EURORACK UB1204-PRO/UB1204FX-PRO
User’s Manual
Version 1.3
February 2006
EURORACK UB1204-PRO/UB1204FX-PRO
IMPORTANT SAFETY INSTRUCTIONS
DETAILED SAFETY INSTRUCTIONS:
1) Read these instructions.
2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
CAUTION:
To reduce the risk of electric shock, do not remove
the top cover (or the rear section). No user
serviceable parts inside; refer servicing to qualified
personnel.
5) Do not use this apparatus near water.
6) Clean only with dry cloth.
7) Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
WARNING:
To reduce the risk of fire or electric shock, do not
expose this appliance to rain and moisture. The
apparatus shall not be exposed to dripping or
splashing and no objects filled with liquids, such
as vases, shall be placed on the apparatus.
This symbol, wherever it appears, alerts you to the
presence of uninsulated dangerous voltage inside
the enclosure—voltage that may be sufficient to
constitute a risk of shock.
This symbol, wherever it appears, alerts you to
important operating and maintenance instructions
in the accompanying literature. Please read the
manual.
8) Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9) Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
10) Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
11) Only use attachments/accessories specified by the
manufacturer.
12) Use only with the cart, stand, tripod, bracket, or table
specified by the manufacturer, or sold with the
apparatus. When a cart is used, use caution when moving
the cart/apparatus combination to avoid injury from
tip-over.
13) Unplug this apparatus during lightning storms or
when unused for long periods of time.
14) Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed to
rain or moisture, does not operate normally, or has been
dropped.
15) CAUTION - These service instructions are for use by
qualified service personnel only. To reduce the risk of
electric shock do not perform any servicing other than
that contained in the operation instructions unless you
are qualified to do so.
2
EURORACK UB1204-PRO/UB1204FX-PRO
TABLE OF CONTENTS
1. INTRODUCTION ........................................................................................................ 4
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
2. CONTROL ELEMENTS AND CONNECTORS .......................................................... 5
2.1 Mono channels ................................................................................................................................................. 5
2.1.1 Microphone and line inputs ................................................................................................................... 5
2.1.2 Equalizer ................................................................................................................................................. 5
2.1.3 Aux sends ............................................................................................................................................... 6
2.1.4 Routing switch, solo and channel fader ................................................................................................ 6
2.2 Stereo channels ................................................................................................................................................ 6
2.2.1 Channel inputs ....................................................................................................................................... 6
2.2.2 Equalizer stereo channels ..................................................................................................................... 7
2.2.3 Aux sends stereo channels ................................................................................................................... 7
2.2.4 Routing switch, solo and channel fader ................................................................................................ 7
2.3 Connector panel and main section .................................................................................................................. 7
2.3.1 Aux sends 1 and 2 .................................................................................................................................. 7
2.3.2 Aux send connectors 1 and 2 ................................................................................................................ 7
2.3.3 Stereo aux return connectors ................................................................................................................. 7
2.3.4 Stereo aux return .................................................................................................................................... 8
2.3.5 Tape input / tape output .......................................................................................................................... 8
2.3.6 Level meter and monitoring ................................................................................................................... 8
2.3.7 Alt 3-4 and main mix fader ..................................................................................................................... 9
2.4 Rear view of UB1204FX-PRO/UB1204-PRO .................................................................................................... 9
2.4.1 Main mix outputs, Alt 3-4 outputs and control room outputs ................................................................. 9
2.4.2 Voltage supply, phantom power and fuse ............................................................................................ 10
3. DIGITAL EFFECTS PROCESSOR .......................................................................... 10
4. INSTALLATION ........................................................................................................ 11
4.1 Rack mounting ................................................................................................................................................ 11
4.2 Cable connections .......................................................................................................................................... 11
4.2.1 Audio connections ................................................................................................................................ 11
5. SPECIFICATIONS .................................................................................................... 12
6. WARRANTY ............................................................................................................. 13
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EURORACK UB1204-PRO/UB1204FX-PRO
1. INTRODUCTION
FOREWORD
Dear Customer,
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
transformed you into an
expert in your field!
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
convey and share my
enthusiasm with my
employees.
