Behringer EURORACK PRO RX1202FX User Manual

User Manual

EURORACK PRO RX1202FX

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preamplifiers, British EQ’s and

Multi-FX Processor

2

EURORACK PRO RX1202FX User Manual

Table of Contents

Thank you ....................................................................... 2

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited warranty ............................................................ 3

1. Introduction ............................................................... 4

1.1 General mixing console functions ............................... 4

1.2 The user’s manual ............................................................... 5

1.3 Before you get started ...................................................... 5

2. Control Elements and Connectors .......................... 5

2.1 Mono channels .................................................................... 5

2.2 Stereo channels ................................................................... 6

2.3 Connector array of the main section ........................... 7

2.4 Main section ......................................................................... 8

2.5 Digital effects processor .................................................. 9

2.6 Voltage supply, phantom power supply and fuse .......................................................................................... 9

3. Applications ............................................................. 10

3.1 Recording studio ............................................................... 10

3.2 Live sound ........................................................................... 11

4. Installation ............................................................... 12

4.1 Mains connection ............................................................. 12

4.2 Audio connections ........................................................... 12

5. Specifications ........................................................... 13

6. EURORACK PRO RX1202FX Effects Presets ............ 15

Thank you

Congratulations! In purchasing our EURORACK PRO RX1202FX you have acquired a mixing console whose small size belies its incredible versatility and audio performance.

3


Important Safety

Instructions

Terminals marked with this symbol carry electrical current of suffi cient magnitude to constitute risk of electric shock.

Use only high-quality professional speaker cables with

¼" TS or twist-locking plugs pre-installed. All other installation or modifi cation should be performed only by qualifi ed personnel.

This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be suffi cient 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.

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 qualifi ed personnel.

Caution

To reduce the risk of fi re or electric shock, do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects fi lled with liquids, such as vases, shall be placed on the apparatus.

Caution

These service instructions are for use by qualifi ed service personnel only.

To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualifi ed service personnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4.

Follow all instructions.

5.

Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

8.

Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus

(including amplifi ers) 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 fi t 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. Use only attachments/accessories specifi ed by the manufacturer.

12. Use only with the cart, stand, tripod, bracket, or table specifi ed 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 qualifi ed 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. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

17.

Correct disposal of this product: This symbol indicates that this product must not be disposed of with household waste, according to the WEEE

Directive (2012/19/EU) and your national law. This product should be taken to a collection center licensed for the recycling of waste electrical and electronic equipment

(EEE). The mishandling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effi cient use of natural resources.

For more information about where you can take your waste equipment for recycling, please contact your local city offi ce, or your household waste collection service.

18. Do not install in a confi ned space, such as a book case or similar unit.

19.

Do not place naked fl ame sources, such as lighted candles, on the apparatus.

20. Please keep the environmental aspects of battery disposal in mind. Batteries must be disposed-of at a battery collection point.

21. Use this apparatus in tropical and/or moderate climates.

LEGAL DISCLAIMER

MUSIC Group accepts no liability for any loss which may be suff ered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein.

Technical specifi cations, appearances and other information are subject to change without notice.

All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK, LAB GRUPPEN, LAKE,

TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON,

BEHRINGER, BUGERA and DDA are trademarks or registered trademarks of MUSIC Group IP Ltd.

© MUSIC Group IP Ltd. 2016 All rights reserved.

LIMITED WARRANTY

For the applicable warranty terms and conditions and additional information regarding MUSIC Group’s

Limited Warranty, please see complete details online at music-group.com/warranty.

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1. Introduction

With 8 phantom-powered microphone inputs as well as 4 high-headroom line inputs, the RX1202FX comprises a total of 12 channels. All channels come with

60-mm faders and the extremely musical 2-band EQ, the clip LEDs, as well as the 2 aux sends enable an uncompromising functionality of the console.

An integrated power supply guarantees optimal flexibility through worldwide independence of any mains connection. Additionally, it offers an absolutely noiseless audio signal as well as an outstanding transient response by minimal power consumption. With first-class “Invisible“ Mic Preamps, the ultra-low noise circuitry, the 24-bit effects processor as well as the separate control room, headphones and CD/tape outputs, the RX1202FX has all the features that also distinguish our UB mixers.

As sub-mixer, monitor mixer or as line mixer for audio/video installations, the RX1202FX is the first choice for demanding fixed installations and mobile use.

t t

IMP “INVISIBLE” MIC PREAMP

The microphone channels are fitted with BEHRINGER’s premium quality

IMP invisible mic preamps that boast the following features:

130 dB dynamic range for an incredible amount of headroom

A bandwidth ranging from below 10 Hz to over 200 kHz for crystal-clear reproduction of even the finest nuances t t

The extremely low-noise and distortion-free circuitry gua rantees absolutely natural and transparent signal repro duction

They are perfectly matched to every conceivable micro phone with up to

60 dB gain and +48 volt phantom power supply t They enable full utilization of the greatly extended dynamic range of your

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

MULTI-EFFECTS PROCESSOR

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

A/D and D/A converters. The FX processor puts at your disposal 100 presets with first-class room simulations, delay and modulation effects, and many multi-effects in outstanding audio quality.

Caution!

◊ We would like to inform you that high volume can damage your hearing and/or the headphones or loudspeakers. Before turning on the device, please move the MAIN MIX fader of the main section all the way down. Always take care to keep an appropriate volume level.

1.1 General mixing console functions

A mixing console fulfils three main functions: t t t

Signal processing:

Preamplification

Microphones convert sound waves into voltage that has to be amplified several-fold; then, this voltage is turned into sound that is reproduced in a loudspeaker. Because micro phone capsules are very delicate in their construction, output voltage is very low and therefore susceptible to interference. Therefore, mic signal voltage is amplified directly at the mixer input to a higher signal level that is less prone to interference. This higher, interference-safe signal level has to be achieved through amplification using an amplifier of the highest quality in order to amplify the signal and add as little noise to it as possible. The IMP “Invisible” Mic Preamp performs this role beautifully, leaving no traces of noise or sound coloration.

Interference that could take place at the preamplification level could affect signal quality and purity, and would then be passed on to all other devices, resulting in inaccurate sounding program during recording or playback.

Level-setting

Signals fed into the mixer using a DI box ( D irect I njection) or the output of a sound card or a keyboard, often have to be adjusted to the operating level of your mixing console.

Frequency response correction

Using the equalizers found in each channel strip, you can simply, quickly and effectively adjust the way a signal sounds.

Signal distribution:

Individual, processed signals from the channel strips are compiled on busses and are fed into the main section for further processing. Connections for recording equipment, power amplifiers, headphones as well as CD/tape connectors are available here. The mix is sent to the internal FX processors or external effects processors via aux sends and returns. Similarly, a mix can be created for the musicians on the stage (monitor mix).

Mix :

All other mixing console functions fall under this vital category. Creating a mix means primarily adjusting the volume levels of individual instruments and voices to one another as well as giving them the appropriate weight within the overall frequency spectrum. Likewise, you’ll have to sensibly spread individual voices across the stereo image of a signal. At the end of this process, adjusting the level of the entire mix to other equipment in the signal path is required (e. g. recorder/crossover/amplifier).

The interface of BEHRINGER mixing consoles is optimized for these tasks, enabling you to easily keep track of the signal path.

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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://behringer.com. Additional information and explanations about various music industry/audio technology terminology can be found on individual product pages as well as in the glossary area of behringer.com.

◊ The block diagram supplied with the mixing console gives you an overview of the connections between the inputs and outputs, as well as the associated switches and controls.

For the moment, just try and trace the signal path from the microphone input to the FX SEND connector. Don’t be put off by the huge range of possibilities; it’s easier than you think! If you look at the overview of the controls at the same time, you’ll be able to quickly familiarize yourself with your mixing console and you’ll soon be making the most of all its many possibilities.

1.3.3 Online registration

Please register your new BEHRINGER equipment right after your purchase by visiting http://behringer.com and read the terms and conditions of our warranty carefully.

Should your BEHRINGER product malfunction, it is our intention to have it repaired as quickly as possible. To arrange for warranty service, please contact the BEHRINGER retailer from whom the equipment was purchased. Should your

BEHRINGER dealer not be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding contact information is included in the original equipment packaging (Global Contact Information/European

Contact Information). Should your country not be listed, please contact the distributor nearest you. A list of distributors can be found in the support area of our website (http://behringer.com).

Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently.

Thank you for your cooperation!

1.3 Before you get started

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 that may have occurred during transit.

◊ If the unit is damaged, please do NOT return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not be granted.

◊ To assure optimal protection of your EURORACK during use or transport, we recommend utilizing a carrying case.

◊ Please always use the original packaging to avoid damage due to storage or shipping.

◊ Never let unsupervised children play with the EURORACK or with its packaging.

◊ Please dispose of all packaging materials in an environmentally-friendly fashion.

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

1.3.2 Initial operation

Be sure that there is enough space around the unit for cooling purposes and to avoid overheating please do not place your mixing console on high-temperature equipment such as radiators or power amps.

◊ Never connect the EURORACK to the power supply unit when the latter is connected to the mains! First connect the power supply unit to the console, then connect the power supply unit to the mains.

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

For your own safety, never remove or disable the ground conductor from the unit or on the AC power cord. The unit should always be connected to a mains socket outlet with a protective earthing connection.

◊ When installing the product, ensure the appliance coupler or power cord is easily accessible for disconnecting the unit from mains.

Fig. 2.1: Connectors and controls on the mono channels

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.

◊ Please mute your playback system before you activate the phantom power supply to prevent switch-on thumps being directed to your loudspeakers. Please also note the instructions in chapter 2.4 “Main section”.

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LINE IN

Each mono input also features a balanced line input on a ¼" connector.

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

◊ Please remember that you can only use either the microphone or the line input of a channel at any one time. You can never use both simultaneously!

INSERT

The INSERT connector is input and output at the same time. This allows you to insert external signal processors (compressors, gate, etc.) in the channel.

The signal retrieval occurs after the TRIM and is practically a diversion of the signal. The input signal of the connected signal processor is diverted, processed and led back to the channel for further processing.

The MON path—as the name already implies—is meant to be used as monitor signal path. For this application, it is important that the controller works as pre-fader, which means it does not rely on the fader position. For this reason the

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

MON controller, you can produce a mono mix of individual signals that can be routed over the MON plug, located on the backside, to a headphones amplifier

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

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.

TRIM

Use the TRIM control to adjust the input gain. This control should always be turned fully counterclockwise whenever you connect or disconnect a signal source to one of the inputs.

The scale has 2 different value ranges: the first value range ( +10 to +60 dB ) refers to the MIC input and shows the amplification for the signals fed in there.

The second value range ( +10 to -40 dBu ) refers to the line input and shows its sensitivity . The settings for equipment with standard line-level signals

(-10 dBV or +4 dBu) look like this: While the TRIM control is turned all the way down, connect your equipment. Set the TRIM control to the external devices’ standard output level. If that unit has an output signal level display, it should show 0 dB during signal peaks. For +4 dBu, turn up TRIM slightly, for -10 dBV a bit more. Tweaking is done using the CLIP LED.

CLIP

The CLIP LEDs of the mono channels illuminate when the input signal is driven too high, which could cause distortion. If this happens, use the TRIM control to reduce the preamp level until the LED does not light anymore.

Channel fader

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

◊ Caution: The channel fader needs to be open so that the effects processor receives a signal from this channel because the FX bus to the effects processor is switched to post-fader!

2.2 Stereo channels

HIGH/LOW

All mono input channels include a 3-band equalizer. All bands provide boost or cut of up to 15 dB. In the central position, the equalizer is inactive.

The upper (HIGH) and the lower band (LOW) are shelving filters that increase or decrease all frequencies above or below their cut-off frequency. The cut-off frequencies of the upper and lower band are 12 kHz and 80 Hz respectively.

MON/FX

FX send buses (or AUX send buses) enable you to extract signals from one or more channels and collect these on a bus. You can retrieve the signal at the send connector to direct it to an external effects device, for example. The AUX return input is used as the return path. The send buses of the RX1202FX are mono buses.

As the name suggests, the FX sends of the EURORACK mixing consoles are intended to drive effects devices (reverb, delay, etc.) and are therefore configured post-fader. This means that the mix between dry signal and effect remains at the level determined by the channel’s aux send, irrespective of the channel fader setting. If this were not the case, the effects signal of the channel would remain audible even when the fader is lowered to zero.

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

To make sure that the effects processor receives an input signal, you shouldn’t turn this control all the way to the left (∞ ).

Fig. 2.2: Connectors and controls on the stereo channels

LINE IN

Each stereo channel has two balanced line level inputs on ¼" connectors for left and right channels. If only the connector marked “L” (left) is used, the channel operates in mono. The stereo channels are designed to handle typical line level signals. Both inputs will also accept unbalanced connectors.

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TRIM

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

However, the level control range is limited from +20 to -20 dBu because the stereo channels only process line signals.

HIGH/LOW

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

MON/FX

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

Since both paths are mono, the signal of a stereo channel is initially mixed to a summed mono signal before reaching the MON/FX bus.

BAL

The BAL (ANCE) control determines the levels of left and right input signals relative to each other before both signals are then routed to the main stereo mix bus. If a channel is operated in mono via the left line input, this control has the same function as the PAN control used in the mono channels.

