User’s Manual
Version 1ꢀ1
May 2002
wwwꢀbehringerꢀcom
Download from Www.Somanuals.com. All Manuals Search And Download.
EURODESK MX2442A
FOREWORD
Dear Customer,
Welcome to the team of EURODESK users and thank you very much for expressing your confidence in
BEHRINGER products by purchasing the MX2442Aꢀ
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
hard work delivered by our engineering team to reach a very ambitious goal: creating an outstanding device that
will become a standard tool used by studios and PA companiesꢀ The task to design the MX2442A certainly
meant a great deal of responsibility, which we assumed by focusing on you, the discerning user and musicianꢀ
It also meant a lot of work and night shifts to accomplish this goalꢀ But it was fun, tooꢀ Developing a product
usually brings a lot of people together, and it really is a great feeling when everybody who participated in such
a project can be proud of what we’ve achieved!
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER
familyꢀ With your highly competent suggestions for new products you’ve greatly contributed to shaping our
company and making it successfulꢀ In return, we guarantee you uncompromising quality (manufactured under
ISO9000 certified management system) as well as excellent technical and audio properties at an extremely
affordable priceꢀ All of this will enable you to fully unfold your creativity without being hampered by budget
constraintsꢀ
We are often asked how we are able to produce such high-grade devices at such unbelievably low pricesꢀ
The answer is quite simple: it’s you, our customers! Many satisfied customers means large sales volumes
enabling us to get better conditions of purchase for components, etcꢀ Isn’t it only fair to pass this benefit back
to you? Because we know that your success is our success, too!
I would like to thank all people whose help on “Project MX2442A” has made it all possibleꢀ Everybody has
made very personal contributions, starting from the designers of the unit via the many staff members in our
company to you, the user of BEHRINGER productsꢀ
My friends, it’s been worth the trouble!
Thank you very much,
Uli Behringer
3
Download from Www.Somanuals.com. All Manuals Search And Download.
EURODESK MX2442A
EURODESK®
Professional, ultra low-noise design 24-channel 4-bus recording & live-mixing console
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24 microphone/line inputs, 16 mono and 4 stereo
Ultra low-noise, discrete microphone preamps with +48 V phantom power and switchable low-cut filter
24 balanced line inputs and 16 balanced XLR microphone inputs with gold-plated contact surface
4 subgroups equipped with independent pan pots, separate soloing, main mix switches and individual insert
sockets
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6 master aux sends with gain control and soloing function
2 multi-functional stereo aux returns featuring individual level and pan controls, solo and routing switches
Ultra-musical original EURODESK 4-band EQ (stereo channels) and 3-band EQ with semi-parametric mids
(mono channels)
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2 pre/post fader switchable aux sends and 4 permanent post fader located aux sends for maximum flexibility
of monitoring functions and effects routing
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Insert facility on all mono channels, subgroups and the main mix
Clear and easy comprehensible design as split console, input and main sections divided
State of the art 4580 ICs and high-quality components guarantee crystal-clear audio performance and
excellent noise figures
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RCA sockets for 2-track recorders (input and output), input assignable to main mix or monitor section
Extremely high headroom—offering more dynamic range
External power supply design provides endless power resources, superior transient response and noise-
free audio
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Balanced inputs and main mix outputs for highest possible signal quality
LED indicators for Mute, Solo-In-Place and Pre-Fader-Listen functions
Individual outputs for main mix, control room and headphones
Extremely versatile headphones and talkback section
High-precision, 8-digit LED metering device for input channels, main mix and subgroups
Highest quality faders for main mix, channels and subgroups as well as sealed potentiometers
BNC connector for 12 V gooseneck lights
Extremely rugged construction ensures long life even under the most demanding conditions
Manufactured under ISO9000 certified management system
Download from Www.Somanuals.com. All Manuals Search And Download.
EURODESK MX2442A
TABLE OF CONTENTS
1ꢀ THE MANUALꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ6
1ꢀ1 Nomenclatureꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 6
1ꢀ2 Structure ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 6
1ꢀ3 The Separate View Sheetꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 6
2ꢀ EURODESK OVERVIEW ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ6
2ꢀ1 Architecture ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 6
2ꢀ2 Meteringꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 7
2ꢀ3 Power Supply Unit (PSU) ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 8
3ꢀ MONO INPUT CHANNELS ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ8
3ꢀ1 Input Level Settingꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 8
3ꢀ2 Equalizerꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 9
3ꢀ3 Aux Sends ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 9
3ꢀ4 Routing & Muting ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 9
4ꢀ STEREO INPUT CHANNELSꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ10
4ꢀ1 Input Level Settingꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 10
4ꢀ2 Equalizerꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 10
4ꢀ3 Aux Sends ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 10
4ꢀ4 Routing & Muting ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 10
5ꢀ SUBGROUPS AND INSERTS ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 11
5ꢀ1 Subgroups ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ11
5ꢀ2 Insert Points ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ11
6ꢀ MAIN SECTIONꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ13
6ꢀ1 Aux Masters ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 13
6ꢀ2 Monitoring ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 14
6ꢀ3 Headphones ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 14
6ꢀ4 SOLO/PFL ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 14
6ꢀ5 2-Track In- and Output ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 14
6ꢀ6 Talkback ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 15
7ꢀ CONNECTIONSꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ15
7ꢀ1 EURODESK MX2442A Back Panel/Serial Number ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 15
7ꢀ2 EURODESK MX2442A Patchfield and Plug Wiring Scheme ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 16
7ꢀ3 Audio Connections ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 16
8ꢀ SETTING UP ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ18
8ꢀ1 Selecting Inputs ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 18
8ꢀ2 Initializing Channels for Gain Setting ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 18
8ꢀ3 Auditioning a Signal and Setting Up a Channel ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 18
8ꢀ4 Desk Normalization ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 19
9ꢀ MIXING TOPICS ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ19
9ꢀ1 Equalization ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 19
9ꢀ2 Gain Optimization ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ 20
10ꢀMODIFICATIONS ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ21
11ꢀSPECIFICATIONS ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ22
12ꢀWARRANTY ꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀꢀ23
5
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EURODESK MX2442A
1ꢀ THE MANUAL
Thank you for expressing your confidence in us by purchasing the EURODESK MX2442Aꢀ Our first task in
writing this manual is to make you feel comfortable with the special terms that are used to describe your
