 5
1.3.3 Online registration ................................................. 5
Well, for over 30 years,
my passion has been
music and electronics.
This not only led me to
establish BEHRINGER,
but also enabled me to
share my enthusiasm
with our employees.
During all the years I've
been involved with
studio technology and
2. CONTROL ELEMENTS AND CONNECTORS .............. 5
2.1 Mono channels................................................................ 5
2.1.1 Microphone and line inputs ................................... 5
2.1.2 Equalizer ................................................................ 6
2.1.3 Monitor and effects busses (Aux sends) ............ 6
2.1.4 Routing switch, PAN, SOLO and channel fader... 7
2.2 Stereo channels .............................................................. 7
2.2.1 Channel inputs ....................................................... 7
2.2.2 Equalizer stereo channels .................................... 7
2.2.3 Aux sends stereo channels.................................. 7
2.2.4 Routing switch, solo and channel fader .............. 8
2.3 Interface panel and main section ................................... 8
2.3.1 MON control, aux sends 1, 2 and 3 (FX) .............. 8
2.3.2 Aux send jacks ...................................................... 8
2.3.3 Stereo aux return connectors .............................. 8
2.3.4 The monitor section of the 1832FX....................... 9
2.3.5 Stereo aux return control ...................................... 9
2.3.6 Supplement to 1832FX ........................................ 10
2.3.7 XPQ Surround function (1832FX only) ............... 10
2.3.8 CD/Tape input, CD/tape output ............................ 10
2.3.9 Lamp socket (2442FX only) ................................ 11
2.3.10 Level meter and monitoring ............................... 11
2.3.11 Subgroups and main mix fader ......................... 12
end users,
I
have
developed a feel for the things that really count, such as sound
quality, reliability and ease of use. What is more, I have always
had the desire to test the boundaries of what is technically
feasible.
It was precisely this motivation that prompted me to start work
on a new series of mixing consoles. Since our EURORACKs had
already set new standards world-wide, I knew the development
objectives behind the next generation of mixing consoles had to
be especially ambitious.
Thus, the concept and design of the new XENYX mixing consoles
bear my signature. The design work, the entire circuit diagram
and PCB development, and even the mechanical concepts are
my own work. I carefully selected each individual component -
with the aim of pushing the mixing consoles' combining analog
and digital technologies to their limits.
3. GRAPHIC 9-BAND EQUALIZER (1832FX only) .......12
4. DIGITALEFFECTS PROCESSOR ..............................12
5. REAR PANELCONNECTORS ...................................13
My vision was to enable you, the user, to give free rein to your
true potential and creativity. The result is mixing consoles that
combine incredible performance with intuitive operability. They
cannot fail to impress with their extremely flexible routing
possibilities plus a fantastic wealth of functions. Innovative
technologies, such as the completely new XENYX Mic Preamps
and the "British" EQs, guarantee optimum sound quality. And
extraordinarily high-quality components provide unrivalled
reliability, even under extreme loads.
5.1 Main mix outputs, insert points and
control room outputs ........................................................... 13
5.2 Subgroup outputs ......................................................... 13
5.3 Inserts ........................................................................... 13
5.4 Direct outputs (2442FX only) ....................................... 13
5.5 Voltage supply, phantom power supply
Thanks to the quality and ease of use of your new XENYX
mixing console you'll soon come to appreciate that I, both
personally and in my capacity as musician and sound engineer,
put you, the end user, first and that these products were only
possible because of the passion and the attention to detail that
went into them.
and fuse ....................................................................... 13
6. INSTALLATION .........................................................14
6.1 Rack mounting............................................................... 14
6.2 Cable connections ........................................................ 14
6.2.1 Audio connections............................................... 14
Thank you for the confidence you have placed in us by purchasing
the XENYX mixing console. I should also like to thank all those
who, with their personal commitment and passion, have helped
me create this impressive series of mixing consoles.
7. SPECIFICATIONS .....................................................16
8. WARRANTY ..............................................................17
Kindest regards,
Uli Behringer
3
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XENYX 1622FX/1832FX/2222FX/2442FX
ideally suited for use as a karaoke machine. This feature is also
an optimal solution for singers who need accompanying music
for their rehearsals.
1. INTRODUCTION
Congratulations! In purchasing the BEHRINGER XENYX you
have acquired a mixer whose small size belies its incredible
versatility and audio performance.
USB/Audio interface
The USB interface supplied with the unit is a perfect match for
the XENYX Series and serves as a powerful recording interface
to your PC or MAC®. It supports the digital transmission of signals
on up to four channels with max. 48 kHz and extremely low
latency. When wired to the CD/TAPE INPUT and OUTPUT
connectors, the interface transfers the stereo mix from the
console directly to a computer. Both the recording signal and the
playback signal from the computer can be monitored at the same
time. In this way, you can use several recording runs to produce
complete multi-track recordings.
The XENYX Series represents a milestone in the development
of mixing console technology. With the new XENYX microphone
preamps including phantom power as an option, balanced line
inputs and a powerful effects section, the mixing consoles in the
XENYX Series are optimally equipped for live and studio
applications. Owing to state-of-the-art circuitry your XENYX
console produces a warm analog sound that is unrivalled. With
the addition of the latest digital technology these best-in-class
consoles combine the advantages of both analog and digital
technology.
CAUTION!
XENYX Mic Preamp
+
We should like to draw your attention to the fact that
extreme volumes may damage your hearing and/or
your headphones or loudspeakers. Turn the MAIN
MIX faders and phones control in the main section
fully down before you switch on the unit. Always be
careful to set the appropriate volume.
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:
s
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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
1.1 General mixing console functions
A mixing console fulfils three main functions:
s
s
s
The extremely low-noise and distortion-free circuitry
guarantees absolutely natural and transparent signal
reproduction
s
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 micro-
phone 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 XENYX 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.
They are perfectly matched to every conceivable
microphone with up to 60 dB gain and +48 volt phantom
power supply
They enable you to use the greatly extended dynamic range
of your 24-bit/192-kHz HD recorder to the full, thereby
maintaining optimal audio quality
„British EQ“
The equalizers used for the XENYX Series are based on the
legendary circuitry of top-notch consoles made in Britain, which
are renowned throughout the world for their incredibly warm
and musical sound character. Even with extreme gain settings
these equalizers ensure outstanding audio properties.
Multi-effects processor
Additionally, your XENYX mixing console has an
effects processor with 24-bit A/D and D/A converters
included, which gives you 100 presets producing
first-class reverb, delay and modulation effects plus
numerous multi-effects in excellent audio quality.