CLIP

The CLIP LEDs of the stereo channels light up when the input signal’s level is too high. In this case, reduce the preamplification with the TRIM controller until the

LED goes out.

Channel fader

As with the mono channels, the channel fader determines the level of the channel strip for the stereo channels in the main mix.

2.3 Connector array of the main section

Fig.2.3: Connectors of the main section

MAIN OUT

The MAIN OUT connectors are balanced and laid out as XLR connectors. Here the summed signal of the main mix has a level of

0 dBu. According to the way you want to use the mixer and which equipment you have, following devices can be connected:

Live PA systems:

A stereo dynamics processor (optional), stereo equalizer (optional) and the stereo power amplifier for full-range loudspeakers with passive crossovers.

If you wish to use multi-way loudspeaker systems without an integrated crossover, you have to use an active crossover and several power amplifiers.

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

PRO CX2310 and ULTRADRIVE PRO DCX2496). Active crossovers are implemented directly before the power amplifier, and they divide the frequency range into several segments that are first amplified in the amplifiers and then passed on to the corresponding loudspeakers.

Recording:

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

MDX2600 can be recommended. Use it to custom-tailor the dynamic characteristics of your signal to the dynamic range of the recording equipment you are using. The signal is in this case passed on from the compressor into the recorder.

CTRL OUT

The CTRL OUT connectors are used for controlling the summed signal

(effects mix and main mix) as well as for individual signals over studio monitor speakers. By using the PHONES/CONTROL ROOM controller in the main section, you can control the level of both outputs.

CD/TAPE IN

The CD/TAPE IN s are used to bring an external signal source (e.g. CD player, tape deck, etc.) into the console. They can also be used as a standard stereo line input, so the output of a second EURORACK or BEHRINGER ULTRALINK PRO MX882 can be connected. Alternatively, the line or tape output of a hi-fi amplifier with source selection switch could also be hooked up here, allowing you to easily listen to additional sources (e.g. cassette recorder, minidisk player, sound card etc.).

CD/TAPE OUT

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

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

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

AUX SENDS

The FX connector routes the signal, which you have extracted from the individual channels by using the FX controller; the MON plug does the same to the signal that has been extracted by using the MON controller. Connect the input of an external effects processor to the FX plug, with which you want to modify the signal sum of the FX bus. Then, route the effects signal back to the mixer over the AUX RETURN connectors. With the MON outputs, you can connect an amplifier/headphones amplifier for the musicians to monitor.

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◊ When the connected effects device does not receive an input signal, none of the FX controllers are probably turned up, which also applies to the integrated effects -processor.

◊ Adjust your external effects processor to 100% wet (effects signal only), because the effects signal is added to the main mix along with the “dry” channel signals.

POWER

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

LEVEL INDICATOR

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

AUX RETURN

You can connect the outputs of an external effects device to the AUX RETURN connectors. In this case, the effects signal is routed directly to the main mix bus and is then mixed with the “dry” signal. It is also possible to route the effects signal as mono by using the L connector.

◊ You can also use the AUX RETURN connectors as additional stereo input channels, although, in this case, there are no possibilities to control the level, timbre and panning.

2.4 Main section

Level Control:

To level the signal, you should set the channel fader of the input channels to 0 dB and raise the input amplification with the TRIM controller to the extent that a level of maximal 0 dB is displayed.

When recording to digital recorders, the recorder’s peak meter should not go into overload. While analog recorders can be overloaded to some extent, creating only a certain amount of distortion, digital recorders distort quickly when overloaded.

In addition, digital distortion is not only undesirable, but also renders your recording completely useless.

When recording to an analog device, the VU meters of the recording machine should reach approx. +3 dB with low-frequency signals (e.g. kick drum). Due to their inertia VU meters tend to display too low a signal level at frequencies above 1 kHz. This is why, for example, a Hi-Hat should only be driven as far as -10 dB. Snare drums should be driven to approx. 0 dB.

◊ The CLIP LEDs of your EURORACK display the level virtually independent of frequency. A recording level of 0 dB is recommended for all signal types.

MAIN MIX

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

PHONES

The connector is used to connect a pair of headphones. The volume level is changed with the PHONES/CONTROL ROOM controller.

Fig. 2.4: Control elements of the main section

PHONES/CONTROL ROOM

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

CTRL OUT and PHONES outputs.

+48 V

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

Phantom powering is necessary to use condenser microphones and is activated with the PHANTOM ON switch found on the backside.

◊ Connect microphones before you switch on the phantom power supply.

Please do not connect microphones to the mixer (or the stagebox/ wallbox) while the phantom power supply is switched on. In addition, the monitor/PA loud speakers should be muted before you activate the phantom power supply. After switching on, wait approx. one minute to allow for system stabilization.

◊ Caution! 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.

FX SOLO

If you want to only listen to the effects signal with your headphones or monitor speakers, then press the FX SOLO switch. The signal of the effects device can then be heard individually; the main mix or CD/tape signal is inaudible at the

PHONES and CTRL OUT outputs.

CD/TAPE TO CTRL

Press the CD/TAPE TO CTRL switch if you want to monitor the CD/TAPE IN via the CTRL OUT and PHONES outputs. A typical studio application of this function is recording music into a digital audio workstation (DAW) with simultaneous reproduction (see ch. 3.1).

◊ When you are recording a signal over the CD/TAPE OUT and simultaneously want to monitor over the CD/TAPE IN, the CD/TAPE

TO MIX switch is not allowed to be pressed. Otherwise a feedback loop would occur because this signal would be sent over the Main Mix back to the CD/TAPE OUT. In case of such an application, you should send the

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

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

9


CD/TAPE TO MIX

When the CD/TAPE TO MIX switch is pressed, the CD/tape input is assigned to the main mix providing an additional input for tape machines, MIDI instruments or other signal sources that do not require any processing.

2.5 Digital effects processor

2.6 Voltage supply, phantom power supply and fuse

FUSE HOLDER/IEC MAINS RECEPTACLE

The mains connection is made via a cable with an IEC mains connector and meets the required safety standards. An appropriate mains cable is supplied with the equipment. Blown fuses must only be replaced by fuses of the same type and rating.

Fig. 2.5: Effects section

100 FIRST-CLASS EFFECTS

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

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

Chorus, Flanger, Delay and various combination effects. Using the FX control, you can feed signals into the effects processor. The integrated effects module has the advantage of requiring no wiring. This way, the danger of creating ground loops or uneven signal levels is eliminated at the outset, completely simplifying the handling.

SIG and CLIP LED

The SIG LED on the effects module shows the presence of a signal whose level is high enough. This LED should always be on. However, make sure that the

CLIP LED lights up only sporadically. If it is lit constantly, you are overdriving the effects processor, which leads to unpleasant distortion. If this occurs, turn the FX controls down somewhat.

PROGRAM

The PROGRAM control has two functions: by turning the PROGRAM control, you dial the number of an effect. The number of the preset you just dialed up blinks in the display. To confirm your selection, press the PROGRAM control; the blinking stops.

FX TO MAIN

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

No effects signal is to be heard in the summed signal of the mixer when the controller is positioned entirely to the left. Choose this position if you want to use an external effects device for the FX output.

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

Fig. 2.6: Voltage supply and fuse

POWER switch

Use the POWER switch to turn on the mixing console. The POWER switch should always be in the “Off” position when you are about to connect your unit to the mains.

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

When installing the product, ensure that the plug is easily accessible.

If mounting in a rack, ensure that the mains can be easily disconnected by a plug pull or by an all-pole disconnect switch on or near the rack.

◊ Attention: The POWER switch does not fully disconnect the unit from the mains. Unplug the power cord completely when the unit is not used for prolonged periods of time.

PHANTOM switch

The PHANTOM switch activates the phantom power (necessary to operate condenser microphones) on the XLR sockets of the mono channels.

The red +48 V LED illuminates when phantom power is on. As a rule, dynamic microphones can still be used with phantom power, provided that they are wired in a balanced configuration. In case of doubt, contact the microphone manufacturer!

◊ Connect microphones before you switch on the phantom power supply.

Please do not connect microphones to the mixer (or the stagebox/ wallbox) while the phantom power supply is switched on. In addition, the monitor/PA loud-speakers should be muted before you activate the phantom power supply. After switching on, wait approx. one minute to allow for system stabilization.

◊ Caution! Please also note the information given in chapter 4.2

“Audio connections”.

SERIAL NUMBER

Please note the important information on the serial number given in chapter 1.3.3.

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3. Applications

3.1 Recording studio

TRUTH B200A

HPS3000

Keyboard

MIDI sound module

B-2 Pro

MD Recorder

HPS3000

V-Amp 3

Laptop F-Control FCA202 Mini Amp Amp 800

Electric Guitar

Fig. 3.1: The RX1202FX in a recording studio

Even though most of the tasks in a studio can nowadays be accomplished using a computer, a mixing console remains an unavoidable piece of equipment that lets you effectively manage audio inputs and outputs: microphone signals need to be pre-amplified prior to being recorded, and the quality of microphone sound is often worked on; recording and playback signals must be routed to the appropriate connectors or integrated into the mix; the volume of headphones and studio monitors needs to be adjusted, and so on. The well-equipped main section of the RX1202FX is extremely useful in this case.

Cabling:

Connect your sound sources to the mic or line inputs of the mixer. Join your master machine (DAT/MD recorder) to the main outputs. Your monitor speaker is connected to the CTRL OUT connector, the headphones to the PHONES output. Now attach the CD/TAPE outputs with the inputs of the sound card of your Digital Audio Workstation (DAW). Hook up the outputs of the computer’s soundcard to the CD/TAPE inputs. Connect a headphone amplifier to the MON connector to be able to provide performing musicians with a monitoring signal.

Record and playback:

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

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

LEVEL fader. The entire level to the computer is adjusted with the MAIN MIX fader. To ensure that the signal is really being recorded, you should not listen in to the main mix signal (i.e. the output signal of the console, prior to recording) of the phones or control room bus. Instead, listen in to the returned signal of the soundcard that is connected to the CD/TAPE inputs, in which case you have a kind of read-after-write control. In this case, press the CD/TAPE TO CTRL switch and adjust the volume level with the PHONES/CONTROL ROOM controller.

This way you can record further tracks to an existing playback (so-called overdubs). In the process, use the Direct Monitoring function of your DAW

( D igital A udio W orkstation).

Determine the amount of the input signals (keyboard, guitar, sound module and microphone) in the mono and stereo channels that are to be sent to the

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

◊ With this application, the CD/TAPE TO MIX switch should not be pressed; otherwise, the playback signal from the sound card output would be routed back to the computer and would be added to the recording.

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

11


3.2 Live sound

VP1520 Keyboard

EP2000

COMPOSER PRO-XL MDX2600

Electric Guitar

Drum Machine

VIRTUE VT250FX

HPS3000

CD Player

MD Recorder

EUROLIVE F1220A

Fig. 3.2: Live application of the RX1202FX

EP2000 VIRTUALIZER 3D FX2000

Electric Bass

BX4500H

XM8500

BB410

12


This illustration shows a typical arrangement for a live setup. Two vocal microphones and the line outputs of a guitar and a bass amplifier are connected to the mono channels of the RX1202FX. A keyboard and a drum computer are connected to the stereo channels. The power amplifier in your sound system is connected to the main outputs; equipment such as compressors, equalizers or crossovers are located between the mixer and the amp in the signal path. If you wish to make a live recording, you can connect your recording equipment

(in this case, a minidisk recorder) to the CD/TAPE outputs. A CD player that is playing during intermissions is connected via the CD/TAPE inputs. If you connect a recorder/player combo (e. g. a tape deck recorder), the CD/TAPE TO MIX switch should not be pressed during a recording because this way the signal intended for recording would be directly re-routed back to the mixing console, and then back to the recorder... this would cause a feedback loop as soon as you hit the record button. A loud, unpleasant, even painful sound would result.

Connect two monitor speakers over a power amplifier to the MON output which musicians can then use on stage. Determine the amount of the input signals

(microphone, bass, keyboard, drum computer and guitar) in the mono and stereo channels that are to be sent to the MON output by using the MON controller of the corresponding channel.

2

3

1

1 2

3 input output

1 = ground/shield

2 = hot (+ve)

3 = cold (-ve)

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

Fig. 4.1: XLR connections

Unbalanced ¼" TS connector strain relief clamp sleeve tip sleeve

(ground/shield)

4. Installation

4.1 Mains connection

tip

(signal)

AC POWER IN

The power supply is delivered through the power supply line to be found on the backside. The connection complies with the required security regulations.

◊ Never connect the EURORACK to the power supply line while the latter is already connected to the mains! Rather connect the console with the power supply line before plugging it into the mains.

◊ Please note that the mixer warms up when in operation.

This is absolutely normal.

Fig. 4.2: ¼" mono plug

Balanced ¼" TRS connector strain relief clamp sleeve ring tip

4.2 Audio connections

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

The illustrations below show how the connectors should be wired.

Be sure to use only high-grade cables.

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

You can, of course, also connect unbalanced equipment to the balanced inputs/outputs. To do this, use either mono plugs or stereo plugs with the ring and sleeve bridged (pins 1 and 3 in the case of XLR connectors).

◊ Caution! Never use unbalanced XLR connectors (PIN 1 and 3 connected) on the MIC input connectors when using the phantom power supply.

sleeve ground/shield ring cold (-ve) tip hot (+ve)

For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.