Congratulations! In purchasing the BEHRINGER EURORACK
you have acquired a mixer whose small size belies its incredible
versatility and audio performance.
The BEHRINGER EURORACK mixing console offers you
premium-quality microphone preamplifiers with optional phantom
power supply, balanced line inputs and the ability to connect
external effects devices. Because of its extensive and carefully
thought-out routing possibilities, your EURORACK lends itself
equally to both live and studio use.
IMP “INVISIBLE” MIC PREAMP
The microphone channels are fitted with BEHRINGER’s brand
new high-end IMP INVISIBLE MIC PREAMPs that boast the
following features:
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130 dB dynamic range for an incredible amount of headroom,
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a bandwidth ranging from below 10 Hz to over 200 kHz for
crystal-clear reproduction of even the finest nuances,
During all the years I’ve
been involved with studio
technology and end users,
Ihave developed a feel for the things that really count, such as
sound quality, reliability and ease of use. What’s more, I have always
had the desire to push the boundaries of technical possibilities to the
extreme.
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the extremely low-noise and distortionless circuitry guarantees absolutely natural and transparent signal reproduction,
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they are perfectly matched to every conceivable microphone with up to 60 dB gain and +48 volt phantom power
supply and
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 products bearing my initials had to be
especially ambitious.
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They enable full utilisation of the greatly extended dynamic
range of your 24-bit/192 kHz HD recorder, thereby maintaining optimal audio quality.
Thus, the concept and design of the new UB 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’ analog and digital
technologies to their limits.
My vision was to enable you, the user, to give free rein to your
true potential and creativity. The result is incredibly powerful mixing
consoles that offer intuitive operation. They cannot fail to impress
with their extremely flexible routing possibilities plus fantastic wealth
of functions. Innovative technologies, such as the completely new
IMP “Invisible” Mic Preamps, guarantee optimum sound quality.
And extraordinarily high-quality components provide unrivalled
reliability, even under extreme loads.
Additionally, your UB 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.
The mixing consoles of the PRO series feature a state of the
art, integrated switch-mode power supply. One of the great
advantages is that (compared to conventional circuits) a switchmode power supply adapts to mains voltages between 100 and
240 volts automatically. Furthermore, due to its much greater
efficiency, it consumes much less energy than a conventional
power supply unit.
CAUTION!
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Your new UB mixing console is of high quality yet is simple to
use; you’ll soon 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.
Thank you for the confidence you have placed in us by
purchasing the UB mixing console. I should also like to thank all
those who, with their personal commitment and passion, have
helped me realize this impressive series of mixing consoles.
Kindest regards,
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.
1.1 General mixing console functions
A mixing console fulfils three main functions:
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Signal processing: Preamplification, level adjustment,
mixing of effects, frequency equalization.
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Signal distribution: Summing of signals to the aux sends
for effects processing and monitor mix, distribution to one
or several recording tracks, power amp(s), control room
and 2-track outputs.
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Mix: Setting the volume level, frequency distribution and
positioning of the individual signals in the stereo field, level
control of the total mix to match the recording devices/
crossover/power amplifier(s). All other mixer functions can
be included in this main function.
The interface of BEHRINGER mixing consoles is optimized for
these tasks enabling you to easily keep track of the signal path.
Uli Behringer
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1. INTRODUCTION
EURORACK UB1204-PRO/UB1204FX-PRO
1.2 The user’s manual
The user’s manual is designed to give you both an overview of
the controls, as well as detailed information on how to use them.
In order to help you understand the links between the controls,
we have arranged them in groups according to their function. If
you need to know more about specific issues, please visit our
website at http://www.behringer.com, where you’ll find
explanations of e.g. effects and dynamics applications.
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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.
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
Thank you for your cooperation!
2. CONTROL ELEMENTS AND
CONNECTORS
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
For the moment, just try and trace the signal path from the
microphone input to the aux send 1 connector. Don’t be put off
by the huge range of possibilities; it’s easier than you think! If you
look at the overview of the controls at the same time, you’ll be
able to quickly familiarize yourself with your mixing console and
you’ll soon be making the most of all its many possibilities.
2.1.1 Microphone and line inputs
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.
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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
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 a switchable +48 V
phantom power supply for condenser microphones.
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.