EURODESK MX2442A and its proper useꢀ
+
Reading this manual will make you aware of the many possibilities the EURODESK MX2442A
offers you5 Please keep this manual safely for future reference5
Your BEHRINGER MX2442A was carefully packed in the factory and the packaging was designed to protect
the unit from rough handlingꢀ Nevertheless, we recommend that you carefully examine the packaging and its
contents for any signs of physical damage, which may have occurred during transitꢀ
+
If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, otherwise claims for damage or replacement may not be
granted5 Shipping claims must be made by the consignee5
1ꢀ1 Nomenclature
Most specialist subjects are not really all that difficult provided you understand the language used, and the
vocabulary of mixing is pretty straight-forwardꢀ Nevertheless, it should be clear what certain terms meanꢀ
A “slot” in a recorder will always be referred to as a track, while that in a mixer will invariably be a channelꢀ
A group will always refer to a sub-mix of channelsꢀ Similarly the term “band” will be mentioned only in conjunction
with frequencyꢀ
1ꢀ2 Structure
Working with complex systems like live or studio mixing consoles, it is impossible to deal with all the features
and possibilities at the same timeꢀ Therefore, we have divided the EURODESK manual into separate chapters
to make it easier to find any kind of information and tipsꢀ Sometimes you will find cross references where
subjects overlapꢀ
You will, for example, find information about channel EQs in chapters 3ꢀ2 and 4ꢀ2 while the general use of
equalizers has, according to its importance, its own chapterꢀ
1ꢀ3 The Separate View Sheet
On a separate sheet you will find drawings showing the front, the connector panel and the rear panel of your
EURODESKꢀ The block diagram is shown, tooꢀ Always keep this sheet available while studying this manualꢀ
All EURODESK functions will be numbered consistently throughout the manual, whether they be in the text or
in an illustrationꢀ
2ꢀ EURODESK OVERVIEW
2ꢀ1 Architecture
The MX2442A is a typical split consoleꢀ As such, the inputs and outputs occupy separate areas of the boardꢀ
This makes it easier to visualize the signal path compared to an in-line design which uses combined input/
output channelsꢀ The main section on the right hand side handles all the outputs (as well as 4 stereo aux
returns and a 2-track tape input) while the input channels are located on the leftꢀ
6
2ꢀ EURODESK OVERVIEW
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EURODESK MX2442A
The configuration is 24 into 4 into 2ꢀ This means that there are 24 channel inputs in total (there are 16 mono and
four stereo channels), assignable to four subgroup buses (plus the main mix) which in turn may be blended into
the main mix stereo outputꢀ The subgroups (configurable as stereo pairs if required) are provided for connecting
to a multitrack tape recorder, or for use as a mixing aid during mix-down or during a live concertꢀ Every channel,
and both stereo aux returns can access at least one of the four existing subgroups, or the main mix directly,
via comprehensive routing matricesꢀ Four out of six aux sends can be accessed simultaneouslyꢀ Every single
input channel can be routed in two ways to the aux send buses: two pre- and four post-, or six post-fader, for
live or studio operating environments respectivelyꢀ
Input channels
The first 16 input channels are mono, with a choice of balanced mic (XLR, +48 V phantom power switchable)
or line (1/4" TRS) inputs, both with exceptional gain architectureꢀ Inputs 17/18 to 23/24 are configured as
stereo input channels, accepting all line level signalsꢀ
Every channel has MUTE, SOLO/PFL and comprehensive EQꢀ A high-quality 60 mm fader feeds the main mix
and/or subgroup buses depending on the assign switch positionꢀ A constant-power channel PAN also selects
between odd and even-numbered subgroup busesꢀ
Subgroups
For ease and flexibility, four mono subgroups with PAN and SOLO functions are providedꢀ Each has its own
individual output, and each may also be assigned to the main mixꢀ
Aux sends
The MX2442A provides six master aux send outputs, each with separate SOLO switchꢀ
Stereo aux returns
In the mid-upper section you will find two stereo aux returns, each of them equipped with a SOLO switch,
BALANCE and LEVEL controlsꢀ
Main mix outputs/additional features
The main mix output level is being controlled via a pair of high-quality 60 mm fadersꢀ The main section also
includes assignable headphones or control room outputsꢀ The monitor (or control room) outputs are independently
adjustable in level, and the integral talkback mic is routable to 4 of the 6 aux buses, iꢀeꢀ all possible pre-fader
(cue) sendsꢀ
A BNC connector is provided for a gooseneck lamp for those dark winter’s night mixesꢀ
Inserts
All mono channels, subgroups and the main mix have insert points for the connection of dynamics processors
etcꢀ
2ꢀ2 Metering
All input channels feature signal (- 20 dB) and overload LEDs, while the L and R output has a pair of 12 digit
bargraph metersꢀ The main mix (L/R) meters also have clip LEDs (+28/22 dB: balanced/unbalanced)ꢀ
Alternatively, the LEDs in the main section are used to display the mono PFL, stereo SOLO or the 2-track
input (in general, what you hear is what you see)ꢀ
+
The master clip LEDs (+22 dBu) should never be allowed to illuminate5 If they do, reduce either
the main mix faders or the group(s) and/or channel fader(s), or (as a last resort) the channel
input gain(s)5 Maybe it’s time to do a round of PFL metering5
+
In SOLO/PFL mode a 0 dB meter reading matches an internal operating level of 0 dBu
(05775 V)5 However, when looking at the mix, 0 dB is referenced to +4 dBu, the 2-track operating
level5 I5e5 if only one signal is present in the main mix bus, soloing that signal will cause the
meter reading to increase by +4 dB5
7
2ꢀ EURODESK OVERVIEW
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EURODESK MX2442A
2ꢀ3 Power Supply Unit (PSU)
In common with most desks of this size, the EURODESK has several hundreds of line level operational
amplifiers (op-amps) insideꢀ When being driven hard, many desks begin to show signs of stress due to power
supply limitationsꢀ Not so with the EURODESKꢀ Due to the vast power resources of its external power supply
unit, the sound should stay clean and crisp and tight right up to the operating limits of the op-amps themselvesꢀ
The EURODESK’s external PSU connects to the desk at the rear of the console via a multiway connectorꢀ
Give an extra 1/2 U of rack space to allow air to circulate around the heatsinks employed for heat dissipation
since the EURODESK PSU chucks out a massive 100 Wattsꢀ
Please note:
On the rear of your PSU you will find the mains connector / fuse holder / voltage selectorꢀ Before you connect
the unit, please make sure that the displayed voltage corresponds to your mains supplyꢀ
If you intend to change the operating voltage, remove the fuse holder and twist it by 180 degrees before you re-
insert itꢀ Matching the two markers indicates the selected voltageꢀ
Note that the correct fuse type and rate must be installed, corresponding to the mains voltageꢀ
Connect the PSU to the mains power supply by the enclosed mains cable, then use the mains switch to power
up your power supply unit and EURODESKꢀ
+
Never connect or disconnect your EURODESK and power supply unit when the power supply
unit is “on”! Always start connecting your MX2442A to the PSU, check if the PSU is turned
“off”, plug into mains and then power up the PSU and thereby your EURODESK5
3ꢀ MONO INPUT CHANNELS
Each channel comes with a balanced line level input on 1/4" TRS jack, and an XLR mic inputꢀ Press the
PHANTOM switch
at the back panel if requiredꢀ The mic amp circuit (
) has an unusually wide gain
range from 10 dB to 60 dB, is of extreme low-noise design, and utilizes high-current conjugate pair vintage
transistor circuitry to deliver an incredibly warm and transparent soundꢀ
When a jack is plugged into the balanced (self-unbalancing) line input, the gain structure can match any line
level from +10 to -40 dBuꢀ The crucial operating levels +4 dBu and -10 dBV are clearly and accurately legended
(
)ꢀ
3ꢀ1 Input Level Setting
The channel input level is determined by the GAIN trimpot
ꢀ Use SOLO/PFL
to accurately monitor the