Fig. 4.3: ¼" stereo plug

¼" TRS headphones connector strain relief clamp sleeve ring tip sleeve ground/shield ring right signal tip left signal

Fig. 4.4: Stereo plug for headphones connection

13


5. Specifications

Mono Inputs

MIC (IMP Invisible Mic Preamp)

Type

Mic E.I.N. (20 Hz – 20 kHz)

@ 0 Ω source resistance



Frequency response

Gain range

Max. input level

Impedance

Signal-to-noise ratio

Distortion (THD+N)

XLR, electr. balanced

-132 dB / -134 dB A-weighted



<10 Hz – 200 kHz

+10 to +60 dB

+12 dBu @ +10 dB gain approx. 2.6 kΩ balanced


0.003%, A-weighted

Line In

Type

Impedance

Gain range

Max. input level

Stereo Inputs

Type

¼" TRS connector, electronically balanced approx. 20 kΩ balanced approx. 10 kΩ unbalanced

-10 dB to +40 dB

+22 dBu @ 0 dB gain

Impedance


+22 dBu Max. input level

Insert

Type ¼" TRS connector

(Tip=Send, Ring=Return)

Auxiliary Inputs

CD/TAPE IN

Type

Impedance

Max. input level

Aux Return

Type

Impedance

Max. input level

RCA connectors, unbalanced approx. 20 kΩ

+22 dBu

¼" TRS connector, balanced approx. 20 kΩ balanced approx. 10 kΩ unbalanced

+22 dBu

Outputs

AUX SENDS (FX)

Type

Impedance

Max. output level

Aux Sends (MON)

Type

Impedance

Max. output level

Main Out

Type

Impedance

Max. output level

Ctrl Out

Type

Impedance

Max. output level

CD/Tape Out

Type

Impedance

Max. output level

Phones

Type

Max. output level

EQ

Low

High

¼" TRS connector, impedance balanced approx. 240 Ω balanced approx. 120 Ω unbalanced

+22 dBu


+22 dBu

XLR connectors, balanced approx. 240 Ω balanced approx. 120 Ω unbalanced

+28 dBu balanced

+22 dBu unbalanced


+22 dBu


+22 dBu

¼" TRS connector

+19 dBu / 150 Ω (316 mW)

100 Hz / ±15 dB

12 kHz / ±15 dB

14


Main Mix System Data 1

Noise

Main mix @ -∞,

Channel fader -∞

Main mix @ 0 dB,

Channel fader -∞

Main mix @ 0 dB,

Channel fader @ 0 dB

Fade Attenuation 2

(Crosstalk attenuation)

Main fader closed

Channel fader closed




Frequency Response

Microphone input to Main Out

<20 Hz – 105 kHz

<10 Hz – 170 kHz

Effects Section

90 dB

90 dB

+1 dB / -1 dB

+3 dB / -3 dB

Frequency rate

Presets

Power Supply

Power consumption

Voltage

Fuse

Mains connection

40 kHz

100

18 W

100 – 240 V~, 50/60 Hz

100 – 240 V~: T 1.6 A H 250 V

IEC (power) cable

Dimensions/Weight

Dimensions (H x W x D) approx. 133 x 482 x 150 mm approx. (5.2 x 19 x 6") approx. 3.04 kg (6.7 lbs) Weight (net)

Measuring conditions:

1: 20 Hz – 20 kHz; measured at main output. Channels1 – 8 gain @ unity; EQ flat; all channels on main mix; channels 1/3/5/7 leftmost, channels 2/4/6/8 rightmost. Reference = +6 dBu.

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

15


No

00

.

SMALL HALL 1

01 SMALL HALL 2

02 SMALL HALL 3

03 MID HALL 1

04 MID HALL 2

05 MID HALL 3

06 BIG HALL 1

07 BIG HALL 2

08 BIG HALL 3

09 CHURCH

EFFECT Description

HALL 00-09 approx. 1.0s reverb decay approx. 1.2s reverb decay approx. 1.5s reverb decay approx. 1.8s reverb decay approx. 2.0s reverb decay approx. 2.5s reverb decay approx. 2.8s reverb decay approx. 3.2s reverb decay approx. 4s reverb decay approx. 7 s reverb decay

ROOM 10-19 approx. 0.5s reverb decay approx. 0.8s reverb decay

10 SMALL ROOM 1

11 SMALL ROOM 2

12 SMALL ROOM 3

13 MID ROOM 1

14 MID ROOM 2

15 MID ROOM 3

16 BIG ROOM 1

17 BIG ROOM 2

18

19

BIG ROOM 3

CHAPEL approx. 1.0s reverb decay approx. 1.2s reverb decay approx. 1.5s reverb decay approx. 1.8s reverb decay approx. 2.0s reverb decay approx. 2.2s reverb decay approx. 1.5s reverb decay approx. 3s reverb decay

PLATE 20-29 approx. 1.0s reverb decay approx. 1.5s reverb decay approx. 2.2s reverb decay approx. 1.2s reverb decay

20 SHORT PLATE

21 MID PLATE

22 LONG PLATE

23 VOCAL PLATE

24

25

26

27

28

29

DRUMS PLATE

GOLD PLATE 1

GOLD PLATE 2

SHORT SPRING

MID SPRING

LONG SPRING approx. 1.0s reverb decay approx. 1.2s reverb decay approx. 2.0s reverb decay approx. 1.0s reverb decay approx. 2.0s reverb decay approx. 2.5s reverb decay

GATED/REVERSE 30-39 approx. 0.8s reverb decay 30 GATED REV SHORT

31 GATED REV MID

32 GATED REV LONG approx. 1.2s reverb decay approx. 2.0s reverb decay

33 GATED REV XXL approx.3.0s reverb decay

34 GATED REV DRUM 1 approx. 0.8s reverb decay

35 GATED REV DRUM 2 approx. 1.2s reverb decay

36 REVERSE SHORT approx. 0.8s reverb decay

37 REVERSE MID approx. 1.2s reverb decay

38 REVERSE LONG

39 REVERSE XXL approx. 2.0s reverb decay approx. 3.0s reverb decay

EARLY REFLECTIONS 40-49

40 EARLY REFLECTIONS 1 Short

41 EARLY REFLECTIONS 2 Medium-short

42 EARLY REFLECTIONS 3 Medium-long

43 EARLY REFLECTIONS 4 Long

44 SHORT AMBIENCE Short

45 MID AMBIENCE

46 LIVE AMBIENCE

47 BIG AMBIENCE

48 STADIUM

49 GHOST AMBIENCE

Medium-short

Medium-short

Medium-long

Long

Extra-long special FX

6. EURORACK PRO RX1202FX Effects Presets

EFFECTS PRESETS

No

50

.

EFFECT

SHORT DELAY 1

51 SHORT DELAY 2

52 SHORT DELAY 3

53 MID DELAY 1

54 MID DELAY 2

55 MID DELAY 3

56 LONG DELAY 1

57 LONG DELAY 2

58 LONG DELAY 3

59 LONG ECHO

Description

DELAY 50-59

Like a short shattering

1-2 short impulse(s)

1-2 short impulse(s)

Classical Delay for up-tempo music (115-125 BPM)

Classical Delay for mid-tempo music (105-115 BPM)

Classical Delay for slow-tempo music (95-105 BPM)

Classical Delay for reggae-tempo music (85-95 BPM)

Classical Delay for dub-tempo music (75-85 BPM)

Extra long (nearly infinite) delay effect

Extra long canyon echo effect

CHORUS 60-69

Unobtrusive effect

Unobtrusive effect with different color

60 SOFT CHORUS 1

61 SOFT CHORUS 2

62 WARM CHORUS 1

63 WARM CHORUS 2

64 PHAT CHORUS 1

65 PHAT CHORUS 2

66 CLASSIC FLANGER

67 WARM FLANGER

68

69

DEEP FLANGER

HEAVY FLANGER

70 CLASSIC PHASER

71 WARM PHASER

72 DEEP PHASER

73 HEAVY PHASER

Analog sounding

Analog sounding with different color

Pronounced chorus effect

Pronounced chorus effect with different color

Standard flanger effect

More analog touch

Deep modulation impression

Extremely pronounced effect

PHASE/PITCH 70-79

Standard phaser effect

More analog touch

Deep modulation impression

Extreme strong effect

74 PITCH SHIFT DETUNE 2-3 times detune for a wider solo voice sound

75 PITCH SHIFT +3 Minor third added voice

76 PITCH SHIFT +4

77 PITCH SHIFT +7

Major third added voice

Quint above added voice

78 PITCH SHIFT -5

79 PITCH SHIFT -12

Fourth down added voice

1 octave down added voice

MULTI 1 80-89

80 CHORUS + REVERB 1 Soft chorus + medium-short reverb

81 CHORUS + REVERB 2 Deep chorus + medium-long reverb

82 FLANGER + REVERB 1 Soft flanger + medium-short reverb

83 FLANGER + REVERB 2 Deep flanger + medium-long reverb

84 PHASER + REVERB 1 Soft phaser + medium-short reverb

85 PHASER + REVERB 2 Deep phaser + medium-long reverb

86 PITCH + REVERB 1 Soft voice detuning + medium-short reverb

87 PITCH + REVERB 2 Fourth above interval + medium-long reverb

88 DELAY + REVERB 1

89 DELAY + REVERB 2

Short delay +medium-short reverb

Medium-long delay +medium-long reverb

MULTI 2 80-89

90 DELAY + GATED REV Short delay + medium-long gated reverb

91 DELAY + REVERSE

92 DELAY + CHORUS 1

Medium-short delay + medium-long reverse reverb

Short delay + soft chorus

93 DELAY + CHORUS 2 Medium-long delay + deep chorus

94 DELAY + FLANGER 1 Short delay + soft flanger

95 DELAY + FLANGER 2 Medium-long delay + deep flanger

96 DELAY + PHASER 1 Short delay + soft phaser

97 DELAY + PHASER 2

98 DELAY + PITCH 1

Medium-long delay + deep phaser

Short delay + fourth down interval

99 DELAY + PITCH 2 Medium-long delay + minor third above interval

16


FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION


Responsible Party Name:

Address:

Phone Number:

MUSIC Group Services NV Inc.

5270 Procyon Street

Las Vegas, NV 89118

USA

+1 702 800 8290

EURORACK PRO RX1202FX complies with the FCC rules as mentioned in the following paragraph:

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: t Reorient or relocate the receiving antenna.

t Increase the separation between the equipment and receiver.

t Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

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

This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions:

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

(2) this device must accept any interference received, including interference that may cause undesired operation.

Important information:

Changes or modifications to the equipment not expressly approved by MUSIC Group can void the user’s authority to use the equipment.

Dedicate Your Life to Music

Quick Start Guide

(Check out behringer.com for Full Manual)



XENYX Mic Preamplifiers, British EQ's and Multi-FX Processor

2 EURORACK PRO RX1202FX

Important Safety

Instructions

Terminals marked with this symbol carry electrical current of suffi cient magnitude to constitute risk of electric shock.

Use only high-quality professional speaker cables with

¼" TS or twist-locking plugs pre-installed. All other installation or modifi cation should be performed only by qualifi ed personnel.

This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be suffi cient 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.

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 qualifi ed personnel.

Caution

To reduce the risk of fi re or electric shock, do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects fi lled with liquids, such as vases, shall be placed on the apparatus.

Caution

These service instructions are for use by qualifi ed service personnel only.

To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualifi ed service personnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4.

Follow all instructions.

5.

Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

8.

Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus

(including amplifi ers) 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 fi t 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. Use only attachments/accessories specifi ed by the manufacturer.

12. Use only with the cart, stand, tripod, bracket, or table specifi ed 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 qualifi ed 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.

The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

LEGAL DISCLAIMER

TECHNICAL SPECIFICATIONS AND APPEARANCES

ARE SUBJECT TO CHANGE WITHOUT NOTICE AND

ACCURACY IS NOT GUARANTEED. BEHRINGER,

KLARK TEKNIK, MIDAS, BUGERA, AND TURBOSOUND

ARE PART OF THE MUSIC GROUP (MUSIC-GROUP.COM).

ALL TRADEMARKS ARE THE PROPERTY OF THEIR

RESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NO

LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED

BY ANY PERSON WHO RELIES EITHER WHOLLY OR

IN PART UPON ANY DESCRIPTION, PHOTOGRAPH

OR STATEMENT CONTAINED HEREIN. COLORS AND

SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.

MUSIC GROUP PRODUCTS ARE SOLD THROUGH

AUTHORIZED FULLFILLERS AND RESELLERS ONLY.

FULLFILLERS AND RESELLERS ARE NOT AGENTS OF

MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY

TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED

UNDERTAKING OR REPRESENTATION. THIS MANUAL

IS COPYRIGHTED. NO PART OF THIS MANUAL MAY

BE REPRODUCED OR TRANSMITTED IN ANY FORM

OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,

INCLUDING PHOTOCOPYING AND RECORDING OF ANY

KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS

WRITTEN PERMISSION OF MUSIC GROUP IP LTD.

ALL RIGHTS RESERVED.

© 2013 MUSIC Group IP Ltd.

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

Road Town, Tortola, British Virgin Islands

LIMITED WARRANTY

For the applicable warranty terms and conditions and additional information regarding MUSIC Group’s

Limited Warranty, please see complete details online at www.music-group.com/warranty.