Level-setting
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.
The XENYX mixing consoles are equipped with a
state-of-the-art switched-mode power supply
(SMPS). Unlike conventional circuitry an SMPS
provides an optimum supply current regardless of
the input voltage. And thanks to its considerably
higher efficiency a switched-mode power supply uses less
energy than conventional power supplies.
Frequency response correction
Using the equalizers found in each channel strip, you can
simply, quickly and effectively adjust the way a signal
sounds.
Effects mixing
In addition to the effects processor contained in your mixer,
using the insert connectors on the mono channels and
both aux busses lets you insert additional signal processors
into your signal path.
FBQ Feedback Detection System
The FBQ Feedback Detection System integrated
into the graphic EQ of your 1832FX is one of this
mixer’s most outstanding features.
s
Signal distribution:
This ingenious circuitry lets you immediately
recognize and eliminate feedback frequencies. The FBQ
Feedback Detection System uses the LEDs in the frequency
band faders of the graphic EQ to indicate the critical frequencies.
This way, what once used to be a labor-intensive search for
feedback frequencies is now an activity that even a child could
master.
Individual signals adjusted at each channel strip are laid
out at the aux sends and returns, and are either fed into
external effects processors or fed back to the internal
effects processor. Then, the signals are brought back into
the main mix either via the aux return connectors or via
direct internal wiring. The mix for the on-stage musicians is
also created using the aux sends (monitor mix). Similarly,
for example, signals for recording equipment, power ampli-
fiers, headphones and 2-track outputs can also be taken.
Voice Canceller
We have added another useful feature to the XENYX
1832FX: the Voice Canceller.
The Voice Canceller is a filter circuitry that filters out
vocal portions from a track. Therefore, this mixing console is
4
1. INTRODUCTION
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XENYX 1622FX/1832FX/2222FX/2442FX
s
Mix:
Should your BEHRINGER product malfunction, our goal is to
have it repaired as quickly as possible. To arrange for warranty
service, please contact the 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 (www.behringer.com).
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).
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
The control surface of BEHRINGER mixing consoles is opti-
mized in such a way that these functions become easy to fulfil
while the signal path remains simple to follow.
Thank you for your cooperation!
1.2 The user’s manual
2. CONTROL ELEMENTS AND
CONNECTORS
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
explanations about various music industry/audio technology
terminology can be found on individual product pages as well as
in the glossary.
This chapter describes the various control elements of your
mixing console. All controls, switches and connectors will be
discussed in detail.
2.1 Mono channels
2.1.1 Microphone and line inputs
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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.
1.3 Before you get started
1.3.1 Shipment
Your mixing console was carefully packed in the factory to
guarantee safe transport. Nevertheless, we recommend that
you carefully examine the packaging and its contents for any
signs of physical damage, which may have occurred during
transit.
+
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.
1.3.2 Initial operation
Be sure that there is enough space around the unit for cooling
purposes and to avoid over-heating please do not place your
mixing console on high-temperature devices such as radiators
or power amps. The console is connected to the mains via the
supplied cable. The console meets the required safety standards.
Blown fuses must only be replaced by fuses of the same type
and rating.
Fig. 2.1: Connectors and controls of mic/line inputs
MIC
Each mono input channel offers a balanced microphone input
via the XLR connector and also features switchable +48 V
phantom power supply for condenser microphones. The XENYX
preamps provide undistorted and noise-free gain as is typically
known only from costly outboard preamps.
+
Please note that all units must be properly
grounded. For your own safety, you should never
remove any ground connectors from electrical
devices or power cables, or render them in-
operative.
+
Please mute your monitor system before you
switch on phantom power. Otherwise potentially
damaging thumps will be sent to your speakers.
Please also note the instructions in chapter 5.5
“Voltage supply, phantom power and fuse”.
+
Please ensure that only qualified people install and
operate the mixing console. During installation and
operation, the user must have sufficient electrical
contact to earth, otherwise electrostatic discharges
might affect the operation of the unit.
LINE IN
Each mono input also has a balanced line input on a 1/4" jack.
You can also connect unbalanced devices using mono jacks to
these inputs.
1.3.3 Online registration
Please do remember to register your new BEHRINGER
equipment right after your purchase by visiting
kindly read the terms and conditions of our warranty carefully.
+
Please remember that you can use either the
microphone input or the line input of a channel, but
not both at the same time!
2. CONTROL ELEMENTS AND CONNECTORS
5
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XENYX 1622FX/1832FX/2222FX/2442FX
INSERT
the MID control to set the amount of boost or cut, and the FREQ
control to determine the central frequency.
Insert points enable the processing of a signal with dynamic
processors or equalizers. They are sourced pre-fader, pre-EQ
and pre-aux send. Detailed information on using insert points
can be found in chapter 5.3.
2.1.3 Monitor and effects busses (Aux sends)
+
Unlike the 2442FX, the 1622FX, 1832FX and 2222FX
have their insert points located on the rear of the
console.
TRIM
Use the TRIM control to adjust the input gain. This control
should always be turned fully counter-clockwise whenever you
connect or disconnect a signal source to one of the inputs.
The scale has 2 different value ranges: the first value range
(+10 to +60 dB) refers to the MIC input and shows the
amplification for the signals fed in there.
The second value range (+10 to -40 dB) refers to the line input
and shows its sensitivity. The settings for equipment with st
andard 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. Fine-tuning of a signal being fed in is done
using the level meter. To route the channel signal to the level
meter, you have to press the SOLO switch and set the MODE
switch in the main section to PFL (LEVEL SET).
Fig. 2.3: Aux Send control MON and FX in the channel strips
Monitor and effects busses (AUX sends) source their signals
via a control from one or more channels and sum these signals
to a so-called bus. This bus signal is sent to an aux send
connector (for monitoring applications: MON OUT) and then
routed, for example, to an active monitor speaker or external
effects device. In the latter case, the effects return can then be
brought back into the console via the aux return connectors.
Using the TRIM control, drive the signal to the 0-dB mark. This
way you have a vast amount of drive headroom for use with
very dynamic signals. The CLIP display should light up only rarely,
preferably never. While fine-tuning, the equalizer should be set
to neutral.
All monitor and effects busses are mono, are tapped into post
EQ and offer amplification of up to +15 dB.