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LINE IN
Each mono input also features a balanced line input on a 1/4"
connector. Unbalanced devices (mono jacks) can also be
connected to these inputs.
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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 inoperative.
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.
1.3.3 Online registration
Please do remember to register your new BEHRINGER
equipment right after your purchase by visiting
www.behringer.com (alternatively www.behringer.de) and
kindly read the terms and conditions of our warranty carefully.
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).
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Please mute your playback system before you
activate the phantom power supply to prevent
switch-on thumps being directed to your loudspeakers. Please also note the instructions in
chapter 2.4.2 “Voltage supply, phantom power and
fuse”.
Please remember that you can only use either the
microphone or the line input of a channel at any
one time. You can never use both simultaneously!
LO CUT
The mono channels of the mixing consoles have a high-slope
LO CUT filter for eliminating unwanted, low-frequency signal
components (75 Hz, 18 dB/octave).
GAIN
Use the GAIN control to adjust the input gain. This control
should always be turned fully counterclockwise whenever you
connect or disconnect a signal source to one of the inputs.
2.1.2 Equalizer
All mono input channels include a 3-band equalizer. All bands
provide boost or cut of up to 15 dB. In the central position, the
equalizer is inactive.
2. CONTROL ELEMENTS AND CONNECTORS
5
EURORACK UB1204-PRO/UB1204FX-PRO
2.1.4 Routing switch, solo and channel fader
Fig. 2.2: The equalizer of the input channels
The upper (HI) and the lower band (LO) are shelving filters that
increase or decrease all frequencies above or below their cut-off
frequency. The cut-off frequencies of the upper and lower band
are 12 kHz and 80 Hz respectively. The mid band is configured as
a peak filter with a center frequency of 2.5 kHz.
2.1.3 Aux sends
Fig. 2.4: Panorama and routing controls
Fig. 2.3: The AUX SEND controls in the channel strips
Aux sends take 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 and then routed, for example, to an
active monitor speaker or an external effects device. The return
from an external effect can then be brought back into the console
via the aux return connectors.
For situations which require effects processing, the aux sends
are usually switched post-fader so that the effects volume in a
channel corresponds to the position of the channel fader. If this
were not the case, the effects signal of the channel would
remain audible even when the fader is turned to zero. When
setting up a monitor mix, the aux sends are generally switched
to pre-fader; i.e. they operate independently of the position of
the channel fader.
Both aux sends are mono, are sourced after the equalizer and
offer up to +15 dB gain.
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If you press the MUTE/ALT 3-4 switch, aux send 1 is
muted, provided that it is switched postfader. However, this does not affect the aux send 2
of the UB1204FX-PRO.
PAN
The PAN control determines the position of the channel signal
within the stereo image. This control features a constant-power
characteristic, which means the signal is always maintained at a
constant level, irrespective of position in the stereo panorama.
MUTE/ALT 3-4
You can use the MUTE/ALT 3-4 switch to divert the channel
from the main mix bus to the Alt 3-4 bus. This mutes the channel
from the main mix.
MUTE LED
The MUTE LED indicates that the relevant channel is diverted
to the submix (Alt 3-4 bus).
PEAK LED
The PEAK LED lights up when the input signal is driven too
high. In this case, turn down the GAIN control and, if necessary,
check the setting of the channel EQ.
SOLO
The SOLO switch (UB1204FX-PRO only) 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 monitor a channel signal
without affecting the main output signal. The signal you hear is
sourced either before (PFL, mono) or after (solo, stereo) both
the pan control and the channel fader (see chapter 2.3.6 “Level
meters and monitoring”).
AUX 1 (MON)
In the UB1204FX-PRO, aux send 1 can be switched pre-fader
and is thus particularly suitable for setting up monitor mixes. In
the UB1204-PRO, the first aux send is labeled MON and is
permanently switched pre-fader.
The channel fader determines the level of the channel signal in
the main mix (or submix).
PRE
When the PRE switch is pressed, aux send 1 is sourced prefader.
2.2.1 Channel inputs
2.2 Stereo channels
AUX 2 (FX)
The aux send labeled FX is for sending to effects devices and
is thus set up to be post-fader.