Quick Start Guide

3

Instrucciones de seguridad

Las terminales marcadas con este símbolo transportan corriente eléctrica de magnitud sufi ciente como para constituir un riesgo de descarga eléctrica. Utilice solo cables de altavoz profesionales y de alta calidad con conectores

TS de 6,3 mm o de bayoneta prefi jados. Cualquier otra instalación o modifi cación debe ser realizada únicamente por un técnico cualifi cado.

peligroso sin aislar dentro de la caja; este voltaje puede ser sufi ciente para constituir un riesgo de descarga.

Este símbolo, siempre que aparece, le advierte de la presencia de voltaje

Este símbolo, siempre que aparece, le advierte sobre instrucciones operativas y de mantenimiento que aparecen en la documentación adjunta. Por favor, lea el manual.

Atención

Para reducir el riesgo de descarga eléctrica, no quite la tapa (o la parte posterior). No hay piezas en el interior del equipo que puedan ser reparadas por el usuario. Si es necesario, póngase en contacto con personal cualifi cado.

Atención

Para reducir el riesgo de incendio o descarga eléctrica, no exponga este aparato a la lluvia, humedad o alguna otra fuente que pueda salpicar o derramar algún líquido sobre el aparato.

No coloque ningún tipo de recipiente para líquidos sobre el aparato.

Atención

Las instrucciones de servicio deben llevarlas a cabo exclusivamente personal cualifi cado. Para evitar el riesgo de una descarga eléctrica, no realice reparaciones que no se encuentren descritas en el manual de operaciones. Las reparaciones deben ser realizadas exclusivamente por personal cualifi cado.

1. Lea las instrucciones.

2. Conserve estas instrucciones.

3. Preste atención a todas las advertencias.

4. Siga todas las instrucciones.

5. No use este aparato cerca del agua.

6. Limpie este aparato con un paño seco.

7. No bloquee las aberturas de ventilación. Instale el equipo de acuerdo con las instrucciones del fabricante.

8. No instale este equipo cerca de fuentes de calor tales como radiadores, acumuladores de calor, estufas u otros aparatos (incluyendo amplifi cadores) que puedan producir calor.

9. No elimine o deshabilite nunca la conexión a tierra del aparato o del cable de alimentación de corriente.

Un enchufe polarizado tiene dos polos, uno de los cuales tiene un contacto más ancho que el otro. Una clavija con puesta a tierra dispone de tres contactos: dos polos y la puesta a tierra. El contacto ancho y el tercer contacto, respectivamente, son los que garantizan una mayor seguridad. Si el enchufe suministrado con el equipo no concuerda con la toma de corriente, consulte con un electricista para cambiar la toma de corriente obsoleta.

10. Coloque el cable de suministro de energía de manera que no pueda ser pisado y que esté protegido de objetos afi lados. Asegúrese de que el cable de suministro de energía esté protegido, especialmente en la zona de la clavija y en el punto donde sale del aparato.

11. Use únicamente los dispositivos o accesorios especifi cados por el fabricante.

12. Use únicamente la carretilla, plataforma, trípode, soporte o mesa especifi cados por el fabricante o suministrados junto con el equipo.

Al transportar el equipo, tenga cuidado para evitar daños y caídas al tropezar con algún obstáculo.

13. Desenchufe el equipo durante tormentas o si no va a utilizarlo durante un periodo largo.

14. Confíe las reparaciones únicamente a servicios técnicos cualifi cados. La unidad requiere mantenimiento siempre que haya sufrido algún daño, si el cable de suministro de energía o el enchufe presentaran daños, se hubiera derramado un líquido o hubieran caído objetos dentro del equipo, si el aparato hubiera estado expuesto a la humedad o la lluvia, si ha dejado de funcionar de manera normal o si ha sufrido algún golpe o caída.

15. Al conectar la unidad a la toma de corriente eléctrica asegúrese de que la conexión disponga de una unión a tierra.

16. Si el enchufe o conector de red sirve como único medio de desconexión, éste debe ser accesible fácilmente.

NEGACIÓN LEGAL

LAS ESPECIFICACIONES TÉCNICAS Y LA APARIENCIA

EXTERIOR ESTÁN SUJETAS A CAMBIOS SIN

PREVIO AVISO Y NO PODEMOS GARANTIZAR LA

TOTAL EXACTITUD DE TODO LO QUE APARECE

AQUÍ. BEHRINGER, KLARK TEKNIK, MIDAS,

BUGERA, Y TURBOSOUND SON PARTE DEL GRUPO

MUSIC GROUP (MUSIC-GROUP.COM). TODAS LAS

MARCAS REGISTRADAS SON PROPIEDAD DE SUS

RESPECTIVOS DUEÑOS. MUSIC GROUP NO ACEPTA

NINGÚN TIPO DE RESPONSABILIDAD POR POSIBLES

DAÑOS Y PERJUICIOS SUFRIDOS POR CUALQUIER

PERSONA QUE SE HAYA BASADO COMPLETAMENTE

O EN PARTE EN LAS DESCRIPCIONES, FOTOGRAFÍAS

O EXPLICACIONES QUE APARECEN EN ESTE

DOCUMENTO. LOS COLORES Y ESPECIFICACIONES

TÉCNICAS PUEDEN VARIAR LIGERAMENTE DE UN

PRODUCTO A OTRO. LOS PRODUCTOS MUSIC GROUP

SON COMERCIALIZADOS ÚNICAMENTE A TRAVÉS DE

DISTRIBUIDORES OFICIALES. LOS DISTRIBUIDORES

Y MAYORISTAS NO SON AGENTES DE MUSIC GROUP,

POR LO QUE NO ESTÁN AUTORIZADOS A CONCEDER

NINGÚN TIPO DE CONTRATO O GARANTÍA QUE

OBLIGUE A MUSIC GROUP DE FORMA EXPRESA O

IMPLÍCITA. ESTE MANUAL ESTÁ PROTEGIDO POR LAS

LEYES DEL COPYRIGHT. ESTE MANUAL NO PUEDE

SER REPRODUCIDO O TRANSMITIDO, NI COMPLETO

NI EN PARTE, POR NINGÚN TIPO DE MEDIO, TANTO SI

ES ELECTRÓNICO COMO MECÁNICO, INCLUYENDO EL

FOTOCOPIADO O REGISTRO DE CUALQUIER TIPO Y PARA

CUALQUIER FIN, SIN LA AUTORIZACIÓN EXPRESA Y POR

ESCRITO DE MUSIC GROUP IP LTD.

RESERVADOS TODOS LOS DERECHOS.




GARANTÍA LIMITADA

Si quiere conocer los detalles y condiciones aplicables de la garantía así como información adicional sobre la

Garantía limitada de MUSIC group, consulte online toda la información en la web www.music-group.com/warranty.

4

EURORACK PRO RX1202FX

Consignes de sécurité

Les points repérés par ce symbole portent une tension électrique suffi sante pour constituer un risque d’électrocution.

Utilisez uniquement des câbles d’enceintes professionnels de haute qualité avec fi ches Jack mono 6,35 mm ou fi ches

à verrouillages déjà installées. Toute autre installation ou modifi cation doit être eff ectuée uniquement par un personnel qualifi é.

Ce symbole avertit de la présence d’une tension dangereuse et non isolée à l’intérieur de l’appareil - elle peut provoquer des chocs électriques.

Attention

Ce symbol signale les consignes d’utilisation et d’entre ! Tien importantes dans la documentation fournie. Lisez les consignes de sécurité du manuel d’utilisation de l’appareil.

Attention

Pour éviter tout risque de choc électrique, ne pas ouvrir le capot de l’appareil ni démonter le panneau arrière. L’intérieur de l’appareil ne possède aucun élément réparable par l’utilisateur.

Laisser toute réparation à un professionnel qualifi é.

Attention

Pour réduire les risques de feu et de choc

électrique, n’exposez pas cet appareil à la pluie, à la moisissure, aux gouttes ou aux éclaboussures.

Ne posez pas de récipient contenant un liquide sur l’appareil (un vase par exemple).

Attention

Ces consignes de sécurité et d’entretien sont destinées à un personnel qualifi é.

Pour éviter tout risque de choc électrique, n’eff ectuez aucune réparation sur l’appareil qui ne soit décrite par le manuel d’utilisation. Les éventuelles réparations doivent

être eff ectuées uniquement par un technicien spécialisé.

1. Lisez ces consignes.

2. Conservez ces consignes.

3. Respectez tous les avertissements.

4. Respectez toutes les consignes d’utilisation.

5. N’utilisez jamais l’appareil à proximité d’un liquide.

6.

Nettoyez l’appareil avec un chiff on sec.

7.

Veillez à ne pas empêcher la bonne ventilation de l’appareil via ses ouïes de ventilation. Respectez les consignes du fabricant concernant l’installation de l’appareil.

8. Ne placez pas l’appareil à proximité d’une source de chaleur telle qu’un chauff age, une cuisinière ou tout appareil dégageant de la chaleur (y compris un ampli de puissance).

9. Ne supprimez jamais la sécurité des prises bipolaires ou des prises terre. Les prises bipolaires possèdent deux contacts de largeur diff érente. Le plus large est le contact de sécurité. Les prises terre possèdent deux contacts plus une mise à la terre servant de sécurité. Si la prise du bloc d’alimentation ou du cordon d’ali-mentation fourni ne correspond pas à celles de votre installation électrique, faites appel à un électricien pour eff ectuer le changement de prise.

10. Installez le cordon d’alimentation de telle façon que personne ne puisse marcher dessus et qu’il soit protégé d’arêtes coupantes. Assurez-vous que le cordon d’alimentation est suffisamment protégé, notamment au niveau de sa prise électrique et de l’endroit où il est relié à l’appareil; cela est également valable pour une éventuelle rallonge électrique.

11. Utilisez exclusivement des accessoires et des appareils supplémentaires recommandés par le fabricant.

12. Utilisez exclusivement des chariots, des diables, des présentoirs, des pieds et des surfaces de travail recommandés par le fabricant ou livrés avec le produit.

Déplacez précautionneusement tout chariot ou diable chargé pour éviter d’éventuelles blessures en cas de chute.

13. Débranchez l’appareil de la tension secteur en cas d’orage ou si l’appareil reste inutilisé pendant une longue période de temps.

14. Les travaux d’entretien de l’appareil doivent

être eff ectués uniquement par du personnel qualifié.

Aucun entretien n’est nécessaire sauf si l’appareil est endommagé de quelque façon que ce soit (dommages sur le cordon d’alimentation ou la prise par exemple), si un liquide ou un objet a pénétré à l’intérieur du châssis, si l’appareil a été exposé à la pluie ou à l’humidité, s’il ne fonctionne pas correctement ou à la suite d’une chute.

15.

L’appareil doit être connecté à une prise secteur dotée d’une protection par mise à la terre.

16. La prise électrique ou la prise

IEC de tout appareil dénué de bouton marche/arrêt doit rester accessible en permanence.

DÉNI LÉGAL

CARACTÉRISTIQUES TECHNIQUES ET APPARENCE

SUJETTES À MODIFICATIONS SANS PRÉAVIS.

PRÉCISION NON GARANTIE. BEHRINGER, KLARK

TEKNIK, MIDAS, BUGERA, ET TURBOSOUND FONT

PARTIE DU MUSIC GROUP (MUSIC-GROUP.COM).

TOUTES LES MARQUES DÉPOSÉES SONT LA PROPRIÉTÉ

DE LEURS PROPRIÉTAIRES RESPECTIFS. LA SOCIÉTÉ

MUSIC GROUP N’ACCEPTE AUCUNE RESPONSABILITÉ

DANS LES ÉVENTUELS DOMMAGES OU PERTES SUBIS

PAR UN TIERS EN SE BASANT EN ENTIER OU EN

PARTIE SUR LES DESCRIPTIONS, PHOTOGRAPHIES OU

DÉCLARATIONS CONTENUES DANS CE DOCUMENT.

LES COULEURS ET CARACTÉRISTIQUES PEUVENT

VARIER LÉGÈREMENT DE CELLES DU PRODUIT.

LES PRODUITS MUSIC GROUP NE SONT VENDUS

QUE PAR LE BIAIS DE REVENDEURS AGRÉÉS.

LES DISTRIBUTEURS ET LES REVENDEURS NE SONT

PAS AGENTS DE MUSIC GROUP ET N’ONT ABSOLUMENT

AUCUNE AUTORITÉ POUR ENGAGER OU REPRÉSENTER

LA SOCIÉTÉ MUSIC GROUP DE FAÇON IMPLICITE,

EXPLICITE OU INDIRECTE. CE MODE D’EMPLOI EST

PROTÉGÉ PAR DROITS D’AUTEURS. IL EST INTERDIT

DE TRANSMETTRE OU DE COPIER CE MODE D’EMPLOI

SOUS QUELLE FORME QUE CE SOIT, PAR QUEL MOYEN

QUE CE SOIT, ÉLECTRONIQUE OU MÉCANIQUE,

CE QUI COMPREND LES MOYENS DE PHOTOCOPIE ET

D’ENREGISTREMENT DE QUELLE FAÇON QUE CE SOIT,

QUEL QUE SOIT LE BUT, SANS LA PERMISSION ÉCRITE

EXPRESSE DE MUSIC GROUP IP LTD.