Pre-fader/post-fader
When using effects on a channel signal, it is usual to have the
aux send post fader so that the balance between effect and dry
signal stays constant even when the channel fader is altered. If
this were not the case, the effects signal of the channel would
remain audible even when the channel fader is turned all the way
down. For monitoring, the aux sends are generally pre-fader, i.e.
they operate independently of the position of the channel fader.
LOW CUT
Additionally, the mono channels of the mixing consoles have a
high-slope LOW CUT filter for eliminating unwanted, low-
frequency signal components (75 Hz, 18 dB/octave).
2.1.2 Equalizer
PRE
All mono input channels have a 3-band equalizer with semi-
parametric mid bands. All bands provide boost or cut of up to
15 dB. In the central position, the equalizer is off (flat).
When the PRE switch is pressed down, the associated aux
send is taken pre-fader.
FX
The circuitry of the British EQs is based on the technology
used in the best-known top-of-the-line consoles and providing a
warm sound without any unwanted side effects. The result are
extremely musical equalizers which, unlike simple equalizers,
cause no side effects such as phase shifting or bandwidth
limitation, even with extreme gain settings of ±15 dB.
The aux send marked FX offers a direct route to the built-in
effects processor and is therefore post-fader and post-mute.
Please refer to chapter 4 “DIGITAL EFFECTS PROCESSOR” for
detailed information.
+
If you are using the built-in effects processor, make
sure that STEREO AUX RETURN 3 has nothing plugged
into it (2442FX and 2222FX), otherwise the internal
effects return will be muted. This is not relevant if
you use the FX OUT jack to drive an external effects
device.
+
1622FX and 1832FX: On these consoles, the above
note refers to the STEREO AUX RETURN 2 jacks as
these models do not have a dedicated effect output.
Fig. 2.2: Equalizer of the input channels
The upper (HIGH) and the lower (LOW) bands are shelving
filters that increase or decrease all frequencies above or below
their cut-off frequency. The cut-off frequencies of the upper
and lower bands are 12 kHz and 80 Hz respectively. For the mid
range, the console features a semi-parametric equalizer with a
filter quality (Q) of 1 octave, tunable from 100 Hz to 8 kHz. Use
6
2. CONTROL ELEMENTS AND CONNECTORS
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2.1.4 Routing switch, PAN, SOLO and channel fader
2.2 Stereo channels
2.2.1 Channel inputs
Fig. 2.4: The panorama and routing controls
and the channel fader
PAN
The PAN control determines the position of the channel signal
within the stereo image. When working with subgroups, you
can use the PAN control to assign the signal to just one output,
which gives you additional flexibility in recording situations. For
example, when routing to subgroups 3 and 4, panning hard left
will route the signal to group output 3 only, and panning hard
right will route to group output 4 only.
Fig. 2.5: The various stereo channel inputs
Each stereo channel has two balanced line level inputs on
jacks for left and right channels. Channels 9/10 and 11/12 on the
2442FX feature an additional XLR microphone jack with phantom
power. If only the left jack (marked “L”) is used, the channel
operates in mono. The stereo channels are designed to handle
typical line level signals, and, depending on model, have a level
switch (+4 dBu or -10 dBV) and/or a line TRIM control. Both jack
inputs will also accept unbalanced connectors.
MUTE
The MUTE switch breaks the signal path pre-channel fader,
hence muting that channel in the main mix. The aux sends which
are set to post-fader are likewise muted for that channel, while
the pre-fader monitor paths remain active irrespective of whether
the channel is muted or not.
LOW CUT and MIC TRIM
These two control elements operate on the XLR connectors of
the 2442FX, and are used to filter out frequencies below
75 Hz (LOW CUT) and to adjust microphone levels (MIC TRIM).
MUTE LED
The MUTE LED indicates a muted channel.
LINE TRIM
Use this control to adjust the line signal levels on channels
13-16 (2442FX only).
CLIP-LED
The CLIP-LED lights up when the input signal is driven too
high. If this happens, back off the TRIM control and, if necessary,
check the setting of the channel EQ.
LEVEL
For level matching, the stereo inputs on the 1622FX, 1832FX
and 2222FX have a LEVEL switch to select between +4 dBu
and -10 dBV. At -10 dBV (homerecording level), the input is
more sensitive than at +4 dBu (studio level).
SOLO
The SOLO switch is used to route the channel signal to the
solo bus (Solo In Place) or to the PFL bus (Pre Fader Listen). This
enables you to listen to a channel signal without affecting the
main output signal. The signal you hear is taken either before the
pan control (PFL, mono) or after the pan and channel fader
(Solo, stereo) (cf. chap. 2.3.10 “Level meters and monitoring”).
2.2.2 Equalizer stereo channels
The stereo channels contain a stereo EQ section. The cut-off
frequencies of the high and low bands are 12 kHz and 80 Hz
respectively, while the center frequencies of the high-mid and
low-mid bands are 3 kHz and 500 Hz respectively. The HIGH and
LOW controls have the same characteristics as the EQ in the
mono channels. Both mid range bands are of the peak filter type.
A stereo EQ is superior to two mono EQs on a stereo signal as
two separate EQs will usually result in a discrepancy between
left and right channels.
SUB (1-2 and 3-4)
The SUB switch routes the signal to the corresponding
subgroups. The 2442FX has 4 subgroups (1-2 and 3-4).
MAIN
The MAIN switch routes the signal to the main mix bus.
The channel fader determines the channel’s volume in the
main mix (or submix).
2.2.3 Aux sends stereo channels
In principle, the aux sends of the stereo channels function the
same way as those of the mono channels. As the aux sends are
mono, the send from a stereo channel is first summed to mono
before it reaches the aux bus.
2. CONTROL ELEMENTS AND CONNECTORS
7
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+
If you want to monitor the signal of just one AUX
bus, none of the other SOLO SWITCHES should be
pressed and the MODE switch should be in the SOLO
position (not depressed).
2.2.4 Routing switch, solo and channel fader
2.3.2 Aux send jacks
Fig. 2.6: Balance control and mute switch
BAL
The BAL(ANCE) control has a similar function to the PAN control
in the mono channels.
The balance control determines the levels of the left and right
input signals relative to each other before both signals are routed
to the left/right main mix bus (or odd/even subgroup).
The remaining control elements in the stereo channels perform
the same functions as their counterparts in the mono channels
(MUTE switch, MUTE and CLIP LEDs, SOLO switch, SUB and
MAIN switches and channel fader).
Fig. 2.8: Aux send jacks
AUX SEND jacks
The AUX SEND jack should be used when hooking up a monitor
power amp or active monitor speaker system. The relevant aux
path should be set pre-fader.