In the UB1204FX-PRO, the FX send is routed directly to the
built-in effects processor.
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If you wish to use the internal effects processor,
the STEREO AUX RETURN 2 connectors should not
be in use.
UB1204FX-PRO: you can also connect an external
effects processor to aux send 2, however the
internal effects module will be muted.
Fig. 2.5: Stereo channel inputs and LEVEL switch
Each stereo channel has two balanced line level inputs on 1/4"
connectors for left and right channels. If only the connector
marked “L” is used, the channel operates in mono. Stereo
channels are designed to handle typical line level signals.
Both inputs can also be used with unbalanced jacks.
2. CONTROL ELEMENTS AND CONNECTORS
EURORACK UB1204-PRO/UB1204FX-PRO
LEVEL
For level matching, the stereo inputs feature a LEVEL switch which
selects between +4 dBu and -10 dBV. At -10 dBV (home-recording
level), the input is more sensitive than at +4 dBu (studio level).
2.3.2 Aux send connectors 1 and 2
2.2.2 Equalizer stereo channels
The equalizer of the stereo channels is, of course, stereo. The
filter characteristics and crossover frequencies are the same
as those of the mono channels. A stereo equalizer is always
preferable to two mono equalizers if frequency correction of a
stereo signal is needed. There is often a discrepancy between
the settings of the left and the right channels when using separate
equalizers.
2.2.3 Aux sends stereo channels
In principle, the aux sends of the stereo channels function in
just the same way as those of the mono channels. As aux send
paths are always mono, the signal on a stereo channel is first
summed to mono before it reaches the aux bus.
2.2.4 Routing switch, solo and channel fader
BAL
The function of the BAL(ANCE) control corresponds to the
PAN control in the mono channels.
Fig. 2.7: Aux send connectors
AUX SEND 1
If you use aux send 1 pre-fader, you would usually connect
the AUX SEND 1 connector to monitors via a power amp (or an
active monitor system). If you use aux send 1 post-fader, proceed
as described under aux send 2.
AUX SEND 2
The AUX SEND 2 connector outputs the signal you picked up
from the individual channels using the FX control. You can connect
this to the input of an effects device in order to process the FX
bus signal. Once an effects mix is created, the processed signal
can then be routed from the effects device output back into the
STEREO AUX RETURN connectors.
2.3.3 Stereo aux return connectors
The balance control determines the relative proportion between
the left and right input signals before both signals are routed to
the main stereo mix bus.
The MUTE/ALT 3-4 switch, the MUTE-LED, the PEAK-LED, the
SOLO switch and the channel fader function in the same way
as the mono channels.
2.3 Connector panel and main section
Whereas 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.
2.3.1 Aux sends 1 and 2
Fig. 2.6: AUX SEND controls of the main section
A channel signal is routed to aux send bus 1 if the AUX 1
control is turned up on the corresponding channel.
AUX SEND 1 (MON)
The AUX SEND control MON acts as master control for aux
send 1 and determines the level of the summed signal. In the
UB1204FX-PRO, the MON control is called AUX SEND 1.
AUX SEND 2 (FX)
Similarly, the FX control (AUX SEND 2) determines the level for
aux send 2.
Fig. 2.8: Stereo aux return connectors
STEREO AUX RETURN 1
The STEREO AUX RETURN 1 connectors generally serve as
the return path for the effects mix generated using the postfader aux send. This is where you connect the output signal of
the external effects device. If only the left connector is used, the
AUX RETURN automatically operates in mono.
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You can also use these connectors as additional
line inputs.
STEREO AUX RETURN 2
The STEREO AUX RETURN 2 connectors serve as the return
path for the effects mix generated using the FX control. If these
connectors already function as additional inputs, you can route
the effects signal back into the console via a different channel,
with the added benefit that the channel EQ can be used to adjust
the frequency response of the effects return signal.
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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,
no connectors should be plugged into STEREO AUX
RETURN 2.
SOLO
You can use the SOLO switch (UB1204FX-PRO only) to
separately monitor the aux sends via the CONTROL ROOM/
PHONES outputs and check these with the level meters.
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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 must be in the SOLO
position (not pressed down).