channel input on the left/right master output bargraph metersꢀ This also sends the SOLO/PFL-ed signal to the
left and right speakersꢀ
+
For level setting (as opposed to localized listening) choose to use the mono PFL bus rather
than the post-fader (post-channel pan) stereo solo bus (CHANNEL MODE switch not
depressed)5 SOLO/PFL never interrupts the mix at the main recording outputs5 It follows that
aux sends and subgroups must also be unaffected, since they contribute directly to the main
mix5
In addition to switchable SOLO/PFL metering, a couple of channel LEDs (
/
) illuminate when a signal
is present (-20 dB), or if a channel is going into overloadꢀ These LEDs are particularly useful when using
extreme EQ settings, or adding a dynamics processor via an insertꢀ
You do not want the overload light to come on except very intermittently during a take or a mixꢀ If it does light
persistently, reduce the input gain (see also the essential section 8: “SETTING UP”)ꢀ
8
3ꢀ MONO INPUT CHANNELS
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EURODESK MX2442A
3ꢀ2 Equalizer
All mono input channels are fitted with a semi-parametric 3-band EQ, plus a switchable low-cut filter for
eliminating unwanted subsonicsꢀ The upper
12 kHz and 80 Hz respectivelyꢀ The midrange control
Q fixed at 1 octave, sweepable from 100 Hz - 8 kHz (
and lower
shelving controls have their frequencies fixed at
is semi-parametric with a peaking response
)ꢀ All three bands have up to 15 dB of cut and boost,
with a center detent for “off”ꢀ Thirdly, there is a steep high pass (low-cut) filter
reducing floor rumble, breath noise and popping, woolly bottom end etcꢀ
, slope @ 18 dB/oct, for
+
The combination of shelf boost at 80 Hz together with low-cut at 75 Hz results in a peaking
response, useful for adding warmth to vocals and instruments, and a firm bottom to kick drums
and basses, without losing control of low-frequency speaker cones5
3ꢀ3 Aux Sends
All six aux sends
are mono and post-EQꢀ Aux sends 3 - 6 are fixed post-fader while 1/2 can be configured
pre-fader using the PRE switch
3/4 or 5/6ꢀ
ꢀ A SHIFT switch (
) toggles the second control pair either to aux send
+
For almost all FX send purposes, you will want aux sends to be post-fader, so that when a
fader level is adjusted, any reverb send from that channel follows the fader5 Otherwise, when
the fader is pulled down, the reverb from that channel would still be audible5 For cueing
purposes, aux sends will usually be set pre-fader, i5e5 independent of the channel fader5
+
+
Most reverbs etc5 internally sum up the left and right inputs5 The very few that do not may be
driven in true stereo by using 2 aux sends5
There is +15 dB of gain on every aux send5 Such a high boost is usually only appropriate
where the channel fader is set around -15 dB or lower5 Here, an almost exclusively wet signal
will be heard5 In most consoles, such a wet mix requires the use of a pre-setting for the channel
aux send, losing fader control5 With the EURODESK you can have a virtually wet mix with
fader control5
Channels may be altered for pre-EQ aux sends (see section 10: “MODIFICATIONS”)ꢀ
3ꢀ4 Routing & Muting
Routing means selecting which bus you want a channel to addressꢀ There are three stereo buses in the
EURODESK MX2442A (plus a stereo solo bus)ꢀ Main mix and the subgroups are selected via the assign
switches
,
,
ꢀ SOLO/PFL have already been explained in section 3ꢀ1ꢀ
Channel PAN
positions the output of the channel in the stereo fieldꢀ Its constant-power design ensures
there are no level discrepancies whether a signal is hard-panned, center-stage, or somewhere in-betweenꢀ
Such pin-point accuracy will be a revelation if you have been working on consoles with lower quality circuitsꢀ
All stereo buses follow channel PANꢀ Usually, only one of the buses will be selected for a particular channelꢀ
+
An exception to this rule is when laying down voice takes5 It is often convenient to have the
mic channel(s) routed to all potential take tracks simultaneously, since you are often dropping
in quickly between four or more tracks5 It means one less button to press each time you switch
tracks5
The level to the group and main left and right buses is ultimately determined by the channel fader
ꢀ It is
designed to give a smooth logarithmic taper of a type more usually associated with megabuck consolesꢀ The
low level performance particularly is far smoother than that of a “normal budget” faderꢀ
The MUTE button
, like that for SOLO
is ergonomically placed immediately above the channel fader,
and has an associated LED for excellent visual status indication of this much-used featureꢀ Engaging mute is
equivalent to setting a fader level of minus infinityꢀ Therefore, pre-fader aux sends are unaffected when applying
muteꢀ
9
3ꢀ MONO INPUT CHANNELS
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EURODESK MX2442A
4ꢀ STEREO INPUT CHANNELS
The stereo input channel consists of almonst the same controls as the mono input channel except for the
input, the EQ and the BALANCE controlꢀ For further information on the remaining controls, please refer to
section 3 “MONO INPUT CHANNELS”ꢀ
Every stereo channel has two line level inputs on 1/4" jacksꢀ If only the left input is used, it will work as mono
channelꢀ
+
This feature is disabled, if the inputs and outputs of the EURODESK are wired permanently to
a patchbay5
The channel input sensitivity is variable between +/- 20 dB by adjusting GAIN
, enabling a perfect match
with all common line-level sources including multitrack tape outputs, MIDI and other electronic instruments
and effects units, all of which are normally designed to operate at either -10 dBV or +4 dBuꢀ
4ꢀ1 Input Level Setting
Input level setting works in the same ways as on mono channels (see section 3ꢀ1)ꢀ
4ꢀ2 Equalizer
All stereo input channels are fitted with four-band, fixed-frequency EQꢀ Bands 1 and 4 are shelving, while bands
2 and 3 have a peaking response, with their Q set at 2 octavesꢀThe upper
have their turnover frequencies fixed at 12 kHz and 80 Hz, whereas the midrange controls
and lower
shelving controls
and have
their bell center frequencies set at 3 kHz and 500 Hzꢀ All bands have up to 15 dB of cut and boost, with a center
detent for “off”ꢀ
+
A stereo equalizer is generally preferable to using two mono equalizers when EQ-ing a stereo
signal, as often discrepancies between left and right settings can occur5
4ꢀ3 Aux Sends
These are the same as for mono channels (see section 3ꢀ3)ꢀ Please note that first the stereo signal is turned
into a mono sum before entering aux sendꢀ
4ꢀ4 Routing & Muting
The only difference here from the mono channel described in 3ꢀ4 is in the substitution of the pan control by the
BALANCE control (
)ꢀ
As long as a channel is run in mono, there is no difference at allꢀ
In stereo operation however, this control functions as a BALANCE control
, determining the relative balance
of the left and right channel signals which are being sent to the left and right main mix, or odd and even
subgroup busesꢀ For example, with the BALANCE control turned fully clockwise, only the right portion of the
channel’s stereo signal will be routed to the selected buses, the left portion is faded outꢀ
10
4ꢀ STEREO INPUT CHANNELS
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EURODESK MX2442A
5ꢀ SUBGROUPS AND INSERTS
5ꢀ1 Subgroups
The principal routes to multitrack are via the subgroup outputsꢀ There are four mono (or two stereo) subgroupsꢀ
All channels can access all of them, as can aux returns 1 and 2 (
by the SUBGROUP fader , while the signal level may be accurately checked by solo-ing (
&
)ꢀ The subgroup level is determined
)ꢀ
Subgroup outputs can also be assigned to the main mix during mixdown by pressing the MAIN MIX switch
, in which case stereo position in the L/R mix is determined by the subgroup’s PAN pot
ꢀ
+
+
Try inserting compression/de-essing/an exciter or a noise gate on grouped signals (e5g5
backing vocals, drums, layered synths)5
Try merging a dry signal with a little wet, then compressing the sum heavily5 Though the
reverb proportion will be low when a signal is present, the resultant reverb tail pumped up by
the compressor at the start of each silence will give the illusion that the reverb was massive at
the time5 (The listener will be left wondering how the singer could sound so dear in such wet
acoustics!)