2.3 Interface panel and main section
+
On the 2222FX, aux send
1
is hard wired
Where it was useful to trace the signal flow from top to bottom
in order to gain an understanding of the channel strips, we now
look at the mixing console from left to right. The signals are, so to
speak, collected from the same point on each of the channel
strips and then routed to the main section all together.
as pre-fader and hence called MON. Model 1832FX
has a dedicated monitor output (MON OUT jack), cf.
chapter 2.3.4.
As already mentioned, the aux sends in the channels—if set
post-fader—can be used to connect to external effects devices.
2.3.1 MON control, aux sends 1, 2 and 3 (FX)
Turning up the AUX 1 control in a channel routes the signal to
the aux send bus 1.
AUX SEND (FX)
The AUX SEND (FX) jack carries the master aux mix (from the
channel’s FX controls). You can connect this to an external
effects device to process the FX bus. The processed signal can
then be brought from the effects device back into the STEREO
AUX RETURN jacks.
+
As the 1832FX is equipped with an additional monitor
path, its first aux control in the channel strips is
named MON. The console also has a dedicated
master fader (MON SEND) for this aux path.
2.3.3 Stereo aux return connectors
AUX SEND 1, 2 and 4
The AUX SEND 1 control governs the master send level of the
mix created by the individual channel AUX 1 sends.
Likewise, the AUX SEND 2 contol is the master control for the
aux 2 bus, and AUX SEND 4 controls the AUX 4 bus.
Fig. 2.9: The aux return connectors
+
On the 2222FX, 1832FX and 1622FX the STEREO AUX
RETURN jacks are located on the front panel of the
unit.
STEREO AUX RETURN
The STEREO AUX RETURN 1 jacks generally serve as the
return for the effects mix (created using the post-fader aux
sends) by connecting the output of an external effects device. If
only the left jack is connected, the AUX RETURN is automatically
switched to mono.
Fig. 2.7: The AUX SEND controls of the main section!
+
You can also use these jacks as additional line
inputs.
AUX SEND 3 (FX)
The FX control determines the signal level for effects
processing, i.e. regulates the level to an external (or the inter-
nal) effects device.
All stereo aux returns are balanced, but can of course also be
used with unbalanced connectors. If you use an aux send for
monitoring, the associated unused stereo aux returns are
available for other line level signals (e.g. keyboards).
1622FX and 1832FX: On these consoles, this function is
performed by the AUX SEND 2 control (FX).
+
A signal fed into the stereo return jacks can be
output via an aux send jack. More information on
this can be found in chapter 2.3.5 “STEREO AUX
RETURN 1/2 (TO AUX SEND)”.
SOLO
You can use the SOLO switch to separately monitor the aux
sends via the CONTROL ROOM/PHONES outputs and check
these with the level meters.
STEREO AUX RETURN FX
The STEREO AUX RETURN FX jacks accept the effects mix
8
2. CONTROL ELEMENTS AND CONNECTORS
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XENYX 1622FX/1832FX/2222FX/2442FX
return (created using the channel FX sends). If these jacks are
already in use as additional inputs, you can route the effects
signal back into the console via a different channel. The advantage
of this is that you can now use that channel’s EQ on the effects
return signal.
+
In this instance, the FX control of the channel being
used as an effects return should be turned fully
counterclockwise, otherwise feedback problems
could occur!
+
If you wish to use the internal effects processor,
do not plug any connectors into the STEREO AUX
RETURN FX jacks, unless you want to tap the
processed signal via the FX OUT (2222FX and 2442FX
only).
Fig. 2.12: Stereo aux return and
stereo aux return (to aux send) controls
2.3.4 The monitor section of the 1832FX
One of the ways that the 1832FX differs from the other models
of this series is that it has a separate monitor output.
STEREO AUX RETURN 1/2 (TO AUX SEND)
The two right-hand STEREO AUX RETURN controls have a
special function: they can be used to add an effect to a monitor
mix. An example follows (1622FX wired to an effects device):
Monitor mix with effect
In this instance, your effects device should be set up as follows:
the AUX SEND 2 jack should be connected to the L/Mono input of
your effects device, with its outputs coming back into the STEREO
AUX RETURN 1 jacks.
Connect the AUX SEND 1 jack output to the amplifier of your
monitor system. The AUX SEND 1 master control determines the
overall volume of the monitor mix.
Fig. 2.10: Monitor output of the 1832FX
The first aux send (MON) on this console is used to set up the
monitor mix from the channels and route it to the MON SEND
fader.
Using the STEREO AUX RETURN (TO AUX SEND) control, the
effect signal can now be blended into the monitor mix.
You can easily use the headphones distribution amplifier
BEHRINGER POWERPLAY PRO HA4700/HA8000 to provide four
(HA8000: eight) stereo headphone mixes for your studio.
The following table shows which jacks on the console can be
used for this purpose.
STEREO AUX
RETURN (TO AUX
SEND ) control
STEREO AUX
RETURN
connectors
AUX SEND
AUX SEND
STEREO AUX
RETURN
connectors
MONITOR switch of
the FX/AUX RET
Fig. 2.11: Monitor fader of the 1832FX
STEREO AUX
STEREO AUX
AUX SEND
RETURN connectors RETURN (TO AUX
SEND ) control
MUTE
Press the MUTE switch to mute the monitor send.
SOLO
STEREO AUX
RETURN (TO AUX
SEND ) control
STEREO AUX
RETURN
connectors
The SOLO switch routes the monitor send to the solo bus
(post-fader and post-mute) or to the PFL bus (pre-fader and
pre-mute). The position of the MODE switch in the main section
determines which of the buses is selected.
AUX SEND
AUX SEND
STEREO AUX
RETURN
connectors
STEREO AUX
RETURN (TO AUX
SEND ) control
2.3.5 Stereo aux return control
STEREO AUX RETURN 1
Tab. 2.1: Connectors and controls for monitor mix with effect
The STEREO AUX RETURN 1 control determines the level of
this signal in the main mix. If STEREO AUX RETURN 1 is used as
effects return, this will determine the level of the effects when
mixed with any “dry” channel signal.
STEREO AUX RETURN FX
On consoles 1622FX and 1832FX this is the STEREO AUX
RETURN 2, on consoles 2222FX and 2442FX this is the STEREO
AUX RETURN 3.
+
When used in this way, the effects device should
be set at 100% effect.