2. CONTROL ELEMENTS AND CONNECTORS
7
EURORACK UB1204-PRO/UB1204FX-PRO
2.3.4 Stereo aux return
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If you connect a compressor or a noise gate after
the 2-track output, the faders will probably not be
able to create a satisfactory fade-out effect.
2.3.6 Level meter and monitoring
Fig. 2.9: Stereo aux return controls
STEREO AUX RETURN 1
STEREO AUX RETURN 1 is a stereo control which determines
the level of the signal in the main mix. If STEREO AUX RETURN 1
is used as effects return, you can add the effects signal to any
“dry” channel signal.
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In this instance, the effects device should be set at
100% effect.
STEREO AUX RETURN MON
The STEREO AUX RETURN MON control has a special
function: it can be used to add an effect to a monitor mix. For
example:
Monitor mix with effect
In this instance, the effects device should be set up as follows:
AUX SEND 2 is connected to the L/Mono input of your effects
device, while its outputs are connected to STEREO AUX RETURN
1. Connect the amplifier of your monitor system to AUX SEND 1.
The AUX SEND 1 master control determines the volume of the
monitor mix.
You can now use the STEREO AUX RETURN MON control to
adjust the level of the effects signal routed to the monitor mix.
You can easily use the headphones distribution amplifier
BEHRINGER POWERPLAY PRO HA4600/HA4700/HA8000 to
provide you with four (or eight with the HA8000) stereo
headphone mixes for your studio.
STEREO AUX RETURN 2 (FX)
The STEREO AUX RETURN 2 control determines the level of
signals fed into the AUX RETURN 2 connectors which are routed
to the main mix.
MAIN MIX/ALT 3-4
The MAIN MIX/ALT 3-4 switch routes the signal connected to
STEREO AUX RETURN 2 to either main mix (not pressed) or
submix (Alt 3-4, pressed).
2.3.5 Tape input / tape output
Fig. 2.11: Control room/phones section, level meter
TAPE
The TAPE switch routes the signal from the TAPE IN connectors
to the level meter, the CONTROL ROOM OUT outputs and the
PHONES connector—this is a simple way to check recorded
signals via monitor speakers or headphones.
ALT 3-4
Similarly, the ALT 3-4 switch routes the signal from the
Alt 3-4 bus to the same path for monitoring purposes.
MAIN MIX
The MAIN MIX switch sends the main mix signal to the abovementioned outputs and to the level meter.
CTRL R & PHONES
Use this control to set control room output level and headphones volume respectively.
TAPE TO MAIN
When the 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 signal sources here that do not require any
further processing. At the same time, this switch disables the
main mix to tape output link.
POWER
The blue POWER LED indicates that the device is switched
on.
+48 V
The red “+48 V” LED lights up when the phantom power supply
is switched on. The phantom power supply is necessary for
condenser microphones and is activated using the switch on
the rear of the device.
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Fig. 2.10: 2-track connectors
TAPE INPUT
The TAPE INPUT RCA connectors are provided for connecting
a 2 track machine (e.g. DAT recorder). They can also be used as
stereo line input. Alternatively, the output signal of a second
EURORACK or BEHRINGER ULTRALINK PRO MX882 can also be
connected. If you connect a hi-fi amplifier with a source selection
switch to the TAPE INPUT, you can easily switch between
additional sources (e.g. cassette recorder, CD player, etc.).
TAPE OUTPUT
These connectors are wired in parallel with the MAIN OUT and
carry the main mix signal (unbalanced). Connect the TAPE
OUTPUT to the inputs of your recording device. The final output
level can be adjusted via the high-precision MAIN MIX fader.
8
Please do not connect microphones to the mixer
(or the stagebox/wallbox) while the phantom
power supply is switched on. Connect microphones before you switch on the power supply.
In addition, the monitor/PA loudspeakers should
be muted before you activate the phantom power
supply. After switching on, wait approx. one minute
to allow for system stabilization.
LEVEL METER
The high-precision level meter accurately displays the
appropriate signal level.
LEVEL SETTING:
When recording to a digital device, the recorder’s peak meter
should not exceed 0 dB. This is because, unlike analog recordings,
slightly excessive levels can create unpleasant digital distortion.