5ꢀ2 Insert Points
Insert points are useful for adding dynamic processing or equalization to a channel, a group, or the mixꢀ Unlike
reverbs etcꢀ, which are usually added to the dry signal, dynamic processing is normally applied across an
entire signalꢀ Here, an aux send would be inappropriateꢀ Instead, the signal is intercepted somewhere along
the channel, fed through the dynamics processor and/or EQ, then returned to the console at the same point
where it leftꢀ The insert point is normalized, iꢀeꢀ the signal is only interrupted when a jack is plugged into itꢀ
All mono input channels have got insert points, as have the subgroups and the main mixꢀ Each insert point is
accommodated on a single TRS jack socket wired tip = send, ring = return, sleeve = ground/screenꢀ Inserts are
always pre-fader, and also pre-EQ/pre-aux sends for channelsꢀ
+
+
The insert points may be used as pre-EQ-outputs without interrupting the signal5 By switching
them to a patchbay the insert points can be used in a more complex manner since the sends
and returns dispose of separate inserts5
If you want to insert a dynamics processor etc5 into one of the stereo channels, it must be done
between the source output and the EURODESK, since these channels have no bona-fide insert
point5
Figꢀ 5ꢀ1: Inserting into a stereo channel
11
5ꢀ SUBGROUPS AND INSERTS
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EURODESK MX2442A
+
+
Please note that we didn’t draw the ground/screen connection in the following graphics to
keep them as simple as possible5
If you want to insert an external EQ or dynamics processor post-EQ, a subgroup insert should
be used as follows:
Figꢀ 5ꢀ2: Inserting an external EQ/dynamics processor post channel EQ
In this arrangement you might find that compression tends to soften the perceived amount of (especially treble)
EQ appliedꢀ The solution here is to apply more EQꢀ This creates a real “pressure” sound, great for high energy
music such as danceꢀ
In the above example, any aux sends to effects should be applied before the EQ/dynamics processing takes
placeꢀ If you want the aux sends to be post-processing, you will need to address the signal to one of the
subgroups and then insert the EQ/dynamics processor between the corresponding subgroup output (insert
send) and a channel input (insert return)ꢀ You can now reclaim the channel 2 input as follows: By applying the
channel’s insert send you can route out an instrument’s signal being plugged into the line input, treat it with an
EQ/dynamics processor, and then reroute it via a subgroup (insert return) to the master sectionꢀ An additional
patch enables channel EQ to be placed onto a subgroup without reducing the number of line inputs available:
Figꢀ 5ꢀ3: Making use of the channel EQ for shaping subgroup signals by applying inserts
12
5ꢀ SUBGROUPS AND INSERTS
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EURODESK MX2442A
+
+
EURODESK insert points are, of course, simultaneously inputs and outputs5 For goodness sake,
get them onto a patchbay, where they can appear as independent sockets, and do away with
all these fiddly Y-connectors that always seem to be the first to get knotted in the flightcase5
Now it is possible to do the incredibly useful patch shown in fig5 553 without having to make up
what would amount to a ring-to-tip, tip-to-ring stereo patch lead5
Insert points may also be used as pre-EQ direct outputs without interrupting the signal flow5
See fig5 751 “Direct out connection”5
6ꢀ MAIN SECTION
6ꢀ1 Aux Masters
Aux sends
Much of the main section (situated left and below the bargraph meters) is taken up by master aux sends and
returnsꢀ
Stacked in a vertical column are six master AUX SEND LEVEL pots
, one for each busꢀ Each has a gain
structure of -ooto +15 dBꢀ The extra 15 dB of gain comes in once a knob passes a center detent (representing
the “normal” unity gain position), enabling insensitive outboard FX to be properly drivenꢀ Each aux send has a
SOLO button
, and, as with other areas of the mixer, a local SOLO LED
, which starts flashing when
any of the aux master sends are solo-edꢀ
(This is to help you see exactly what has been solo-edꢀ Any experienced engineer will have had occasion to
painstakingly search through every SOLO button on his / her console trying to find out why one of the main
SOLO LEDs was flashing, while the control room monitors remained silent!)