2. CONTROL ELEMENTS AND CONNECTORS
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XENYX 1622FX/1832FX/2222FX/2442FX
Use the STEREO AUX RETURN FX control to determine the
level of the signal routed from the AUX RETURN FX jacks to the
main mix. If nothing is connected to these jacks, the output of the
built-in effects module will appear.
2.3.7 XPQ Surround function (1832FX only)
MAIN MIX / TO SUBS
This switch routes the signal fed in via the STEREO AUX
RETURN FX jacks either to the main mix (not pressed) or to the
submix (pressed).
On the 2442FX you can select which subgroup the signal is
assigned to (switches 1-2 / 3-4, to the right of MAIN MIX / TO
SUBS).
SOLO RETURNS
Additionally, this model allows you to route the aux returns
together to the solo bus and the PFL bus. The LED lights up when
Solo is on.
Fig. 2.14: Control elements of the surround function
The XPQ surround function can be enabled/
disabled with the XPQ TO MAIN switch. This is
a built-in effect that widens the stereo width,
thus making the sound more lively and trans-
parent. Use the SURROUND control to determine the intensity of
this effect.
STEREO AUX RETURN 4 (2442FX only)
This control behaves the same way as the other stereo aux
returns. Additionally, it provides for a simple monitor path using
the switch PHONES/CTRL ROOM ONLY.
PHONES/CTRL ROOM ONLY
Use this switch to route the signal appearing at the AUX
RETURN 4 jacks to the control room and headphones outputs.
VOICE CANCELLER
Here, you have a filter circuitry that lets you almost
entirely remove the vocal portion of a recording. The
filter is constructed in such a way that voice
frequencies are targeted without majorly affecting
the rest of the signal. Additionally, the filter seizes
only the middle of the stereo image, exactly there where the
vocals are typically located.
2.3.6 Supplement to 1832FX
The 1832FX has a stereo fader for the AUX RETURN FX and
offers a variety of routing options: MUTE disables the effect
return (but not PFL of course!), SOLO routes it to the Solo or PFL
busses, SUB to the subgroups and MAIN to the main mix.
+
Connect the signal sources you wish to process
using the Voice Canceller to the CD/TAPE INPUT
connectors. The Voice Canceller circuitry is not
available for other inputs.
Possible applications for the Voice Canceller are obvious: you
can very simply stage background music for Karaoke events. Of
course, you can also do this at home or at your rehearsal room
before you hit the stage. Singers with their own band can practice
singing difficult parts using a complete playback from a tape
player or a CD, thus minimizing rehearsal time.
2.3.8 CD/Tape input, CD/tape output
Fig. 2.13: The FX/AUX 2 return fader of the 1832FX
MON
The MON switch routes the signals appearing at the AUX
RETURN 2 jacks to the monitor path, along with the monitor signals
from the channels.
Fig. 2.15: 2-track connectors and lamp socket
CD/TAPE INPUT
The CD/TAPE INPUT jacks (RCA) are designed to accept a
2-track recorder (e.g. DAT recorder), or they can be used as
stereo line input. The output signal of a second XENYX or the
BEHRINGER ULTRALINK PRO MX882 can also be connected
here. If you connect the output of a hi-fi amplifier (with a source
selection switch) to the CD/TAPE INPUT, you can easily listen to
additional sources (e.g. cassette recorder, MD player, sound
card, etc.).
If you wish to route the effect signal to the monitor mix, you
can also switch aux 1 to pre-fader, drive the effect device from
the aux 1 output and return the effect signal via AUX RETURN 2
to the monitor signal.
Using the voice canceller function (1832FX only), you can
process all signals being brought into your mixing console via
these connectors.
CD/TAPE OUTPUT
These connectors are wired in parallel to the MAIN OUT and
carry the main mix signal (unbalanced). Connect this to the inputs
of your recording device. The final output level can be adjusted
10
2. CONTROL ELEMENTS AND CONNECTORS
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XENYX 1622FX/1832FX/2222FX/2442FX
via the high-precision MAIN MIX fader.
LEVEL SETTING:
When recording to digital recorders, the recorder’s meter should
not go into overload. This is because, unlike analog recordings,
it takes only slightly excessive levels to create unpleasant digital
distortion.
+
If you connect a compressor or a noise gate post
2-track output, the main mix fader will probably not
be able to create a satisfactory fade-out effect.
When recording to analog, the VU meters of the recording
machine should reach approx. +3 dB with low-frequency signals
(e.g. kick drum). Due to their inertia, VU meters tend to display
too low a signal level at frequencies above 1 kHz. You should
only drive instruments such as a Hi-Hat as far as -10 dB.
Snare drums should be driven to approx. 0 dB.
2.3.9 Lamp socket (2442FX only)
Use this BNC socket to connect a gooseneck lamp (12 V DC,
max. 0.5 A).
2.3.10 Level meter and monitoring
+
The peak meters of your XENYX display level almost
independent of frequency. A recording level of 0 dB
is recommended for all types of signal.
MODE
The MODE switch determines whether the channels’ SOLO
switch operates as PFL (Pre Fader Listen) or as solo (Solo In
Place).
PFL (LEVEL SET)
To activate the PFL function, press the MODE switch. The PFL
function should, as a rule, be used for level setting (TRIM). The
signal is sourced pre-fader and assigned to the mono PFL bus. In
“PFL” mode, only the left side of the peak meter is in operation. A
PFL’d channel should be driven to the 0 dB mark of the VU meter.
Fig. 2.16: Control room and phones sections of the 2442FX
SOLO (NORMAL)
CD/TAPE
When the MODE switch is not depressed, the stereo solo bus
is active. Solo is actually short for “Solo In Place”. This is the
customary method for listening to an individual signal or to a
group of signals. As soon as a solo switch is pressed, all channels
not solo selected are muted in th e monitor path (control room
and phones). A channel’s position in the stereo image is
maintained. The solo bus carries the output signals of the channel
pan controls, the aux sends and the stereo line inputs. On the
2442FX all aux returns, and on the 1832FX only aux return 2 can
be routed to the solo bus. The solo bus is, as a rule, taken post-
fader.
The CD/TAPE switch routes the signal from the CD/TAPE INPUT
jacks to the level meter, the CONTROL ROOM OUT outputs and
the PHONES jack—this is a simple way to check recorded signals
via monitor speakers or headphones.
SUB 1-2 or SUB
The SUB 1-2 switch routes subgroup 1-2 to the level meter,
CONTROL ROOM OUT and phones.