When recording to an analog device, the VU meters of the
recording machine should reach approx. +3 dB with lowfrequency signals (e.g. kick drum). Due to their inertia VU meters
tend to display too low a signal level at frequencies above 1 kHz.
This is why, for example, a Hi-Hat should only be driven as far
as -10 dB. Snare drums should be driven to approx. 0 dB.
2. CONTROL ELEMENTS AND CONNECTORS
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EURORACK UB1204-PRO/UB1204FX-PRO
The peak meters of your EURORACK display the level
virtually independent of frequency. A recording level
of 0 dB is recommended for all signal types.
2.3.7 Alt 3-4 and main mix fader
MODE (UB1204FX-PRO only)
The MODE switch determines whether the channels’ SOLO
switch operates as PFL (Pre Fader Listen) or as solo (Solo In
Place).
PFL
To activate the PFL function, depress the MODE switch. The
PFL function should, as a rule, be used for GAIN setting
purposes. The signal is sourced pre-fader and assigned to the
mono PFL bus. In the “PFL” setting, only the left side of the peak
meter operates. Drive the individual channels to the 0 dB mark of
the VU meter.
Solo
When the MODE switch is not depressed, the stereo solo bus
is active. Solo is 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 in the control
room (and headphones) that have not been selected are muted
thereby retaining stereo panning. The solo bus can carry the
output signals of the channel pan controls, the aux sends and
the stereo line inputs. The solo bus is, as a rule, switched postfader.
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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
its position in the stereo panorama. If the PAN
control is moved fully left or right from center, the
level increases by 4 dB in that channel. This
ensures that, when set in the center, the audio
signal is not louder. For this reason, with the solo
function activated (Solo in Place), audio signals
from the channels with PAN controls that have not
been moved fully to the left or right are displayed
at a lower volume than in the PFL function.
As a rule, solo signals are monitored via the control room
outputs and headphones connector and are displayed by the
level meters. If a solo switch is pressed, the signals from the
tape input, Alt 3-4 and main mix are blocked from the control
room outputs, the headphone connector and the level meter.
MAIN SOLO (UB1204FX-PRO only)
The MAIN SOLO LED lights up as soon as a channel or aux
send solo switch is pressed. The MODE switch also has to be
set at “Solo”.
PFL (UB1204FX-PRO only)
The PFL LED indicates that the peak meter is set to PFL mode.
Fig. 2.12: PHONES connector
PHONES
You can connect headphones to this 1/4" TRS connector. The
signal on the PHONES connection is sourced from the control
room output.
Fig. 2.13: Alt 3-4 and main mix fader
Use the high-precision quality faders to control the output level
of the Alt 3-4 subgroup and main mix.
2.4 Rear view of UB1204FX-PRO/
UB1204-PRO
2.4.1 Main mix outputs, Alt 3-4 outputs and
control room outputs
Fig. 2.14: Main mix outputs, Alt 3-4 outputs and
control room outputs
MAIN OUTPUTS
The MAIN outputs carry the MAIN MIX signal and are on
balanced XLR connectors with a nominal level of +4 dBu.
ALT 3-4 OUTPUTS
The ALT 3-4 outputs are unbalanced and carry the signals of
the channels that you have assigned to this group using the
MUTE switch. This can be used to route a subgroup to a further
mixing console for example, or or it could be used as a recording
output working in tandem with the main output. This means you
could record to four tracks simultaneously. The icing on the
cake, so to speak, is that you could connect Y-cables to these
four outputs and then connect your 8-track recorder in such a
way that you have 2 x 4 tracks (e.g. channel 1 feeds track 1 and
track 2, etc.). In the first recording pass, you record on tracks 1,
3, 5 and 7 and in the second pass, on tracks 2, 4, 6 and 8.
CONTROL ROOM OUTPUTS
The control room output is normally connected to the monitor
system in the control room and provides the stereo mix or, when
required, the solo signal.
2. CONTROL ELEMENTS AND CONNECTORS
9
EURORACK UB1204-PRO/UB1204FX-PRO
2.4.2 Voltage supply, phantom power and fuse
3. DIGITAL EFFECTS PROCESSOR
Fig. 2.15: Voltage supply and fuse
FUSE HOLDER
The console is connected to the mains via the cable supplied
which meets the required safety standards. Blown fuses must
only be replaced by fuses of the same type and rating.