Aux returns
On the right hand side are the stereo aux returns, which can also be seen as two additional mono or stereo line
inputsꢀ On these inputs there is up to 20 dB of gain availableꢀ Alternatively, a mono (center-panned) signal
may be returned by plugging into the left aux return jack onlyꢀ
+
This feature is disabled if all line-level l/Os from the EURODESK are wired permanently to a
patchbay5
Aux returns 1 & 2
Aux returns 1 and 2 have full group routing matrices to enable returning FX to be sent to tape, plus main mix
bus assignmentꢀ The functions for aux return 1 (mirrored by aux return 2) are: routing-switches
,
,
,
LEVEL , BALANCE and SOLO ꢀ Level controls the amount of signal being blended into the mix or
a group, while balance controls the relative amounts of left and right processed signalꢀ Be sure to have BALANCE
control in center-position, if you’re not actually working with itꢀ
+
As always, there are exceptions to the rule above5 Some short stereo delay effects (say 30 ms
to left, 50 ms to right) cause a psycho acoustic effect where the earlier delay seems louder5 A
similar effect is noticeable when harmonizing in stereo: A slight pitch shift upwards will seem
louder than one that goes down5 In both cases use BALANCE
to compensate5 (An analogy
comes from greece: the columns of the Parthenon in Athens are slightly bowed so as to appear
straight5)
+
When carrying out the setup mentioned above or any other stereo imaging exercise, don’t just
rely on the control room monitors5 Get a pair of headphones and listen in stereo and in reverse
stereo, to allow for any hearing discrepancy between your ears5
SOLO
Below the aux returns lies a local SOLO LED
ꢀ This flashes whenever a SOLO button in the column above
is pressedꢀ
13
6ꢀ MAIN SECTION
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6ꢀ2 Monitoring
Though most of you will want to audition the main mix most of the time there are exceptionsꢀ These include
SOLO/PFL and 2-TRACK playback ꢀ The bargraph meters follow whatever source is being auditioned (the
meters won’t make much sense if more than one source is selected)ꢀ
+
Altering what goes into the control room monitors does not affect the signal from the main mix
outputs5 That offers to you the opportunity to do a quick SOLO during a mix whenever you
want without having to start again!
The MONITOR/CTRL LEVEL pot
sets the level to the control room monitorsꢀ This is sourced post the main
mix stereo fader settingꢀ Your fades couldn’t be heard otherwiseꢀ
Don’t rely on a single pair of loudspeakers to audition your mixꢀ You’d better use a variety of different speakersꢀ
Lastly, there is a MONO button
, useful for checking the phase correlation and/or coherence of a stereo
signalꢀ Again, this does not affect the main mix outputsꢀ
6ꢀ3 Headphones
The headphones may be sourced from the monitor/control room mix
, and/or the pre/post-fader switchable
aux sends 1/2
and/or the post-fader aux sends 3/4
ꢀ Two headphones sockets are provided on the
connector panelꢀ
The headphone mix level is controlled by a LEVEL pot
, and the gain is sufficient to drive headphones
directlyꢀ This is fine for a MIDI suite with overdub booth, but for the bigger studio’s headphone network using a
separate headphones distribution amplifier like the BEHRINGER POWERPLAY PRO HA4600 is recommended:
This allows independent level and EQ-settings for four headphone mixes; a total of 12 headphones can be
connectedꢀ
6ꢀ4 SOLO/PFL
SOLO
SOLO is short for Solo-in-Place, and is the preferred method for auditioning an isolated signal, or group of
signalsꢀ Whenever a SOLO button is pressed, all unselected channels are muted in the monitorsꢀ Stereo
panning is maintainedꢀ The SOLO bus is derived from the output of the channel pans, aux sends, stereo line
inputs and subgroups, and is always post-faderꢀ
PFL
Pressing the channel mode switch
once disengages the stereo solo bus, and replaces it with a separate
mono PFL (Pre-Fader Listen) busꢀ Now any channel which is solo-ed, isn’tꢀ It is PFL-ed insteadꢀ PFL should
always be used for gain-settingꢀ
The channel mode (PFL or SOLO) is indicated by a pair of status LEDs (located below the bargraph meter
), pot
controls the SOLO level, which will normally be set to unity gain (center detent) to match the in-
the-mix levelꢀ
6ꢀ5 2-Track In- and Output
2-track input
The 2-track input is on unbalanced RCA plugs, and is primarily made for auditioning mix playback from tapeꢀ
The 2-track switch
With the MON/CTR LEVEL control
professional level -10 dBVꢀ For higher output recording sources (eꢀgꢀ +4 dBu) turn the level of
routes this signal to the control room monitorsꢀ
fully clockwise, your 2-track input will be matched to the semi-
downꢀ
+
The 2-track input could usefully be connected to the output of a hi-fi pre-amp or integrated
amplifier, allowing you to easily audition a variety of sources (e5g5 CD, phono etc5)5
2-track output
A pair of balanced XLR and jack connectors deliver the main mix output to your 2-track recorder (or PA system)
at +4 dBuꢀ Alternative RCA (-10 dBV) connectors are provided, tooꢀ
14
6ꢀ MAIN SECTION
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The level to tape is ultimately determined by precision faders
ꢀ Main mix insert points are provided for
patching a gate, a compressor etcꢀ pre-faderꢀ This is important: Connecting a compressor or gate after the
2-track output would disrupt any attempt to acquiring a smooth fade using the output fadersꢀ
Although the 2-track output is primarily designed for recording, it can also be used as a PA feed, or as a send
to the input of your samplerꢀ In fact, up to three simultaneous destinations can be serviced without resorting to
a patchbay or splitter leads—there are three separate 2-track outputs on your EURODESK!
6ꢀ6 Talkback
The built-in flush-mounted mic
is activated by depressing the non-latching TALK switch
just above the
MAIN MIX fadersꢀ Engaging talkback dims the control room monitors, (not lights!) by -20 dB to avoid feedbackꢀ
This does not affect the other talkback routesꢀ
Talkback level is set by
, and the mic can be routed to any or all of auxes 1/2 and 3/4 (
,
)—in other
words, every possible pre-fader (cue) aux send—to enable you to talk to artists remotely through their headphones
or personal stage mixesꢀ
Sometimes you will want a much higher rejection of feedback than a flush-mounted talkback mic could ever
provideꢀ When running a live concert mix, a dynamic mic plugged into a spare channel and routed to all the
pre-fader sends only will do the jobꢀ
7ꢀ CONNECTIONS
7ꢀ1 EURODESK MX2442A Back Panel/Serial Number
DC power in