SUB 3-4
The SUB 3-4 switch performs a similar function for subgroup
3-4 (2442FX only).
+
The PAN control in the channel strip offers a
constant power characteristic. This means that the
signal is always at a constant level, irrespective of
position in the stereo panorama. If the PAN control
is moved fully left or right, the level in that channel
increases by 4 dB. This ensures that, when set at
the center of the stereo image, the audio signal
does not appear louder. For this reason, with the
solo function activated (Solo in Place), audio signals
from channels with PAN controls that have not been
moved fully left or right are displayed at a lower
volume than in the PFL function.
MAIN MIX
The MAIN MIX switch sends the main mix to the CONTROL
ROOM OUT and the PHONES output as well as to the level meter.
PHONES/CTRL ROOM
Use this control to adjust the control room output level and the
headphones volume.
CD/TAPE TO MAIN
When the CD/TAPE TO MAIN switch is depressed, the 2-track
input is routed to the main mix and thus serves as an additional
input for tape machines. You can also connect MIDI instruments or
other signals here that do not require any further processing. At
the same time, this switch disables the main mix to tape output link.
As a rule, solo signals are monitored via the control room
outputs and headphones jack and are displayed by the level
meters. If a solo switch is pressed, the signals from the tape
input, the subgroups and the main mix are cut from these outputs
and the level meter.
POWER
The blue POWER LED indicates that the device is switched on.
+48 V
The red “+48 V” LED lights up when phantom power is switched
on. Phantom power is required to operate condenser
microphones.
MAIN SOLO
The MAIN SOLO LED lights up as soon as a channel or aux
send solo switch is pressed. The MODE switch must be set to
“Solo”.
+
While phantom power is switched on, do not
connect or disconnect microphones on the mixer
(or the stagebox/wallbox). Connect any micro-
phones before switching on phantom power.
Additionally, monitor/PA speakers should be muted
before you activate the phantom power supply. After
switching on, wait approx. one minute before
adjusting the input gain so that the system has time
to stabilize.
PFL (LEVEL SET)
The PFL (LEVEL SET) LED indicates that the peak meter is set
to PFL mode.
Fig. 2.17: PHONES jack
LEVEL METER
The high-precision level meters always give you an accurate
display of signal level.
2. CONTROL ELEMENTS AND CONNECTORS
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XENYX 1622FX/1832FX/2222FX/2442FX
FBQ FEEDBACK DETECTION
The switch turns on the FBQ Feedback Detection
PHONES jack
You can connect headphones to this 1/4" stereo jack (2442FX:
2 phones jacks). The signal routed to the PHONES connection is
the same as that routed to the control room output.
System. It uses the LEDs in the frequency band
faders to indicate the critical frequencies. On a
per-need basis, lower the frequency range in
question somewhat in order to avoid feedback.
The graphic stereo equalizer has to be turned on in order to use
this function.
2.3.11 Subgroups and main mix fader
You use the high-precision quality faders to control the output
level of the subgroups and the main mix.
+
Logically, at least one (ideally several) microphone
channels have to be open for feedback to occur at all!
LEFT/RIGHT switch
The switches located above the subgroup faders assign the
subgroup signal either to the left or right side of the main bus.
Similarly, it can be routed to both sides or none at all. In the latter
case, the submix is present only at the corresponding subgroup
outputs.
Feedback is particularly common when stage monitors
(“wedges”) are concerned, because monitors project sound in
the direction of microphones. Therefore, you can also use the
FBQ Feedback Detection for monitors by placing the equalizer in
the monitor bus (see MAIN MIX/MONITOR).
4. DIGITAL EFFECTS PROCESSOR
24-BIT MULTI-EFFECTS PROCESSOR
Here you can find a list of all presets stored in the
multi-effects processor. This built-in effects module
produces high-grade standard effects such as reverb,
chorus, flanger, delay and various combination
effects. Use the Aux Send FX on the channels and the Aux
Send FX master control to determine the input signal of the effects
processor.
Fig. 2.18: Subgroup and main mix faders
Fig. 4.1: Digital effects module
The built-in stereo effects processor has the advantage that it
does not need to be wired up. This excludes the danger of
humming or level mismatch right from the start and thus
considerably facilitates use.
3. GRAPHIC 9-BAND EQUALIZER
(1832FX only)
These effect presets are classical “mixing effects”. If you
move the STEREO AUX RETURN FX control, you mix the channel
signal (dry) and the effect signal. You can control the balance
between the two signals with the channel fader and the STEREO
AUX RETURN FX control.
FX OUT
Mixing consoles 2222FX and 2442FX have a separate output
for the effects device, which is unbalanced and stereo (tip = left
signal; ring = right signal; sleeve = ground/shielding). Thus, you
can record, for example, a vocal track enhanced with reverb in
parallel to a “dry” vocal track; when doing the mix-down later on,
you can freely determine the amount of reverb added.
Fig. 3.1: The graphic stereo equalizer of the 1832FX
The graphic stereo equalizer allows you to tailor the sound to
the room acoustics.
+
The 2442FX has the effect output on the rear, 2222FX
has it located next to the aux sends on the front
panel.
EQUALIZER
Use this switch to activate the graphic equalizer.
FX FOOTSW.
MAIN MIX/MONITOR
Connect a standard foot switch to the foot switch jack and
use this to switch the effects processor on and off. A light at the
bottom of the display indicates wheater the effects processor
has been muted by the foot switch.
This toggles the graphic equalizer between the main mix and the
monitor mix. With the switch up (not depressed), the equalizer is
active in stereo on the main mix, and inactive on the monitor mix.
When the switch is depressed the equalizer is active in mono
on the monitor mix, and inactive on the main mix.
+
In Chapter 6.2 you will find an illustration showing
how to connect your foot switch correctly.
LEVEL
The LED level meter on the effects module should display a
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4. DIGITAL EFFECTS PROCESSOR
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XENYX 1622FX/1832FX/2222FX/2442FX
sufficiently high level. Take care to ensure that the clip LED only
lights up at peak levels. If it is lit constantly, you are overloading
the effects processor and this could cause unpleasant distortion.
machine so that you have 2 x 4 tracks available (e.g. channel 1 to
track 1 and 2, etc.). In the first pass, you can record the tracks 1,
3, 5 and 7, in the second the tracks 2, 4, 6 and 8.
PROGRAM
The XENYX 2442FX already has subgroup outputs wired in
parallel (1-5, 2-6, etc.).
You can select the effect preset by turning the PROGRAM
control. The display flashes with the number of the current preset.