TOUS DROITS RÉSERVÉS.



Road Town, Tortola, Iles Vierges Britanniques

GARANTIE LIMITÉE

Pour connaître les termes et conditions de garantie applicables, ainsi que les informations supplémentaires et détaillées sur la Garantie

Limitée de MUSIC Group, consultez le site Internet www.music-group.com/warranty.

Quick Start Guide

5

Wichtige

Sicherhteitshinweise

Vorsicht

Die mit dem Symbol markierten

Anschlüsse führen so viel Spannung, dass die Gefahr eines Stromschlags besteht.

Verwenden Sie nur hochwertige, professionelle

Lautsprecherkabel mit vorinstallierten 6,35 mm

MONO-Klinkensteckern oder Lautsprecherstecker mit Drehverriegelung. Alle anderen Installationen oder Modifi kationen sollten nur von qualifi ziertem

Fachpersonal ausgeführt werden.

Achtung

Um eine Gefährdung durch Stromschlag auszuschließen, darf die Geräteabdeckung bzw. Geräterückwand nicht abgenommen werden.

Im Innern des Geräts befi nden sich keine vom Benutzer reparierbaren Teile. Reparaturarbeiten dürfen nur von qualifi ziertem Personal ausgeführt werden.

Achtung

Um eine Gefährdung durch Feuer bzw.

Stromschlag auszuschließen, darf dieses

Gerät weder Regen oder Feuchtigkeit ausgesetzt werden noch sollten Spritzwasser oder tropfende Flüssigkeiten in das Gerät gelangen können. Stellen Sie keine mit

Flüssigkeit gefüllten Gegenstände, wie z. B. Vasen, auf das Gerät.

Achtung

Die Service-Hinweise sind nur durch qualifi ziertes Personal zu befolgen.

Um eine Gefährdung durch Stromschlag zu vermeiden, führen Sie bitte keinerlei Reparaturen an dem Gerät durch, die nicht in der Bedienungsanleitung beschrieben sind. Reparaturen sind nur von qualifi ziertem

Fachpersonal durchzuführen.

1. Lesen Sie diese Hinweise.

2. Bewahren Sie diese Hinweise auf.

3. Beachten Sie alle Warnhinweise.

4. Befolgen Sie alle Bedienungshinweise.

5. Betreiben Sie das Gerät nicht in der Nähe von Wasser.

6. Reinigen Sie das Gerät mit einem trockenen Tuch.

7. Blockieren Sie nicht die Belüftungsschlitze. Beachten

Sie beim Einbau des Gerätes die Herstellerhinweise.

8. Stellen Sie das Gerät nicht in der Nähe von

Wärmequellen auf. Solche Wärmequellen sind z. B.

Heizkörper, Herde oder andere Wärme erzeugende Geräte

(auch Verstärker).

9. Entfernen Sie in keinem Fall die

Sicherheitsvorrichtung von Zweipol- oder geerdeten

Steckern. Ein Zweipolstecker hat zwei unterschiedlich breite Steckkontakte. Ein geerdeter Stecker hat zwei

Steckkontakte und einen dritten Erdungskontakt.

Der breitere Steckkontakt oder der zusätzliche

Erdungskontakt dient Ihrer Sicherheit. Falls das mitgelieferte Steckerformat nicht zu Ihrer Steckdose passt, wenden Sie sich bitte an einen Elektriker, damit die

Steckdose entsprechend ausgetauscht wird.

10. Verlegen Sie das Netzkabel so, dass es vor

Tritten und scharfen Kanten geschützt ist und nicht beschädigt werden kann. Achten Sie bitte insbesondere im Bereich der Stecker, Verlängerungskabel und an der Stelle, an der das Netzkabel das Gerät verlässt, auf ausreichenden Schutz.

11. Das Gerät muss jederzeit mit intaktem Schutzleiter an das Stromnetz angeschlossen sein.

12. Sollte der Hauptnetzstecker oder eine

Gerätesteckdose die Funktionseinheit zum Abschalten sein, muss diese immer zugänglich sein.

13. Verwenden Sie nur Zusatzgeräte/Zubehörteile, die laut Hersteller geeignet sind.

14. Verwenden

Sie nur Wagen,

Standvorrichtungen,

Stative, Halter oder Tische, die vom Hersteller benannt oder im Lieferumfang des Geräts enthalten sind. Falls Sie einen

Wagen benutzen, seien Sie vorsichtig beim Bewegen der Wagen- Gerätkombination, um Verletzungen durch

Stolpern zu vermeiden.

15. Ziehen Sie den Netzstecker bei Gewitter oder wenn

Sie das Gerät längere Zeit nicht benutzen.

16. Lassen Sie alle Wartungsarbeiten nur von qualifi ziertem Service-Personal ausführen. Eine Wartung ist notwendig, wenn das Gerät in irgendeiner Weise beschädigt wurde (z. B. Beschädigung des Netzkabels oder

Steckers), Gegenstände oder Flüssigkeit in das Geräteinnere gelangt sind, das Gerät Regen oder Feuchtigkeit ausgesetzt wurde, das Gerät nicht ordnungsgemäß funktioniert oder auf den Boden gefallen ist.

17. Korrekte Entsorgung dieses Produkts: Dieses Symbol weist darauf hin, das Produkt entsprechend der WEEE

Direktive (2002/96/EC) und der jeweiligen nationalen Gesetze nicht zusammen mit Ihren

Haushaltsabfällen zu entsorgen. Dieses Produkt sollte bei einer autorisierten Sammelstelle für Recycling elektrischer und elektronischer Geräte (EEE) abgegeben werden. Wegen bedenklicher Substanzen, die generell mit elektrischen und elektronischen Geräten in

Verbindung stehen, könnte eine unsachgemäße

Behandlung dieser Abfallart eine negative Auswirkung auf Umwelt und Gesundheit haben. Gleichzeitig gewährleistet Ihr Beitrag zur richtigen Entsorgung dieses

Produkts die eff ektive Nutzung natürlicher Ressourcen.

Für weitere Informationen zur Entsorgung Ihrer Geräte bei einer Recycling-Stelle nehmen Sie bitte Kontakt zum zuständigen städtischen Büro, Entsorgungsamt oder zu

Ihrem Haushaltsabfallentsorger auf.

HAFTUNGSAUSSCHLUSS

TECHNISCHE DATEN UND ERSCHEINUNGSBILD

KÖNNEN UNANGEKÜNDIGT GEÄNDERT WERDEN.

IRRTÜMER BLEIBEN VORBEHALTEN. BEHRINGER,

KLARK TEKNIK, MIDAS, BUGERA UND TURBOSOUND

SIND TEIL DER MUSIC GROUP (MUSIC-GROUP.COM).

ALLE WARENZEICHEN SIND DAS EIGENTUM IHRER

JEWEILIGEN BESITZER. MUSIC GROUP ÜBERNIMMT

KEINE HAFTUNG FÜR VERLUSTE, DIE PERSONEN

ENTSTEHEN, DIE SICH GANZ ODER TEILWEISE AUF

HIER ENTHALTENE BESCHREIBUNGEN, FOTOS ODER

AUSSAGEN VERLASSEN. ABGEBILDETE FARBEN UND

SPEZIFIKATIONEN KÖNNEN GERINGFÜGIG VOM

PRODUKT ABWEICHEN. MUSIC GROUP PRODUKTE

WERDEN NUR ÜBER AUTORISIERTE FACHHÄNDLER

VERKAUFT. DIE VERTRIEBSPARTNER UND HÄNDLER

SIND KEINE VERTRETER VON MUSIC GROUP UND

SIND NICHT BERECHTIGT, MUSIC GROUP DURCH

AUSDRÜCKLICHE ODER STILLSCHWEIGENDE

HANDLUNGEN ODER REPRÄSENTANZEN ZU

VERPFLICHTEN. DIESE BEDIENUNGSANLEITUNG IST

URHEBERRECHTLICH GESCHÜTZT. KEIN TEIL DIESES

HANDBUCHS DARF IN IRGENDEINER FORM ODER

MIT IRGENDWELCHEN MITTELN ELEKTRONISCH

ODER MECHANISCH, INKLUSIVE FOTOKOPIE ODER

AUFNAHME, ZU IRGENDEINEM ZWECK OHNE

DIE SCHRIFTLICHE ZUSTIMMUNG DER FIRMA

MUSIC GROUP IP LTD. VERVIELFÄLTIGT ODER

ÜBERTRAGEN WERDEN.

ALLE RECHTE VORBEHALTEN.




BESCHRÄNKTE GARANTIE

Die geltenden Garantiebedingungen und zusätzliche

Informationen bezüglich der von MUSIC Group gewährten beschränkten Garantie fi nden Sie online unter www. music-group.com/warranty.

6


Instruções de Segurança

Importantes

Aviso!

Terminais marcados com o símbolo carregam corrente elétrica de magnitude sufi ciente para constituir um risco de choque elétrico.

Use apenas cabos de alto-falantes de alta qualidade com plugues TS de ¼" ou plugues com trava de torção pré-instalados. Todas as outras instalações e modifi cações devem ser efetuadas por pessoas qualifi cadas.

Este símbolo, onde quer que o encontre, alerta-o para a leitura das instruções de manuseamento que acompanham o equipamento. Por favor leia o manual de instruções.

Atenção

De forma a diminuir o risco de choque eléctrico, não remover a cobertura

(ou a secção de trás). Não existem peças substituíveis por parte do utilizador no seu interior. Para esse efeito recorrer a um técnico qualifi cado.

Atenção

Para reduzir o risco de incêndios ou choques eléctricos o aparelho não deve ser exposto à chuva nem à humidade. Além disso, não deve ser sujeito a salpicos, nem devem ser colocados em cima do aparelho objectos contendo líquidos, tais como jarras.

Atenção

Estas instruções de operação devem ser utilizadas, em exclusivo, por técnicos de assistência qualifi cados. Para evitar choques eléctricos não proceda a reparações ou intervenções, que não as indicadas nas instruções de operação, salvo se possuir as qualifi -cações necessárias. Para evitar choques eléctricos não proceda a reparações ou intervenções, que não as indicadas nas instruções de operação. Só o deverá fazer se possuir as qualifi cações necessárias.

1. Leia estas instruções.

2.

Guarde estas instruções.

3.

Preste atenção a todos os avisos.

4. Siga todas as instruções.

5. Não utilize este dispositivo perto de água.

6. Limpe apenas com um pano seco.

7. Não obstrua as entradas de ventilação. Instale de acordo com as instruções do fabricante.

8. Não instale perto de quaisquer fontes de calor tais como radiadores, bocas de ar quente, fogões de sala ou outros aparelhos (incluindo amplifi cadores) que produzam calor.

9. Não anule o objectivo de segurança das fi chas polarizadas ou do tipo de ligação à terra. Uma fi cha polarizada dispõe de duas palhetas sendo uma mais larga do que a outra. Uma fi cha do tipo ligação à terra dispõe de duas palhetas e um terceiro dente de ligação à terra.

A palheta larga ou o terceiro dente são fornecidos para sua segurança. Se a fi cha fornecida não encaixar na sua tomada, consulte um electricista para a substituição da tomada obsoleta.

10. Proteja o cabo de alimentação de pisadelas ou apertos, especialmente nas fi chas, extensões, e no local de saída da unidade. Certifi que-se de que o cabo eléctrico está protegido. Verifi que particularmente nas fi chas, nos receptáculos e no ponto em que o cabo sai do aparelho.

11. O aparelho tem de estar sempre conectado à rede eléctrica com o condutor de protecção intacto.

12. Se utilizar uma fi cha de rede principal ou uma tomada de aparelhos para desligar a unidade de funcionamento, esta deve estar sempre acessível.

13. Utilize apenas ligações/acessórios especifi cados pelo fabricante.

14.

Utilize apenas com o carrinho, estrutura, tripé, suporte, ou mesa especifi cados pelo fabricante ou vendidos com o dispositivo.

Quando utilizar um carrinho, tenha cuidado ao mover o conjunto carrinho/dispositivo para evitar danos provocados pela terpidação.

15.

Desligue este dispositivo durante as trovoadas ou quando não for utilizado durante longos períodos de tempo.

16. Qualquer tipo de reparação deve ser sempre efectuado por pessoal qualifi cado. É necessária uma reparação sempre que a unidade tiver sido de alguma forma danifi cada, como por exemplo: no caso do cabo de alimentação ou fi cha se encontrarem danifi cados; na eventualidade de líquido ter sido derramado ou objectos terem caído para dentro do dispositivo; no caso da unidade ter estado exposta à chuva ou à humidade; se esta não funcionar normalmente, ou se tiver caído.

17. Correcta eliminação deste produto: este símbolo indica que o produto não deve ser eliminado juntamente com os resíduos domésticos, segundo a Directiva

REEE (2002/96/CE) e a legislação nacional. Este produto deverá ser levado para um centro de recolha licenciado para a reciclagem de resíduos de equipamentos eléctricos e electrónicos (EEE). O tratamento incorrecto deste tipo de resíduos pode ter um eventual impacto negativo no ambiente e na saúde humana devido a substâncias potencialmente perigosas que estão geralmente associadas aos EEE. Ao mesmo tempo, a sua colaboração para a eliminação correcta deste produto irá contribuir para a utilização efi ciente dos recursos naturais. Para mais informação acerca dos locais onde poderá deixar o seu equipamento usado para reciclagem, é favor contactar os serviços municipais locais, a entidade de gestão de resíduos ou os serviços de recolha de resíduos domésticos.