This circular multiway connector distributes the different DC operating voltages delivered by the PSU: +/-18 V
(audio circuits), +48 V (mic phantom power), +12 V (lamp) and +5 V (LEDs)ꢀ
Phantom power switch
When using capacitor mics, +48 V DC can be switched globally on or off by
(also see “Mic inputs”)ꢀ
+
Care should be taken NOT to plug mics into the console (or stagebox) while the phantom
power is on5 Also mute the monitor / PA speakers when turning phantom power on or off5
Allow 1 minute after powering up for the system to equilibrate before setting input gains5
Serial number
Please complete and return the warranty card within 14 days of the date of purchaseꢀ Otherwise, you will lose
your right to the extended warrantyꢀAlternatively, you can register online at our website under wwwꢀbehringerꢀcomꢀ
Your BEHRINGER MX2442A was carefully packed in the factory and the packaging was designed to protect
the unit from rough handlingꢀ Nevertheless, we recommend that you carefully examine the packaging and its
contents for any signs of physical damage, which may have occurred during transitꢀ
+
If the unit is damaged, please do not return it to BEHRINGER, but notify your dealer and the
shipping company immediately, otherwise claims for damage or replacement may not be
granted5 Shipping claims must be made by the consignee5
+
+
Before you connect your MX2442A to the mains, please make sure that your local voltage
matches the voltage required by the unit5
Please note that the PSU and mixer heat up during operation5 This is absolutely normal5
15
7ꢀ CONNECTIONS
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EURODESK MX2442A
7ꢀ2 EURODESK MX2442A Patchfield and Plug Wiring Scheme
Most of the inputs (inserts being the major exception) are balancedꢀ
+
Unbalanced equipment may be connected to balanced inputs/outputs5 Either use mono 1/4"
jacks or connect ring and barrel of TRS jacks (or pin 1 and 3 of XLR plugs)5
Mono input channels 1 - 16
Insert points: unbalanced send and return on a single 1/4" TRS socket, wired tip = send, ring = return, sleeve
= ground/screenꢀ
Line inputs: balanced 1/4" TRS sockets, wired tip = hot (+ve), ring = cold (-ve), sleeve = ground/screenꢀ
Mic inputs: XLR-type connectors, wired pin 1 = ground/screen, 2 = hot (+ve), 3 = coid (-ve), for balanced
low-level operationꢀ
Stereo input channels 17 - 24
Four stereo pairsꢀ Unbalanced 1/4" TRS sockets, wired tip = hot (+ve), sleeve = ground/screenꢀ
Aux sends
Unbalanced 1/4" TRS sockets, wired tip = hot (+ve), sleeve = ground/screenꢀ
Stereo aux returns
Two stereo pairs on balanced 1/4" sockets, wired tip = hot (+ve), ring = cold (-ve), sleeve = ground/ screenꢀ
Subgroup inserts
For inserting into a subgroup signalꢀ Unbalanced send and return on a single 1/4" TRS socket, wired
tip = send, ring = return, sleeve = ground/screenꢀ
Subgroup outputs
Primarily designed for feeding a multitrack recorderꢀ Unbalanced 1/4" TRS sockets, wired tip = hot (+ve),
sleeve = ground/screenꢀ
2-track in-/outputs
RCA sockets for use with tape recorders etcꢀ, signal = main mixꢀ Use custom-made RCA cables for the
2-track in/out traffic (center post = signal (+ve), sleeve = ground/screen)ꢀ
Monitor & control room outputs
Will feed a pair of speakers (via an amp, of course)ꢀ Balanced 1/4" TRS sockets, wired tip = hot (+ve),
ring = cold (-ve), sleeve = ground/screenꢀ
Phones outputs
Will feed two headphonesꢀ 1/4" TRS socket, wired tip = left signal, ring = right signal, sleeve = ground/screenꢀ
Main inserts
For inserting into the main mix signalꢀ Unbalanced send and return on a single 1/4" TRS socket, wired
tip = send (out), ring = return (in), sleeve = ground/screenꢀ
Main outputs (TS sockets)
Unbalanced 1/4" TS sockets, wired tip = hot (+ve), sleeve = ground/screenꢀ
Main outputs (XLR)
Balanced XLR, wired pin 1 ground/screen, pin 2 hot (+ve), pin 3 cold (-ve)ꢀ Maximum level is +28 dBuꢀ
7ꢀ3 Audio Connections
You will need a lot of cables for different purposesꢀ On the next page you will find some figures to make sure
you have got the right onesꢀ
+
All outputs are ground-compensated (decoupled from the mains supply earth) to eliminate the
possibility of ground loops5
+
+
Please make sure that every part of your equipment is connected to the mains earth5 To avoid
any risk of electric shock never disconnect the mains earth from any part of your equipment!
Please ensure that only qualified persons install and operate the EURODESK5 During
installation and operation the user must have sufficient electrical contact to earth5
Electrostatic charges might affect the operation of the EURODESK!
16
7ꢀ CONNECTIONS
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EURODESK MX2442A
Figꢀ 7ꢀ1: Different plug types
17
7ꢀ CONNECTIONS
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EURODESK MX2442A
8ꢀ SETTING UP
8ꢀ1 Selecting Inputs
1) Mono channels accept mic or line level inputsꢀ If you are using the mic input, make sure nothing is connected
to the line input (and vice-versa)ꢀ Please note that mic inputs are many times more sensitive than line inputs!
+
Do not connect mics with phantom power switched on5 NEVER ever use unbalanced mic cables
with phantom power switched on! Shorting +48 V DC to earth can cause serious damage5
2) Stereo channels accept line level signalsꢀ Any stereo channel can be run in mono simply by connecting it
into the left jack socket onlyꢀ
+
This feature is disabled if all line level in-/outputs from the EURODESK are wired permanently
to a patchbay5
The stereo channels are suitable for a variety of line level sources including MIDI instruments, effects outputs,
and tape returns from multitrackꢀ
3) Stereo aux inputs are primarily designed for returning effects units, though these too may be given over to
multitrack returns or MIDI instrument outputsꢀ
8ꢀ2 Initializing Channels for Gain Setting
1) Set gain to minimum and all aux sends to “off” (fully counterclockwise)ꢀ
2) Set EQ to flat (all knobs at 12 o’clock)ꢀ
3) Where applicable, set the LO CUT switch
contentꢀ
“on” for most mics, “off” for signals with desired low-frequency
4) Set CHANNEL MODE to PFL (
5) Depress the SOLO switch
up)ꢀ
ꢀ
8ꢀ3 Auditioning a Signal and Setting Up a Channel
1) Make a typical noise, or roll the tapeꢀ There should now be some activity at the main bargraph meters
indicating the PFL levelꢀ
,
2) Adjust the GAIN control
exceed 0 dBꢀ
until transient peaks are regularly hitting +2 dBꢀ Continuous signals should not
3) With FX units, MIDI instruments and multitrack tape recorders (pro +4 dBu, semi-pro -10 dBV), it is important
to match the operating level of the desk to that of your machineꢀ If you are not sure which level your external