To recall the selected preset, press on the button; the flashing
stops. You can also recall the selected preset with the foot
switch.
5.3 Inserts
5. REAR PANEL CONNECTORS
5.1 Main mix outputs, insert points and
control room outputs
Fig. 5.3: Insert points
+
On the 2442FX the channel insert points are located
on the control panel between the line input and the
TRIM control.
Insert points are very useful to process channel signals with
dynamic processors or equalizers. Unlike reverb or other effects
devices, whose signals are usually added to the dry signal,
dynamic processors are most effective on the complete signal.
In this case, aux send paths are a less-than-perfect solution. It is
better to interrupt the signal path and insert a dynamic processor
and/or equalizer. After processing, the signal is routed back to
the console at precisely the same point it left. However, the
channel signal path is interrupted only if a plug is inserted into the
corresponding jack (stereo phone plug: tip = signal output; ring =
return input). All mono input channels are equipped with inserts.
They are pre-fader, pre-EQ and pre-aux send. Inserts can also
be used as pre-EQ direct outputs, without interrupting the signal
path. To this end, you will need a cable fitted with mono phone
plugs on the tape machine or effect device end, and a bridged
stereo phone plug on the console side (tip and ring connected).
Fig. 5.1: Main Mix outputs, main mix insert points and
control room outputs
MAIN OUTPUTS
The MAIN outputs carry the MAIN MIX signal and are on
balanced XLR jacks with a nominal level of +4 dBu. In parallel
with this, 1/4" phone jacks carry the main mix signal in a balanced
format (1622FX: here, the phone jack outputs are unbalanced
and located on the front panel).
5.4 Direct outputs (2442FX only)
CONTROL ROOM OUTPUTS (CTRL OUT)
The control room output is normally connected to the monitoring
system in the control room and carries the stereo mix or, when
selected, the solo signals.
MAIN INS(ERTS) (2442FX only)
These are the insert points for the main mix. In the signal path,
they are post-main mix amp, but pre-main fader(s). Use them to
insert, for example, a dynamics processor or graphic equalizer.
Please also note the information on insert points in chapter 5.3.
Fig. 5.4: Direct outputs
DIRECT OUTPUTS
The direct outputs of the 2442FX (1 each per mono input
channel) are ideal for recording if several tracks are to be
recorded simultaneously. These unbalanced phone jacks are
post-EQ, post-mute and post-fader.
5.2 Subgroup outputs
5.5 Voltage supply, phantom power supply
and fuse
Fig. 5.2: Subgroup outputs
SUB OUTPUTS
The subgroup outputs are unbalanced and provide the mix of
those channels assigned to each subgroup with the SUB switch
(2442FX: switches 1-2 or 3-4) next to the channel faders. Thus,
you can, for example, route a subgroup to a second console or
use the output as a recording output in parallel to the main outputs.
In this way, you can record several tracks simultaneously. With
an 8-track recorder, use Y cables and wire the inputs of your
Fig. 5.5: Voltage supply and fuse
FUSE HOLDER/IEC MAINS RECEPTACLE
The console is connected to the mains via the cable supplied,
5. REAR PANEL CONNECTORS
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XENYX 1622FX/1832FX/2222FX/2442FX
which meets the required safety standards. Blown fuses must
only be replaced by fuses of the same type and rating. The
mains connection is made via a cable with IEC mains connector.
An appropriate mains cable is supplied with the equipment.
POWER switch
Use the POWER switch to turn on the mixing console. The
POWER switch should always be in the “Off” position when you
are about to connect your unit to the mains.
To disconnect the unit from the mains, pull out the main cord
plug. When installing the product, ensure that the plug is easily
accessible. If mounting in a rack, ensure that the mains can be
easily disconnected by a plug pull or by an all-pole disconnect
switch on or near the rack.
+
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.
Fig. 6.1: Foot switch connector
6.2.1 Audio connections
Please use commercial RCA cables to wire the 2-track inputs
and outputs.
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!
You can, of course, also connect unbalanced devices to the
balanced input/outputs. Use either mono plugs, or use stereo
plugs to link the ring and shaft (or pins 1 & 3 in the case of XLR
connectors).
+
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.
+
Caution! Please also note the information given in
chapter 6.2.1 “Audio connections”.
SERIAL NUMBER
Please note the important information on the serial number
Fig. 6.2: XLR connections
given in chapter 1.3.3.
+
Caution! You must never use unbalanced XLR
connectors (PIN 1 and 3 connected) at the MIC input
jacks if you want to use the phantom power supply.
6. INSTALLATION
6.1 Rack mounting
The packaging of your mixing console contains two 19" rack
mounts for installation on the side panels of the console.
Before you can attach the rack mounts to the mixing console,
you need to remove the screws holding the left and right side
panels. Then, use these screws to fasten the two rack mounts,
each specifically to one side. With the rack mounts installed, you
can mount the mixing console in a commercially available 19"
rack. Be sure to allow for proper air flow around the unit, and do
not place the mixing console close to radiators or power amps,
so as to avoid overheating.
+
Only use the screws holding the mixing console
side panels to fasten the 19" rack mounts.
Fig. 6.3: 1/4" mono plug
6.2 Cable connections
You will need a large number of cables for the various
connections of the console. The illustrations below show the
wiring of these cables. Be sure to use only high-grade cables.