LEGAL RENUNCIANTE

ESPECIFICAÇÕES TÉCNICAS E APARÊNCIA ESTÃO

SUJEITAS A MUDANÇAS SEM AVISO PRÉVIO E NÃO HÁ

GARANTIA DE PRECISÃO . BEHRINGER, KLARK TEKNIK,

MIDAS, BUGERA, E TURBOSOUND FAZEM PARTE

DO MUSIC GROUP (MUSIC-GROUP.COM). TODAS AS

MARCAS REGISTADAS SÃO PROPRIEDADE DOS SEUS

RESPECTIVOS PROPRIETÁRIOS. MUSIC GROUP NÃO SE

RESPONSABILIZA POR QUALQUER PERDA QUE POSSA

TER SIDO SOFRIDA POR QUALQUER PESSOA QUE

ACREDITA TANTO COMPLETA QUANTO PARCIALMENTE

EM QUALQUER DESCRIÇÃO, FOTO OU AFIRMAÇÃO

AQUI CONTIDA. CORES E ESPECIFICAÇÕES PODEM

VARIAR UM POUCO DO PRODUTO. OS PRODUTOS

DA MUSIC GROUP SÃO VENDIDOS ATRAVÉS

DE DISTRIBUIDORES AUTORIZADOS APENAS.

DISTRIBUIDORES E REVENDEDORES NÃO SÃO

AGENTES DA MUSIC GROUP E NÃO TÊM AUTORIDADE

ALGUMA PARA OBRIGAR A MUSIC GROUP A

QUALQUER TAREFA OU REPRESENTAÇÃO EXPRESSA

OU IMPLÍCITA. ESTE MANUAL TEM DIREITOS

AUTORAIS. PARTE ALGUMA DESTE MANUAL PODE

SER REPRODUZIDA OU TRANSMITIDA DE QUALQUER

FORMA OU MEIO, ELETRÔNICO OU MECÂNICO,

INCLUINDO FOTOCÓPIA E GRAVAÇÃO DE QUALQUER

TIPO, PARA QUALQUER INTENÇÃO, SEM A PERMISSÃO

ESCRITA EXPRESSA DE MUSIC GROUP IP LTD.

TODOS DIREITOS RESERVADOS.



Road Town, Tortola, Ilhas Virgens Britânicas

GARANTIA LIMITADA

Para obter os termos de garantia aplicáveis e condições e informações adicionais a respeito da garantia limitada do

MUSIC group, favor verifi car detalhes na íntegra através do website www.music-group.com/warranty.

Quick Start Guide

7

8


EURORACK PRO RX1202FX Controls

(4) (8) (5)

(6) (7) (9)

(26) (25) (24) (23)

(10) (20) (19) (17) (18) (21) (22)

9

Quick Start Guide

(11) (12)

(27) (28) (29) (13) (14) (15) (16)

(2) (3)

(1)

10


EURORACK PRO RX1202FX Controls

(EN)

Controls

(1) 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.

(2) LINE IN — Each mono input also features a balanced line input on a ¼" connector.

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

(3) The INSERT connector is input and output at the same time. This allows you to insert external signal processors (compressors, gate, etc.) in the channel. The signal retrieval occurs after the TRIM and is practically a diversion of the signal. The input signal of the connected signal processor is diverted, processed and led back to the channel for further processing.

(4)

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.

(5)

HIGH/LOW — All mono input channels include a 3-band equalizer. All bands provide boost or cut of up to 15 dB. In the central position, the equalizer is inactive.

The upper (HIGH) and the lower band

(LOW) are shelving filters that increase or decrease all frequencies above or below their cut-off frequency. The cut-off frequencies of the upper and lower band are 12 kHz and

80 Hz respectively.

(6) MON/FX — FX send buses (or AUX send buses) enable you to extract signals from one or more channels and collect these on a bus. You can retrieve the signal at the send connector to direct it to an external effects device, for example. The AUX return input is used as the return path. The send buses of the

RX1202FX are mono buses.

As the name suggests, the FX sends of the

EURORACK mixing consoles are intended to drive effects devices (reverb, delay, etc.) and are therefore configured post-fader. This means that the mix between dry signal and effect remains at the level determined by the channel’s aux send, irrespective of the channel fader setting.

If this were not the case, the effects signal of the channel would remain audible even when the fader is lowered to zero.

In the RX1202FX, the FX send is routed directly to the built-in effects processor. To make sure that the effects processor receives an input signal, you shouldn’t turn this control all the way to the left (-∞).

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

For this application, it is important that the controller works as pre-fader, which means it does not rely on the fader position. For this reason the AUX send path is unsuitable for the connection to effects devices. By using the

MON controller, you can produce a mono mix of individual signals that can be routed over the MON plug, located on the backside, to a headphones amplifier (e.g. MINIAMP AMP800) or a power amplifier for monitoring.

(7) 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.

(8)

The CLIP LEDs of the mono channels illuminate when the input signal is driven too high, which could cause distortion. If this happens, use the TRIM control to reduce the preamp level until the LED does not light anymore.

(9)

The CHANNEL FADER determines the level of the channel signal in the Main Mix.

(10) The BAL (ANCE) control determines the levels of left and right input signals relative to each other before both signals are then routed to the main stereo mix bus. If a channel is operated in mono via the left line input, this control has the same function as the PAN control used in the mono channels.

(11) The MAIN OUT connectors are balanced and laid out as XLR connectors. Here the summed signal of the main mix has a level of 0 dBu.

(12)

The CTRL OUT connectors are used for controlling the summed signal (effects mix and main mix) as well as for individual signals over studio monitor speakers. By using the

PHONES/CONTROL ROOM controller in the main section, you can control the level of both outputs.

11

Quick Start Guide

(13) The CD/TAPE IN s are used to bring an external signal source (e.g. CD player, tape deck, etc.) into the console. They can also be used as a standard stereo line input, so the output of a second EURORACK or BEHRINGER

ULTRALINK PRO MX882 can be connected.

Alternatively, the line or tape output of a hi-fi amplifier with source selection switch could also be hooked up here, allowing you to easily listen to additional sources (e.g. cassette recorder, minidisk player, sound card etc.).

(14) CD/TAPE OUT — These connections are laid out as RCA connectors and are wired parallel to MAIN OUT. Connect the inputs of a computer sound card or a recorder here. The output signal level is set up using the highly accurate

MAIN MIX fader.

(15) AUX SENDS — The FX connector routes the signal, which you have extracted from the individual channels by using the FX controller; the MON plug does the same to the signal that has been extracted by using the MON controller. Connect the input of an external effects processor to the FX plug, with which you want to modify the signal sum of the

FX bus. Then, route the effects signal back to the mixer over the AUX RETURN connectors.

With the MON outputs, you can connect an amplifier/headphones amplifier for the musicians to monitor.

(16)

AUX RETURN — You can connect the outputs of an external effects device to the AUX RETURN connectors. In this case, the effects signal is routed directly to the main mix bus and is then mixed with the “dry” signal. It is also possible to route the effects signal as mono by using the L connector.

(17)

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

(18) PHONES — The connector is used to connect a pair of headphones.

The volume level is changed with the

PHONES/CONTROL ROOM controller.

(19) Use the PHONES/CONTROL ROOM control to adjust the signal level of the CTRL OUT and

PHONES outputs.

(20) FX SOLO — If you want to only listen to the effects signal with your headphones or monitor speakers, then press the FX SOLO switch. The signal of the effects device can then be heard individually; the main mix or

CD/tape signal is inaudible at the PHONES and CTRL OUT outputs.

(21) CD/TAPE TO CTRL — Press the CD/TAPE

TO CTRL switch if you want to monitor the

CD/TAPE IN via the CTRL OUT and PHONES outputs. A typical studio application of this function is recording music into a digital audio workstation (DAW) with simultaneous reproduction.

(22) When the CD/TAPE TO MIX switch is pressed, the CD/tape input is assigned to the main mix providing an additional input for tape machines, MIDI instruments or other signal sources that do not require any processing.

(23) 100 FIRST-CLASS EFFECTS — The EURORACK

RX1202FX features a built-in digital stereo effects processor. This effects processor offers a large number of standard effects such as Hall, Chorus, Flanger, Delay and various combination effects. Using the FX control, you can feed signals into the effects processor.

The integrated effects module has the advantage of requiring no wiring. This way, the danger of creating ground loops or uneven signal levels is eliminated at the outset, completely simplifying the handling.

(24)

The SIG LED on the effects module shows the presence of a signal whose level is high enough. This LED should always be on.

However, make sure that the CLIP LED lights up only sporadically. If it is lit constantly, you are overdriving the effects processor, which leads to unpleasant distortion. If this occurs, turn the

FX controls down somewhat.

(25) The PROGRAM control has two functions: by turning the PROGRAM control, you dial the number of an effect. The number of the preset you just dialed up blinks in the display.

To confirm your selection, press the PROGRAM control; the blinking stops.

(26) By using the FX TO MAIN controller, the effects signal is sent to the main mix. No effects signal is to be heard in the summed signal of the mixer when the controller is positioned entirely to the left. Choose this position if you want to use an external effects device for the

FX output.

(27) FUSE HOLDER/IEC MAINS RECEPTACLE —

The mains connection is made via a cable with an IEC mains connector and meets the required safety standards. An appropriate mains cable is supplied with the equipment. Blown fuses must only be replaced by fuses of the same type and rating.

(28) Use the POWER switch to turn on the mixing console. The POWER switch should always be in the “Off” position when you are about to connect your unit to the mains.

(29) The PHANTOM switch activates the phantom power (necessary to operate condenser microphones) on the XLR sockets of the mono channels. The red +48 V LED illuminates when phantom power is on. As a rule, dynamic microphones can still be used with phantom power, provided that they are wired in a balanced configuration. In case of doubt, contact the microphone manufacturer!

Check Out behringer.com for Full Manual

12


EURORACK PRO RX1202FX Controles

(ES)

Controles

(1) MIC — Cada canal mono le ofrece una entrada de micrófono balanceada mediante conector XLR, y alimentación fantasma

(+48 V) para micrófonos de condensador

(vea el panel trasero).

(2) LINE IN — Cada canal mono dispone de una entrada de línea balanceada mediante conector jack de 6,3 mm, a la cual se pueden conectar también señales no balanceadas.

(3) INSERT — Los puntos de inserción son al mismo tiempo entradas y salidas. Estos le permiten conectar un procesador de señal externo (compresor, puerta de ruido, etc.) al canal correspon-diente. La señal se toma después de la etapa de ganancia (TRIM) para ser, prácticamente, desviada hacia el procesador externo, y posteriormente retornar a la mesa de mezclas en exactamente el mismo lugar.

(4) El control GAIN le permite ajustar la ganancia de entrada del canal. Este control debe estar girado completamente a la izquierda sie mpre que conecte o desconecte una fuente de señal a una de las entradas. La escala tiene dos rangos de valores diferentes: el primer rango

(+10 a +60 dB) se refiere a la entrada de

MIC(rófono), y muestra la amplificación de las señales de micrófono. El segundo rango de valores (+10 a -40 dB) se refiere a la entrada de línea e indica su sensibilidad.

(5) HIGH/LOW — Todos los canales mono disponen de un ecualizador de 2 bandas.

Cada banda permite respectivamente un aumento/disminución de 15 dB. En la posición central el ecualizador es neutral.

El filtro utilizado, tanto para frecuencias altas

(HIGH) como bajas (LOW), es tipo shelving.

Este tipo de filtro aumenta o atenúa todas las frecuencias por encima o por debajo de la frecuencia de corte. Las frecuencias de corte de las bandas alta y baja son 12 kHz y

80 Hz respectivamente.

(6)

MON/FX — Los envíos de efectos (FX), o envíos auxiliares, le permiten tomar la señal de distintos canales y juntarlas en una misma ruta (o bus). Esta señal puede ser enviada a un procesador de efectos externo a través del conector correspondiente. Para regresar la señal a la mesa de mezclas, puede utilizar los retornos auxiliares. Los envíos auxiliares de la RX1202FX son mono.

El bus auxiliar, o de efectos, de la mesa de mezclas EURORACK se encuentra dispuesto

“post-fader”, es decir, la señal del envío auxiliar siempre se verá afectada por la posición del fader de canal. Si no fuera este el caso, la señal de efectos seguiría siendo audible aún cuando el fader del canal correspondiente estuviera completamente “cerrado”.

En su RX1202FX, el envío auxiliar FX también está conectado directamente al procesador de efectos interno. Para que éste reciba una señal, el control FX correspondiente no deberá estar completamente cerrado (-∞).

Los envíos de MON(itores), como su nombre implica, se utilizan para monitorización.

Para este tipo de aplicaciones, es importante que la señal se tome “pre-fader”, es decir, que el nivel de éstos sea independiente de la posición del fader de canal. Por esta misma razón, este tipo de envíos no se recomienda para procesadores de efectos externos. Los envíos

MON le permiten hacer una mezcla de los distintos canales -independientemente de la mezcla principal-, y enviarla a un distribuidor de auriculares (como el MINIAMP AMP800), o a una etapa de potencia, para monitorizar la señal.