equipment requires, try a 0 dB setting firstꢀ If the signal is too low, turn the GAIN pot to the rightꢀ
+
A -10 dBV nominal operating level for an effects processor almost certainly means
0 dB on the unit’s input or output meter5 If the FX processor has indication only for input level,
ensure that the output gives comparable, i5e5 “unity”, gain5
4) If EQ is adjusted at any time, repeat steps 8ꢀ3 1) & 2)ꢀ
5) If an insert is used to patch in a compressor, gate, EQ etcꢀ, use the outboard processor’s bypass or effect
off switch to A/B monitor the effected and bypassed signals, which should be level matchedꢀ (If the unit does
not have a bypass switch or equivalent, you will have to keep connecting and disconnecting the device until you
achieve unity gainꢀ)
6) SOLO switch
upꢀ Move onto next channelꢀ
18
8ꢀ SETTING UP
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8ꢀ4 Desk Normalization
All board settings should be set to the normal default condition before or after every sessionꢀ Usually faders are
set to zero (minus infinity) EQs set flat, trim pots and channel aux sends turned fully anticlockwise etcꢀ Many
controls have a natural initial settingꢀ For EQ cut and boost this is unity gainꢀ However, some settings, such as
selecting pre or post for channel aux sends, will depend on the operating environment (eꢀgꢀ studio or live), or on
an engineer’s preferred way of workingꢀ
9ꢀ MIXING TOPICS
9ꢀ1 Equalization
Few people buying the EURODESK will need to be told how an equalizer worksꢀ But how to get the best out of
it? Well, that’s another storyꢀ
In the beginning EQ was an instrument for removing unwanted frequencies, or compensating for imperfect
microphone response curves, or bumps in a studio acousticsꢀ It was a corrective deviceꢀ Tamla Motown turned
that notion upside down in the sixties with the novel idea that you try to find for each instrument a characteristic
frequency not shared by the other instruments in the mixꢀ Then you whack up it’s gainꢀ This makes individual
voices punch through a mix in a slightly unnatural but exciting wayꢀ In general, corrective EQ usually involves
broadband (slope) contouring together with narrow-band notching of unwanted resonancesꢀ The narrower the
notch or “Q”, the less the total signal will be affectedꢀ
+
Finding bad resonances is made easier by first frequency sweeping in boost mode5
“Motown” EQ is achieved by applying boost in a fairly broadband wayꢀ The broader the band, the more musical
but less instrument-specific the effectꢀ Applying boost over a narrow bandwidth will sound “Honky”ꢀ The two
semi-parametric bands of the EURODESK EQ have their Q fixed at 1, a typical and sensible valueꢀ For sounds
which require drastic corrective EQ (remember no MIDI instrument should need it), it is advisable to have a
couple of channels of fully comprehensive equalisation in your rackꢀ (You can always bounce tracks though the
outboard EQ, freeing up the unit for the next task)ꢀ Check out our BEHRINGER ULTRA-CURVE PRO DSP8024,
which promises to be another price/performance busterꢀ
The EURODESK EQ might be applied to a signal as follows: First, trim the LF and HF shelves to achieve the
required slope or “LOUDNESS”ꢀ (These controls mirror the tone controls of a typical hi-fi ampꢀ) Now use the
semi-parametric mid band to boost the nicest frequency, or to cut the nastiestꢀ Over all channels in the mix,
if too many of the nicest frequencies coincide then you might have to settle for second best, in some casesꢀ
Often you might want to boost two nice frequenciesꢀ Really nasty frequencies will need notchingꢀ Time to go
outboardꢀ
+
Use the Lo Cut filter to tighten up channels in a mix: maybe remove it only for the bass, kick
drum, toms, tablas, didgeridoo and other deliberate subsonics (when recording classical music
ignore this advice)5
+
+
Combining the 75 Hz Lo Cut filter with an increase at 80 Hz will produce a bell-type EQ that has
a more focused impact than simply increasing the bass5
Please keep in mind that the EQ can also be used to cut frequencies5
After each change at the EQ settings, always check and, if necessary, adjust the input gainꢀ
19
9ꢀ MIXING TOPICS
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EURODESK MX2442A
9ꢀ2 Gain Optimization
PFL (Pre-Fader-Listening) is the way to set a desk levelꢀ Setting up the channel input gain is discussed in the
essential sections 3 & 4ꢀ Optimum master aux send levels will be dependent on the sensitivity of the FX device
being driven, but unity gain is a useful starting pointꢀ As the mix progresses, more and more channels are likely
to be sending to effects via the aux buses, and it’s best to PFL all sends (aux, subgroup) just before setting up
for the final mixꢀ
Outboard reverbs etcꢀ should all be made to work hardꢀ There’s no point in having an 85 dB dynamic range if the
input meter of your reverb is barely flickeringꢀ On the other hand, digital distortion is not one of the nicer noises
aroundꢀ Fortunately, you can SOLO the FX returnsꢀ Here, you’ll have to trust your ears to detect digital
distortion, since different outboard processors calibrate their meters differently, and their dynamic range is not
sufficient to allow, say, 15 dB of headroom (as is the case with DAT etcꢀ)ꢀ The PFL/SOLO meter, on the other
hand, looks only at the desk’s analog aux input level, if you hear distortion, but the meter says you’re just
hitting 0 dB, then it must be coming from the aux send amp or the FX unitꢀ If PFL on the aux send reveals
nothing amiss, turn down the input on the FX unit, and turn up the desk’s aux returnꢀ
+
+
In most of the cases, distortion in the aux send > FX > aux return loop will come from the FX
unit (FX GAIN TOO HIGH), and the same goes for a high noise level (FX GAIN TOO LOW)5
Noisy FX (or synth) returns can be greatly improved by the addition of single-ended noise
reduction between FX output and aux (or channel) returns5 The BEHRINGER DENOISER SNR2000
is ideally suited for this purpose5
+
+
We’ve found that using analog single ended noise reduction can help warm the sound of
certain digital reverbs which sound too cold/metallic, and also give that “Echoplex” sound to
digital delay decays5
Analog multitrack tape should be driven quite hard, since its dynamic range (without noise
reduction) is likely to be 20 to 30 dB worse than other elements in the recording chain5 Try to
record bright5 You can always mix back duller5 Brightening up an off-tape signal will bring up
the level of tape noise5
+
When mixing or recording, keep the channel fader levels around or below 0 dB5 If you do find
the faders creeping up or down, apply a suitable offset over all channel faders, and try to
control your bad habit in future!