14
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XENYX 1622FX/1832FX/2222FX/2442FX
Fig. 6.4: 1/4" stereo plug
Fig. 6.5: Insert send/return stereo plug
Fig. 6.6: Stereo plug for headphones connection
6. INSTALLATION
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XENYX 1622FX/1832FX/2222FX/2442FX
Main outputs
Type
7. SPECIFICATIONS
XLR, electronically balanced
and 1/4" TRS balanced
1/4" TS connector unbalanced
approx. 240 W symm. / 120 W
unbalanced
Microphone inputs (XENYX Mic Preamp)
1622FX only:
Impedance
Type
XLR, electronically balanced,
discrete input circuit
Mic E.I.N. (20 Hz - 20 kHz)
@ 0 W source resistance
@ 50 W source resistance
@ 150 W source resistance
Max. output level
+28 dBu
+22 dBu (1622FX)
-134 dB / 135.7 dB A-weighted
-131 dB / 133.3 dB A-weighted
-129 dB / 130.5 dB A-weighted
Control room outputs
Type
Impedance
1/4" TS connector unbalanced
approx. 120 W
+22 dBu
Frequency response
<10 Hz - 150 kHz (-1 dB),
<10 Hz - 200 kHz (-3 dB)
Max. output level
Gain range
Max. input level
Impedance
+10 to +60 dB
Headphones outputs
Type
Max. output level
+12 dBu @ +10 dB Gain
approx. 2.6 kW balanced
110 dB / 112 dB A-weighted
(0 dBu In @ +22 dB gain)
1/4" TRS connector, unbalanced
+19 dBu / 150 W (+25 dBm)
Signal-to-noise ratio
DSP
Converter
24-bit Sigma-Delta,
64/128-times oversampling
40 kHz
Distortion (THD+N)
0.005% / 0.004% A-weighted
Sampling rate
Line input
Type
1/4" TRS connector
electronically balanced
approx. 20 kW balanced
10 kW unbalanced
-10 to +40 dB
30 dBu
Main mix system data2
Noise
Main mix @ -oo,
Channel fader @ -oo
Impedance
-101 dB
-100 dB (2442FX)
Gain range
Max. input level
Main mix @ 0 dB,
Channel fader @ -oo
-93 dB
-96 dB (1622FX)
-87 dB (2442FX)
Fade-out attenuation1
(Crosstalk attenuation)
Main fader closed
Channel muted
Channel fader closed
90 dB
89 dB
89 dB
Main mix @ 0 dB,
Channel fader @ 0 dB
-81 dB
-83 dB (1622FX)
-80 dB (2442FX)
Frequency response
Microphone input to main out
<10 Hz - 90 kHz
Power supply
Mains voltage
Power consumption
+0 dB / -1 dB
+0 dB / -3 dB
100 to 240 V~, 50/60 Hz
37 W (1622FX)
<10 Hz - 160 kHz
43 W (1832FX)
46 W (2222FX)
47 W (2442FX)
100 - 240 V ~: T 1.6 A H 250 V
Standard IEC receptacle
Stereo inputs
Type
1/4" TRS connector,
electronically balanced
approx. 20 kW
+22 dBu
Fuse
Mains connection
Impedance
Max. input level
Physical
1622FX
Dimensions (H x W x D)
EQ mono channels
Low
Mid
80 Hz / ±15 dB
100 Hz - 8 kHz / ±15 dB
12 kHz / ±15 dB
approx. 3 7/8" x 11 7/8" x 13 7/8"
(97 mm x 301mm x 351mm)
High
1832FX / 2222FX
Dimensions (H x W x D)
approx. 3 7/8" x 16 1/16" x 14 1/16"
(97 mm x 408 mm x 367 mm)
EQ stereo channels
Low
Low Mid
High Mid
High
80 Hz / ±15 dB
500 Hz / ±15 dB
3 kHz / ±15 dB
12 kHz / ±15 dB
2442FX
Dimensions (H x W x D)
approx. 5 3/8" x 16 1/2" x 17 1/4"
(136 mm x 418 mm x 438 mm)
Weight (net)
Aux sends
Type
Impedance
Max. output level
1622FX
1832FX
2222FX
2442FX
approx. 3.3 kg
1/4" TS connector, unbalanced
approx. 120 W
+22 dBu
approx. 4.7 kg
approx. 4.8 kg
approx. 5.9 kg
Measuring conditions:
Stereo aux returns
Type
1:
1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain.
1/4" TRS connector,
electronically balanced
approx. 20 kW bal. / 10 kW unbal.
+22 dBu
2:
20 Hz - 20kHz; 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.
Impedance
Max. input level
BEHRINGER is constantly striving to manintain 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 liiustrated.
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7. SPECIFICATIONS
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XENYX 1622FX/1832FX/2222FX/2442FX
terms of this warranty will be repaired or replaced.
8. WARRANTY
2. 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. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
§ 1 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1. This warranty does not exclude or limit the buyer’s statutory
rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
§ 2 ONLINE REGISTRATION
3. Free inspections and maintenance/repair work are expressly
excluded from this 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, tubes, guitar strings,
illuminants and similar parts.
Please do remember to register your new BEHRINGER
equipment right after your purchase by visiting
kindly read the terms and conditions of our warranty carefully.
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
4. Damages/defects caused by the following conditions are
not covered by this warranty:
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improper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER user
or service manuals.
§ 3 WARRANTY
1. BEHRINGER (BEHRINGER International GmbH including all
BEHRINGER subsidiaries listed on the enclosed page, except
BEHRINGER Japan) warrants the mechanical and electronic
components of this product to be free of defects in material and
workmanship for a period of one (1) year* from the original date
of purchase, in accordance with the warranty regulations
described below. If the product shows any defects within the
specified warranty period that are not excluded from this
warranty as described under § 5, BEHRINGER shall, at its
discretion, either replace or repair the product using suitable
new or reconditioned parts. In the case that other parts are used
which constitute an improvement, BEHRINGER may, at its
discretion, charge the customer for the additional cost of these
parts.
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.
damages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warranty.
6. If an inspection of the product by BEHRINGER shows that
the defect in question is not covered by the warranty, the
inspection costs are payable by the customer.
7. Products which do not meet the terms of this warranty will
be repaired exclusively at the buyer’s expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER 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.
2. If the warranty claim proves to be justified, the product will
be returned to the user freight prepaid.
3. Warranty claims other than those indicated above are
expressly excluded.
§ 4 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized
dealer) must call BEHRINGER (see enclosed list) during normal
business hours BEFORE returning the product. All inquiries must
be accompanied by a description of the problem. BEHRINGER
will then issue a return authorization number.
§ 6 WARRANTY TRANSFERABILITY
This warranty is extended exclusively to the original buyer
(customer of 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 BEHRINGER.
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER.
§ 7 CLAIM FOR DAMAGES
3. Shipments without freight prepaid will not be accepted.
Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.
§ 5 WARRANTY REGULATIONS
1.
Warranty services will be furnished only if the product
is accompanied by a copy of the original retail dealer’s invoice.
Any product deemed eligible for repair or replacement under the
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. The names
of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use
neither constitutes a claim of the trademarks by BEHRINGER® nor affiliation of the trademark owners with BEHRINGER®. BEHRINGER® 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. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not
agents of BEHRINGER® and have absolutely no authority to bind BEHRINGER® by any express or implied undertaking or representation. 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 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER® is a registered trademark.
ALL RIGHTS RESERVED. © 2006 BEHRINGER Spezielle Studiotechnik GmbH,
Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany.
Tel. +49 2154 9206 0, Fax +49 2154 9206 4903
8. WARRANTY
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