(7)

El control PAN (orama) determina la posición de la señal del canal dentro del campo estéreo.

Este control es de potencia constante, es decir, la señal presenta siempre un nivel constante independientemente de su posición en el campo estéreo.

(8) El LED de saturación CLIP se ilumina cuando el nivel de la señal de entrada es muy alto. Si se presenta el caso, disminuya la ganancia con el regulador TRIM hasta que el LED se apague.

(9) FADER DE CANAL —El fader de canal determina el nivel de la señal de ese canal en la mezcla principal.

(10)

El control de BAL (ance) determina la proporción entre las señales izquierda y derecha antes de que ambas sean dirigidas al bus principal.

Si utiliza un canal estéreo como mono, el control

BAL corresponde al control de PAN(orama) en los canales mono.

(11) Los conectores de salida de la mezcla principal,

MAIN OUT , son XLR balanceados. El nivel de la señal en estos conectores es de 0 dBu.

13

Quick Start Guide

(12) Las salidas CTRL OUT le permiten monitorizar la suma de señales (efectos y mezcla principal), así como las señales individuales, a través de unos altavoces. Utilice el control

PHONES/CONTROL ROOM de la sección principal para regular el nivel de estas salidas.

(13)

Las entradas CD/TAPE IN sirven para conectar fuentes de señal externas

(un DAT o reproductor de CD, por ejemplo) a la mesa de mezclas. También pueden utilizarse como entradas de línea estéreo para conectar la señal de salida de un segundo

EURORACK o del ULTRALINK PRO MX882 de

BEHRINGER. Si conecta un amplificador hi-fi con interruptor de selección de fuente a la entrada CD/TAPE IN, podrá escoger fácilmente entre las distintas fuentes (reproductor de cinta o MD, tarjeta de sonido, etc.).

(14) CD/TAPE OUT — En estas salidas dispone de la señal principal de manera paralela a las salidas principales (MAIN OUT). Conecte estas salidas a las entradas de su equipo de grabación.

El nivel de salida se regula mediante el fader

MAIN MIX.

(15) AUX SENDS — Las señales enviadas a través del control FX de los canales individuales son dirigidas al conector del mismo nombre.

Del mismo modo, las señales enviadas mediante el control MON son dirigidas al conector MON. Conecte un procesador de efectos a la salida FX para añadir efectos a la mezcla principal. Para retornar la señal del procesador de efectos a la mesa de mezclas, utilice el conector AUX RETURN. En la salida

MON puede conectar un amplificador o distribuidor de auriculares para proveer a los músicos de una señal de monitorización.

(16)

AUX RETURN — En las entradas AUX RETURN puede conectar las entradas de un procesador de efectos externo. La señal del procesador externo es dirigida directamente al bus principal (MAIN MIX) para ser sumada a la señal “seca”. También puede retornar una señal mono, utilizando solamente el conector L.

(17)

El fader MAIN MIX le permite determinar el nivel en las salidas principales (MAIN OUT).

(18) PHONES — Aquí puede conectar unos auriculares para monitorización. Utilice el control PHONES/CONTROL ROOM para regular el nivel de éstos.

(19) El control PHONES/CONTROL ROOM regula el nivel de las salidas CTRL OUT y PHONES.

(20) FX SOLO — Si desea escuchar exclusivamente la señal con efectos a través de sus auriculares o monitores, presione el botón FX SOLO.

Al hacerlo, sólo escuchará la señal proveniente del procesador de efectos, las señales de la mezcla principal y de CD/cinta ya no se escucharán en las salidas PHONES y CTRL OUT.

(21) CD/TAPE TO CTRL — El pulsador CD/TAPE TO

CTRL le permite asignar la señal de la entrada

CD/TAPE IN a las salidas de monitorización

(CTRL OUT/PHONES). Una aplicación típica de esta función en estudio es la grabación y reproducción simultánea de música en un software dedicado (Digital Audio Workstation)

(22) Si presiona el pulsador CD/TAPE TO MIX asignará la señal de la entrada CD/TAPE IN al bus principal, permitiéndole usar su mesa de mezclas en conjunto con reproductores, instrumentos MIDI u otras fuentes de señal que no requieran procesamiento adicional.

(23) 100 FIRST-CLASS EFFECTS — La EURORACK

RX1202FX dispone de un procesador de efectos digital integrado que le ofrece todos los efectos estándar como reverb, chorus, flanger, delay y diversas combinaciones de efectos. Para enviar señales al procesador interno utilice los controles FX de los canales individuales.

El procesador de efectos interno tiene la ventaja de que no debe ser cableado, por lo que se elimina la posibilidad de zumbidos e irregularidades en nivel, además de simplificar su utilización.

(24)

El LED SIG indica la presencia de señal con nivel suficiente en el procesador de efectos y, por lo tanto, debe mantenerse continuamente iluminado siempre que utilice el procesador.

Procure que el LED CLIP sólo se encienda con picos de señal. Si llegara a iluminarse constantemente, esto indica que el nivel de la señal es demasiado alto y la señal pudiera llegar a distorsionarse de manera audible.

Dado el caso, utilice el control FX del canal correspondiente para reducir el nivel de la señal enviada al procesador de efectos.

(25) El control PROGRAM se puede activar de dos maneras distintas, dependiendo de su función: al girarlo sirve para elegir un preset de efecto, cuyo número se indica parpadeando en la pantalla. Para confirmar el preset seleccionado, pulse el control PROGRAM; el parpadeo cesará.

(26)

El control FX TO MAIN permite añadir la señal de efectos a la mezcla principal. Si este control está girado completamente a la izquierda, la señal de efectos no se envía al bus principal, y por lo tanto, no se escuchará a través de la mezcla principal. Asegúrese de que el control esté en esta posición si no desea utilizar el procesador de efectos interno.

(27) PORTAFUSIBLE / TOMA DE CORRIENTE —

La conexión a la red de corriente eléctrica se realiza mediante el cable con conector estándar incluido. Éste cumple con todas las disposiciones de seguridad necesarias.

Si sustituye el fusible deberá hacerlo indispensablemente por uno del mismo tipo.

(28) Con el interruptor POWER ON se enciende la mesa de mezclas. Este interruptor debe estar en la posición de apagado al conectar el aparato a la red de corriente eléctrica.

(29) Con el pulsador PHANTOM ON se activa la alimentación fantasma para las entradas XLR de los canales mono, la cual es necesaria para los micrófonos de condensador. Al activar la alimentación fantasma se ilumina el LED rojo

+48 V. También puede utilizar micrófonos dinámicos si tienen un cableado balanceado.

En caso de duda, ¡póngase en contacto con el fabricante del micrófono!

Si quiere acceder al manual de instrucciones completo, vaya a la página web behringer.com

14


EURORACK PRO RX1202FX Réglages

(FR)

Réglages

(1)

MIC (entrée micro)— Chaque canal mono offre une entrée micro sur XLR symétrique et dispose d’une alimentation fantôme

+48 V (commutateur PHANTOM du panneau arrière) pour permettre l’utilisation de micros électrostatiques.

(2) LINE IN (entrée ligne ) — Les canaux mono disposent aussi d’une entrée ligne sur jack.

Bien que symétrique, cette entrée accepte

également les connecteurs asymétriques

(jacks mono).

(3)

L’embase INSERT fait office d’entrée et de sortie. Elle sert à intégrer des processeurs externes (compresseur, gate, etc.) sur le trajet du signal dans le canal du mixeur. Pour ce faire, l’insert dérive le signal après la commande

TRIM, conduit le signal dérivé vers un processeur externe où il est traité puis reconduit le signal dans le canal où il peut à nouveau être traité.

(4) Le potentiomètre GAIN sert au réglage de l’amplification d’entrée du canal. Placez ce potentiomètre en butée gauche avant de câbler ou de décâbler une source à l’une des deux entrées.

(5) HIGH/LOW (aigus/graves)— Les canaux mono disposent d’un égaliseur 2 bandes.

Chaque potentiomètre peut faire varier le niveau de sa bande de fréquences de 15 dB maximum. L’égaliseur est neutre lorsque ces potentiomètres sont en position centrale.

Les correcteurs des bandes de fréquences haute (HIGH) et basse (LOW) sont des filtres en plateau. Ils traitent de façon égale toutes les fréquences au-dessus (HIGH) ou au-dessous

(LOW) de leur fréquence de coupure fixée à

12 kHz (HIGH) et 80 Hz (LOW).

(6)

MON/FX (monitoring/effet)— Les départs auxiliaires FX et MON permettent de

« dédoubler » le signal de chaque canal.

Les « doubles » des signaux sont dérivés et rassemblés sur un bus. Les sorties Send sont les départs auxiliaires. Les signaux qu’elles délivrent peuvent être traités avec un processeur d’effets externe. L’entrée AUX Return sert quant à elle de retour auxiliaire. Les départs auxiliaires Send du RX1202FX sont mono.

Le départ auxiliaire FX de l’EURORACK est conçu pour alimenter des processeurs d’effets externes. Ce départ est post-fader afin que le volume de l’effet appliqué à chaque canal suive la position du fader du canal. Autrement, l’effet resterait audible même lorsque les faders des canaux sont totalement fermés.

Sur le RX1202FX, le départ auxiliaire FX route directement les signaux vers le multi-effet intégré. Pour que ce dernier reçoive effectivement un signal, la commande FX Send ne doit pas être en buté gauche (-∞).

Le départ auxiliaire MON est quant à lui pré-fader afin que le volume du signal auxiliaire soit indépendant de la position des faders des canaux. Par conséquent, ce départ auxiliaire n’est pas conçu pour l’ajout d’effets mais plutôt pour les applications de monitoring.

Les potentiomètres MON des canaux permettent de réaliser le mixage pour les retours musiciens délivré par la sortie MON du panneau arrière.

Utilisez ce signal pour alimenter un ampli casques (le MINIAMP AMP800 par exemple) ou l’étage de puissance de vos retours de scène.

(7)

On ajuste la position du signal de chaque canal dans le champ stéréo grâce au potentiomètre

PAN . Cette commande possède une énergie constante afin que le signal garde un niveau identique quelle que soit sa position dans l’image stéréo.

(8) La LED de surcharge CLIP des canaux mono s’allume lorsque le niveau du signal source est trop élevé. Dans ce cas, réduisez simplement la préamplification du canal à l’aide du potentiomètre TRIM jusqu’à ce que la

LED s’éteigne.

(9)

FADER DU CANAL — Utilisez le fader du canal pour régler le volume du signal du canal au sein du bus général Main Mix.

(10)

Lorsqu’un canal est utilisé en stéréo, le potentiomètre BAL (ANCE) détermine la part relative des deux côtés stéréo du canal avant que le signal soit routé sur le bus général

Main Mix. Quand un canal stéréo est utilisé en mono (seule son entrée gauche est occupée), la commande balance se comporte alors comme le potentiomètre PAN des canaux mono.

(11)

Les embases MAIN OUT sur XLR symétriques délivrent le signal principal Main Mix avec un niveau nominal de 0 dBu.

(12) La sortie CTRL OUT sert à l’écoute du mixage global (retour d’effets plus bus Main Mix) et des signaux individuels avec les moniteurs du studio. Le potentiomètre PHONES/CONTROL

ROOM de la section principale Main règle le volume de ces deux sorties.

15

Quick Start Guide

(13)

Les connecteurs CD/TAPE IN sont conçus pour une source externe (un lecteur CD ou cassette par exemple). Cependant, on peut aussi les utiliser comme entrée ligne stéréo supplémentaire pour accueillir le signal d’une autre console ou d’un ULTRALINK PRO MX882

BEHRINGER. Bien qu’on écoute généralement le signal du Main Mix avec les moniteurs, vous pouvez avoir besoin d’écouter une bande témoin ou toute autre source externe.

En raccordant l’entrée CD/TAPE IN à la sortie préampli d’un ampli hi-fi doté d’un sélecteur de source, vous disposez d’un moyen très simple pour écouter différentes sources supplémentaires (cassette, MD, carte son, etc.).

(14) CD/TAPE OUT (sortie CD/Tape)— Cette sortie sur cinch/RCA est câblée en parallèle avec la sortie générale MAIN OUT. Raccordez-y les entrées de votre carte son ou de votre enregistreur et réglez le niveau de sortie avec le fader MAIN MIX.

(15) AUX SENDS (départs auxiliaires)— Les départs auxiliaires FX et MON sont des sorties qui délivrent un « double » des signaux des canaux dont vous avez ouvert les potentiomètres FX et MON. Câblez le départ d’effet FX à l’entrée d’un processeur externe pour que ce dernier traite l’ensemble des signaux du bus FX.

Pour ramener le signal d’effet dans la console, câblez les sorties du processeur au retour auxiliaire AUX RETURN du mixeur. Vous pouvez utiliser le départ auxiliaire MON pour alimenter un système de diffusion ou un casque servant de retour aux musiciens.

(16)

AUX RETURN (retour auxiliaire) —

Reliez l’entrée du retour auxiliaire stéréo

AUX RETURN à la sortie du processeur d’effets externe. Dans ce cas, le signal d’effet est routé directement vers le bus principal Main Mix où il est mélangé aux signaux bruts. Si la sortie de l’effet externe est mono, reliez-la à l’entrée gauche L du retour auxiliaire.