20
9ꢀ MIXING TOPICS
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10ꢀ MODIFICATIONS
The following modifications require some knowledge in solderingꢀ Only attempt that if you are experienced in
using an iron on PCBsꢀ Otherwise, refer to qualified personnelꢀ After modification the BEHRINGER warranty
becomes discretionaryꢀ
Links should not be threaded into holes on the PCBꢀ They should be soldered to the tinned areas around the
holes, and bowed slightly upwards in betweenꢀ
Aux sends 1/2 > pre-EQ
All channel aux sends are post-EQꢀ If you want to convert them, carry out the modification described below to
each channelꢀ The right PCB area is indicated by a yellow printing (see figures below)ꢀ
1) Disconnect power supplyꢀ
2) Cut the “post” trackꢀ
3) Add in a “pre” linkꢀ
4) Repeat for all channels you want to be modifiedꢀ
Figꢀ 10ꢀ1: Aux send > pre-EQ modification on mono channels
Figꢀ 10ꢀ2: Aux send > pre-EQ modification on stereo channels
21
10ꢀ MODIFCATIONS
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EURODESK MX2442A
11ꢀ SPECIFICATIONS
Input channels
Mic input
Mic EꢀIꢀNꢀ (22 Hz - 22 kHz)
Electronically balanced, discrete input configuration
129ꢀ0 dBu, 150 Ohm source
117ꢀ3 dBqp, 150 Ohm source
132ꢀ0 dBu, input shorted
122ꢀ0 dBqp, input shorted
0,007% @ +4 dBu, 1 kHz, bandwidth 80 kHz
+10 dB to +60 dB
Distortion (THD & N)
Gain range
Max input (Mic)
Line input
Gain range
+12 dBu
Electronically balanced
Unity to +40 dB
Max input (line)
Channel fader range
Aux send gain range
+22 dBu
+10 dB to -85 dB
From “off” to “Unity” to +15 dB
Equalization
Hi shelving
12 kHz +/-15 dB, Q fixed at 2 octꢀ
3 kHz +/-15 dB, Q fixed at 2 octꢀ
100 Hz - 8 kHz +/-15 dB, Q fixed at 1 octꢀ
500 Hz +/-15 dB, Q fixed at 2 octꢀ
80 Hz +/-15 dB, Q fixed at 2 octꢀ
75 Hz, 18 dB/octꢀ
Hi mid bell (Ch 17-24)
Mid sweep (Ch 1-16)
Lo mid bell (Ch 17-24)
Lo shelving
Low-cut (high pass) filter
Channel insert
Max in/out
+22 dBu
Channel to channel crosstalk
-95 dB @ 1 kHz
Subgroup section
Noise
Bus noise @ fader 0 dB: -105ꢀ0 dBr (refꢀ: +4 dBu);
-92ꢀ0 dBr (refꢀ: +4 dBu, all input channels assigned,
Unity gain, channels muted);
-87ꢀ0 dBr (refꢀ: +4 dBu, all input channels assigned, Unity gain)
Submaster output
Maxꢀ output
Fader range
+22 dBu balanced/unbalanced
+10 dB to -85 dB
Main mix section
Noise
Bus noise @ fader 0 dB: -102ꢀ0 dBr (refꢀ: +4 dBu);
-92ꢀ0 dBr (refꢀ: +4 dBu, all input channels assigned, Unity gain,
channels muted);
-87ꢀ0 dBr (refꢀ +4 dBu, all input channels assigned, Unity gain)
+28 dBu balanced, +22 dBu unbalanced
Max output
Aux returns
Gain range
From “off” to “Unity” to +20 dB
+22 dBu
Aux sends
Maxꢀ output
General
Distortion (THD & N)
0ꢀ007 %, @ +4 dBu, 1 kHz, bandwidth 80 kHz
Frequency response
20 Hz - 40 kHz +/-1 dB any input to any output; 10 Hz -120 kHz +/-3 dB
Physical dimensions
(H x W x D) Mixer
approxꢀ 2 1/8" / 3 13/16" x 28 3/8" x 19 1/2"
(approxꢀ 54 / 97 mm x 720 mm x 495 mm)
approxꢀ 12 kg
Weight
(H x W x D) Power Supply Unit approxꢀ 3 1/2" x 17 1/8" x 9 3/4"
(approxꢀ 86 mm x 435 mm x 246 mm)
Weight
approxꢀ 7 kg
BEHRINGER is constantly striving to maintain the highest professional standardsꢀ As a result of these efforts, modifications may be
made from time to time to existing products without prior noticeꢀ Specifications and appearance may differ from those listed or
shownꢀ
22
11ꢀ SPECIFICATIONS
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12ꢀ WARRANTY
§ 1 WARRANTY CARD/ONLINE REGISTRATION
To be protected by the extended warranty, the buyer must
complete and return the enclosed warranty card within 14 days
of the date of purchase to BEHRINGER Spezielle Studiotechnik
GmbH, in accordance with the conditions stipulated in § 3ꢀ Failure
to return the card in due time (date as per postmark) will void any
extended warranty claimsꢀ Based on the conditions herein, the
buyer may also choose to use the online registration option via
the Internet (wwwꢀbehringerꢀcom or wwwꢀbehringerꢀde)ꢀ
3ꢀ Free inspections and maintenance/repair work are expressly
excluded from this warranty, in particular, if caused by improper
handling of the product by the userꢀ This also applies to defects
caused by normal wear and tear, in particular, of faders,
potentiometers, keys/buttons and similar partsꢀ
4ꢀ Damages/defects caused by the following conditions are not
covered by this warranty:
s improper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER user
or service manualsꢀ
§ 2 WARRANTY
1ꢀ BEHRINGER (BEHRINGER Spezielle Studiotechnik 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 belowꢀ If the product shows any defects
within the specified warranty period that are not excluded from
this warranty as described under § 3 and 4, BEHRINGER shall, at
its discretion, either replace or repair the product using suitable
new or reconditioned partsꢀ 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
partsꢀ
s 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 usedꢀ
s damages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGERꢀ
5ꢀ Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warrantyꢀ
6ꢀ 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 customerꢀ
7ꢀ Products which do not meet the terms of this warranty will be
repaired exclusively at the buyer’s expenseꢀ BEHRINGER will
inform the buyer of any such circumstanceꢀ If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit CꢀOꢀDꢀ with a separate invoice
for freight and packingꢀ Such costs will also be invoiced
separately when the buyer has sent in a written repair orderꢀ
2ꢀ If the warranty claim proves to be justified, the product will be
returned to the user freight prepaidꢀ
3ꢀ Warranty claims other than those indicated above are expressly
excludedꢀ
§ 3 RETURN AUTHORIZATION NUMBER
1ꢀ To obtain warranty service, the buyer (or his authorized dealer)
must call BEHRINGER (see enclosed list) during normal business
hours BEFORE returning the productꢀ All inquiries must be
accompanied by a description of the problemꢀ BEHRINGER will
then issue a return authorization numberꢀ
§ 5 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 productꢀ No other person
(retail dealer, etcꢀ) shall be entitled to give any warranty promise
on behalf of BEHRINGERꢀ
2ꢀ Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGERꢀ
§ 6 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damagesꢀ In no
event shall the liability of BEHRINGER exceed the invoiced value
of the productꢀ
3ꢀ Shipments without freight prepaid will not be acceptedꢀ
§ 4 WARRANTY REGULATIONS
1ꢀ Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealer’s invoiceꢀ
Any product deemed eligible for repair or replacement by
BEHRINGER under the terms of this warranty will be repaired or
replaced within 30 days of receipt of the product at BEHRINGERꢀ
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1ꢀ 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
contractꢀ
2ꢀ 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 workmanshipꢀ The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or notꢀ Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptationꢀ
2ꢀ The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty lawꢀ
* Customers in the European Union please contact BEHRINGER
Germany Support for further detailsꢀ
The information contained in this manual is subject to change without noticeꢀ 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 expressed written permission of BEHRINGER Spezielle Studiotechnik GmbHꢀ
BEHRINGER, EURODESK, DENOISER, ULTRA-DYNE, ULTRA-CURVE, ULTRA-Q, ULTRAPATCH and POWERPLAY are registered
trademarksALLRIGHTS RESERVEDꢀ © 2002 BEHRINGER Spezielle Studiotechnik GmbHꢀ
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Strꢀ 36-38, 47877 Willich-Münchheide II, Germany
Telꢀ +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-30
23
12 ꢀ WARRANTY
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