IEC MAINS RECEPTACLE
The mains connection is via a cable with IEC mains connector.
An appropriate mains cable is supplied with the equipment.
POWER
Use the POWER switch to power up the mixing console.
PHANTOM
The PHANTOM switch activates the phantom power supply
for the XLR connectors of the mono channels which is required
to operate condenser microphones. The red +48 V LED lights up
when phantom power is on. As a rule, dynamic microphones
can still be used with phantom power switched on, provided
that they are wired in a balanced configuration. In case of doubt,
contact the microphone manufacturer!
+
+
After the phantom power supply has been
switched on, do not connect microphones to the
mixer (or the stagebox/wallbox). Connect the
microphones before you switch phantom power
on. In addition, the monitor/PA loudspeakers
should be muted before activating the phantom
power supply. After switching on, wait approx. one
minute to allow the system to stabilize.
Caution! You must never use unbalanced XLR
connectors (PIN 1 and 3 connected) on the MIC
input connectors if you want to use the phantom
power supply.
SERIAL NUMBER
Please note the important information on the serial number
given in chapter 1.3.3.
10
Fig. 3.1: Digital effects module (only UB1204FX-PRO)
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. The integrated effects module has
the advantage of requiring no wiring. This way, the danger of
creating ground loops or uneven signal levels is eliminated at the
outset, completely simplifying the handling. You can route signals
to the effects processor via aux send 2 in the channels and the
aux send 2 master control. The built-in stereo effects processor
has the advantage that it does not need to be cabled up. This
eliminates any danger of hum or level mismatch right from the
start providing straight-forward operation.
These effect presets are designed to be added to dry signals.
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 FOOTSW.
Connect a standard foot switch to the foot switch connector;
use this to switch the effects processor on and off. A dot at the
bottom of the display indicates if the effects processor is muted
via the foot switch.
+
On the following page, 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
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.
The FX control (AUX SEND 2) determines the level that reaches
the effects module.
PROGRAM
You can select the effect preset by turning the PROGRAM
control. The display flashes the number of the current preset. To
recall the selected preset, press the button; the flashing stops.
You can also recall the selected preset with the foot switch.
3. DIGITAL EFFECTS PROCESSOR
EURORACK UB1204-PRO/UB1204FX-PRO
4. INSTALLATION
4.1 Rack mounting
The packaging of your mixing console contains two 19" rack
mount wings which can be installed on the side panels of the
console.
Before you can attach the rack mount wings to the mixing
console, you need to remove the screws holding the left and
right side panels. Use these screws to fasten the two wings
onto the console, being careful to note that each wing fits a
specific side. With the rack mount wings 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.
+
Fig. 4.2: XLR connections
Only use the screws holding the mixing console
side panels to fasten the 19" rack mounts.
4.2 Cable connections
You will need a large number of cables for the various
connections to and from the console. The illustrations below
show the wiring of these cables. Be sure to use only high-grade
cables.
Fig. 4.3: 1/4" TS connector
Fig. 4.1: 1/4" TS connector for foot switch
4.2.1 Audio connections
Please use commercial RCA cables to wire the 2-track inputs
and outputs.
Fig. 4.4: 1/4" TRS connector
You can, of course, also connect unbalanced devices to the
balanced input/outputs. Use either mono plugs, or ensure that
ring and sleeve are bridged inside the stereo plug (or pins 1 & 3
in the case of XLR connectors).
+
Caution! You must never use unbalanced XLR
connectors (pin 1 and 3 connected) on the MIC inputs
if you intend to use the phantom power supply.
Fig. 4.5: 1/4" TRS connector for headphones
4. INSTALLATION
11
EURORACK UB1204-PRO/UB1204FX-PRO
5. SPECIFICATIONS
Mono inputs
Microphone inputs (IMP “Invisible” Mic Preamp)
Type
XLR, electronically balanced,
discrete input circuit
Mic E.I.N. (20 Hz - 20 kHz)
@ 0 W source resistance
-134 dB / 135.7 dB A-weighted
@ 50 W source resistance
-131 dB / 133.3 dB A-weighted
@ 150 W source resistance
-129 dB / 130.5 dB A-weighted
Frequency response
<10 Hz - 150 kHz (-1 dB),
<10 Hz - 200 kHz (-3 dB)
Gain range
Max. input level
Impedance
Signal-to-noise ratio
+10 to +60 dB
+12 dBu @ +10 dB gain
approx. 2.6 kW balanced
110 dB / 112 dB A-weighted
(0 dBu In @ +22 dB gain)
Distortion (THD+N)
0.005% / 0.004% A-weighted
Line input
Type
Impedance
Gain range
Max. input level
Fade-out attenuation1
(Crosstalk attenuation)
Main fader closed
Channel muted
Channel fader closed
Frequency response
Microphone input to main out
<10 Hz - 90 kHz
<10 Hz - 160 kHz
Stereo inputs
Type
1/4" TS connector, unbal.
approx. 120 W
+22 dBu
Headphones output
Type
Max. output level
1/4" TRS connector, unbalanced
+19 dBu / 150 W (+25 dBm)
DSP
Converter
Sampling rate
90 dB
89.5 dB
89 dB
Power supply
Mains voltage
Power consumption
Fuse
Mains connection
Physical
UB1204FX-PRO
Dimensions (H x W x D)
+0 dB / -1 dB
+0 dB / -3 dB
Weight (net)
EQ mono channels
Low
Mid
High
80 Hz / ±15 dB
2.5 kHz / ±15 dB
12 kHz / ±15 dB
EQ stereo channels
Low
Mid
High
80 Hz / ±15 dB
2.5 kHz / ±15 dB
12 kHz / ±15 dB
Aux sends
Type
Impedance
Max. output level
1/4" TS connector, unbalanced
approx. 120 W
+22 dBu
12
Control room outputs
Type
Impedance
Max. output level
1/4" TRS connector
electronically balanced
approx. 20 kW balanced
10 kW unbalanced
-10 to +40 dB
30 dBu
Impedance
Max. input level
Impedance
Max. input level
XLR, electronically balanced
approx. 240 W bal. / 120 W unbal.
+28 dBu
Main mix system data 2
Noise
Main mix @ -oo,
Channel fader -oo
Main mix @ 0 dB,
Channel fader -oo
Main Mix @ 0 dB,
Channel fader @ 0 dB
1/4" TRS connector,
electronically balanced
approx. 20 kW
+22 dBu
Stereo aux returns
Type
Main outputs
Type
Impedance
Max. output level
1/4" TRS connector,
electronically balanced
approx. 20 kW bal. / 10 kW unbal.
+22 dBu
UB1204-PRO
Dimensions (H x W x D)
Weight (net)
24-bit Texas Instruments TM
24-bit Sigma-Delta,
64/128-times oversampling
40 kHz
-105 dB / -108 dB A-weighted
-95 dB / -97 dB A-weighted
-82,5 dB / -85 dB A-weighted
100 to 240 V~, 50/60 Hz
40 W
100 - 240 V ~: T 1.6 A H
Standard IEC receptacle
approx. 97 mm (3 7/8") x 247 mm
(9 11/16") x 334 mm (13 5/32")
approx. 2.60 kg (5 3/4 lbs)
approx. 97 mm (3 7/8") x 247 mm
(9 11/16") x 328 mm (13")
approx. 2.56 kg (5 5/8 lbs)
Measuring conditions:
1:
1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain.
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.
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 illustrated.
5. SPECIFICATIONS
EURORACK UB1204-PRO/UB1204FX-PRO
6. WARRANTY
§ 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. 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.
Please do remember to register your new BEHRINGER equipment
right after your purchase by visiting www.behringer.com
(alternatively www.behringer.de) and kindly read the terms and
conditions of our warranty carefully.
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.
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:
Thank you for your cooperation!
s
improper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER
user or service manuals.
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 used.
s
damages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
§ 2 ONLINE REGISTRATION
§ 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.
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.
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by 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.
§ 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.
§ 7 CLAIM FOR DAMAGES
3. Shipments without freight prepaid will not be accepted.
§ 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
terms of this warranty will be repaired or replaced.
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.
* 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
6. WARRANTY
13