(17) Utilisez le fader MAIN MIX pour régler le volume du signal de la sortie générale Main Out.

(18)

PHONES (casque) — Utilisez cette sortie pour alimenter un casque audio. Réglez le volume sonore du casque avec le potentiomètre

PHONES/CONTROL ROOM.

(19)

Le potentiomètre PHONES/CONTROL ROOM détermine le volume du signal des sorties

CTRL OUT et PHONES (casque).

(20) FX SOLO — Appuyez sur la touche

FX SOLO pour écouter isolément le signal d’effet avec un casque ou les moniteurs du studio. Vous entendez alors uniquement le signal délivré par le processeur d’effets, les signaux Main Mix et CD/Tape étant supprimés des sorties PHONES (casque) et CTRL OUT (Control Room).

(21)

CD/TAPE TO CTRL — Appuyez sur la touche CD/TAPE TO CTRL pour router le signal de l’entrée CD/Tape sur la sortie de monitoring (CTRL OUT/PHONES). L’une des applications courantes de cette fonction est l’enregistrement d’un signal dans un système de MAO tout en bénéficiant d’un retour pour entendre les pistes lues par le séquenceur de l’ordinateur

(22) Lorsque la touche CD/TAPE TO MIX est enfoncée, l’entrée CD/Tape est assignée au bus général Main Mix et sert ainsi d’entrée supplémentaire pour un enregistrement témoin, des instruments MIDI ou toute autre source ne nécessitant pas de traitement particulier.

(23) 100 FIRST-CLASS EFFECTS —

L’EURORACK RX1202FX possède un multi-effet numérique intégré qui offre de nombreux effets classiques tels que reverb, chorus, flanger, delay et diverses combinaisons d’effets. Ouvrez le potentiomètre FX des canaux pour alimenter le multi-effet avec les signaux individuels. Le multi-effet intégré présente l’avantage de ne pas devoir être câblé, ce qui supprime les éventuels problèmes de boucle de masse et de niveaux inadaptés.

(24) La LED SIG du multi-effet indique la présence d’un signal de niveau suffisant. Faites en sorte qu’elle reste constamment allumée tant qu’un signal alimente le multi-effet et surveillez la LED CLIP qui ne doit s’allumer que sur les crêtes du signal. Lorsque la LED

CLIP reste durablement ou constamment allumée, le niveau du signal est trop élevé pour le multi-effet qui génère alors des distorsions désagréables. Si tel est le cas,

« fermez » partiellement les potentiomètres

FX des canaux.

(25)

L’encodeur PROGRAM possède deux fonctions.

Tournez l’encodeur pour sélectionner une preset d’effet. Le numéro de la preset s’affiche alors en clignotant. Appuyez sur l’encodeur pour valider votre sélection. Sur l’afficheur, le numéro de la preset arrête de clignoter pour indiquer que l’effet choisi a été chargé.

(26)

Le potentiomètre FX TO MAIN route le signal du multi-effet vers le bus principal Main Mix.

Lorsque FX TO MAIN est en butée gauche, le signal d’effet est absent du bus Main Mix.

Choisissez cette position si vous utilisez un processeur d’effets externe alimenté par le départ auxiliaire FX.

(27)

PORTE-FUSIBLE / EMBASE IEC — On effectue la liaison avec la tension secteur via l’embase

IEC standard et le cordon d’alimentation fourni. Ils sont conformes aux normes de sécurité en vigueur. Utilisez impérativement un fusible de même type si vous remplacez le fusible d’origine.

(28)

Le commutateur POWER allume le mixeur. Vérifiez bien qu’il est en position

« Arrêt » avant de raccorder le mixeur à la tension secteur.

(29)

Le commutateur PHANTOM active ou désactive l’alimentation fantôme.

Indispensable au fonctionnement des micros

électrostatiques, l’alimentation fantôme est présente uniquement dans les entrées XLR des canaux mono. La LED rouge +48 V s’allume pour vous signaler que l’alimentation fantôme est active. L’utilisation de micros dynamiques reste généralement possible alors que l’alimentation fantôme est activée, à condition toutefois d’utiliser des liaisons symétriques.

En cas de doutes, consultez la documentation de vos micros !

Consultez le site behringer.com pour télécharger le mode d’emploi complet

16


EURORACK PRO RX1202FX Regler

(DE)

Regler

(1)

MIC — Jeder Monoeingangskanal bietet Ihnen einen symmetrischen Mikrofon eingang über die

XLR-Buchse, an dem auf Knopfdruck auch eine

+48 V Phantomspeisung für den Betrieb von

Kondensator mikrofonen zur Verfügung steht.

(2) LINE IN — Jeder Monoeingang verfügt auch

über einen symmetrischen Line-Eingang, der als 6,3-mm Klinkenbuchse ausgeführt ist. Diese Eingänge können auch mit unsymmetrisch beschalteten Steckern

(Monoklinke) belegt werden.

(3)

Die INSERT -Buchse ist zugleich

Ein- und Ausgang. Hier können Sie externe

Signalprozessoren (Kompressor, Gate, etc.) in den Kanal einschleifen. Der Signalabgriff findet hinter dem TRIM statt und ist praktisch eine Signalumleitung. Das Eingangssignal wird in den angeschlossenen Signalprozessor umgeleitet, bearbeitet und wieder in den Kanal zur weiteren Bearbeitung zurückgeführt.

(4) Mit dem GAIN -Poti stellen Sie die

Eingangsverstärkung ein. Wann immer Sie eine

Signalquelle an einen der Eingänge anschließen oder davon trennen, sollte dieser Regler auf

Linksanschlag stehen.

(5) HIGH/LOW — Alle Monoeingangskanäle verfügen über eine 2-bandige Klangregelung.

Die Bänder erlauben jeweils eine maximale

Anhebung/Absenkung um 15 dB, in der

Mittenstellung ist der Equalizer neutral.

Das obere (HIGH) und das untere Band (LOW) sind Shelving-Filter, die alle Frequenzen oberhalb bzw. unterhalb ihrer Grenz-frequenz anheben oder absenken. Die Grenzfrequenzen des oberen und des unteren Bands liegen bei

12 kHz und 80 Hz.

(6) MON/FX — FX Send-Wege (oder AUX

Send-Wege) bieten Ihnen die Möglichkeit, aus einem oder mehreren Kanälen Signale auszukoppeln und auf einer Schiene (Bus) zu sammeln. An einer Send-Buchse können Sie das Signal abgreifen und z. B. einem externen

Effektgerät zuspielen. Als Rückspielweg dient der AUX Return-Eingang. Die Send-Wege sind im RX1202FX als Monowege ausgeführt.

Der FX-Weg der EURORACK-Mischpulte ist – schon von der Bezeichnung her ersichtlich

– für den Anschluss von Effektgeräten vorgesehen und post-Fader geschaltet. D. h., dass sich die Effektlautstärke in einem Kanal nach der Position des Kanal-Faders richtet.

Wäre dies nicht der Fall, bliebe das Effektsignal des Kanals auch dann hörbar, wenn der

Kanal-Fader komplett „zugezogen“ wird.

Beim RX1202FX ist der FX-Send gleichzeitig der direkte Weg zum eingebauten Effektprozessor.

Damit der Effektprozessor ein Eingangssignal erhält, darf dieser Regler also nicht vollständig auf Linksanschlag (-∞) gedreht sein.

Der MON-Weg ist - der Name impliziert es bereits- zur Verwendung als Monitorweg gedacht. Für diese Anwendung ist es wichtig, dass der Regler pre-Fader, also unabhängig von der Fader-Position arbeitet. Daher eignet sich dieser Aux Send-Weg nicht für den Anschluss von Effektgeräten. Sie können mit Hilfe der MON-Regler in jedem

Kanal eine Monomischung der Einzelsignale erstellen und diese über die MON-Buchse auf der Rückseite einem Kopfhörerverstärker

(z. B. MINIAMP AMP800) oder einer Endstufe zur

Monitorbeschallung zuführen.

(7) Mit dem PAN -Regler wird die Position des

Kanalsignals innerhalb des Stereofeldes festgelegt. Dieses Bauteil bietet eine Constant-Power-Charakteristik, d. h. das Signal weist unabhängig von der

Positionierung im Stereopanorama immer einen gleich-bleibenden Pegel auf.

(8) Die CLIP -LEDs der Monokanäle leuchten auf, wenn das Eingangs signal zu hoch ausgesteuert ist. Senken Sie in diesem Fall die Vorverstärkung mit dem TRIM-Regler ab, bis die LED erlischt.

(9) KANAL-FADER — Der Kanal-Fader bestimmt den Pegel des Kanalsignals im Main Mix.

(10)

Der ( BAL )ANCE-Regler bestimmt den relativen

Anteil zwischen dem linken und rechten

Eingangssignal, bevor beide Signale auf den linken bzw. rechten Main Mix-Bus geleitet werden. Wird ein Kanal über den linken

Line-Eingang mono betrieben, so hat dieser

Regler die gleiche Funktion wie die PAN-Regler der Monokanäle.

17

Quick Start Guide

(11)

Die MAIN OUT -Buchsen sind symmetrisch beschaltet und sind als XLR-Buchsen ausgeführt. Hier liegt das Main

MixSummensignal mit einem Pegel von 0 dBu an.

(12) Die CTRL OUT -Buchsen dienen zur Kontrolle der Summen signale (Effektmix und

Main Mix) sowie der Einzelsignale über

Studio-Abhörmonitore. Über den

PHONES/CONTROL ROOM-Regler in der

Main-Sektion bestimmen Sie den Pegel beider Ausgänge.

(13) Die CD/TAPE IN -Buchsen dienen zum

Anschluss einer externen Signalquelle

(z. B. CD-Player, Tape Deck usw.). Sie können sie auch als Stereo-Line-Eingang nutzen, an den auch die Ausgänge eines zweiten

EURORACK oder des BEHRINGER ULTRALINK PRO

MX882 angeschlossen werden können. Wenn

Sie den Tape Input mit einem HiFi-Verstärker mit Quellen wahl schalter verbinden, können

Sie auf einfachste Weise zusätzliche Quellen abhören (z. B. Kassettenrekorder, MD-Player,

Soundkarte usw.).

(14)

CD/TAPE OUT — Diese Anschlüsse sind als Cinch-Buchsen ausgeführt und parallel zum MAIN OUT verdrahtet. Schließen Sie hier die Eingänge einer Computer-Soundkarte oder eines Aufnahmegerätes an.

Der Ausgangspegel wird über den hochpräzisen MAIN MIX-Fader eingestellt.

(15)

AUX SENDS — Die FX-Buchse führt das

Signal, das Sie aus den einzelnen Kanälen mittels der FX-Regler ausgekoppelt haben, die MON-Buchse dementsprechend das

Signal, das über die MON-Regler ausgekoppelt wurde. Schließen Sie an die FX-Buchse den Eingang eines externen Effektgeräts an, mit dem Sie das Summensignal der

FX-Sammelschiene bearbeiten wollen.

Das Effektsignal führen Sie dann über die

AUX RETURN-Buchsen wieder in das Mischpult zurück. An den MON-Ausgang können Sie einen Verstärker/Kopfhörerverstärker für eine

Monitorbeschallung für Musiker anschließen.

(16)

AUX RETURN — An die AUX RETURN-Buchsen können Sie die Ausgänge eines externen

Effektgerätes anschließen. Das Effektsignal geht in diesem Fall direkt auf den Main

Mix-Bus und wird dann mit dem „trockenen“

Signal gemischt. Sie können das Effektsignal auch mono zurückführen, indem Sie die

L-Buchse verwenden.

(17)

Mit dem MAIN MIX -Fader können Sie die

Lautstärke des Main Outs einstellen.

(18) PHONES — Die Buchse dient zum Anschluss eines Kopfhörers. Der Lautstärkepegel wird über den PHONES/CONTROL

ROOM-Regler eingestellt.

(19) Über den PHONES/CONTROL ROOM -Regler bestimmen Sie den Pegel der CTRL OUT- und

PHONES-Ausgänge.

(20)

FX SOLO — Wenn Sie auf Ihrem Kopfhörer bzw. auf den Monitorlaut sprechern nur das

Effektsignal abhören wollen, dann drücken

Sie den FX SOLO-Schalter. Das Signal des

Effektgeräts kann nun alleine abgehört werden, das Main Mix- bzw. CD/Tape-Signal ist an den PHONES- und CTRL OUT-Ausgängen nicht mehr hörbar.

(21) CD/TAPE TO CTRL — Drücken Sie den CD/TAPE

TO CTRL-Schalter, um den CD/TAPE-IN auch auf den Monitor ausgang (CTRL OUT/PHONES) zu legen. Eine typische Studioanwendung dieser Funktion ist die Aufnahme von Musik in eine Digital Audio Workstation (DAW) bei gleichzeitiger Wiedergabe.

(22) Wenn der CD/TAPE TO MIX-Schalter gedrückt ist, wird der CD/Tape-Eingang auf den

Main Mix geschaltet und dient somit als zusätzlicher Eingang für Bandeinspielungen,

MIDI-Instrumente oder sonstige Signalquellen, die keiner weiteren Bearbeitung bedürfen.

(23)

100 FIRST-CLASS EFFECTS — Das EURORACK

RX1202FX verfügt über einen eingebauten digitalen Stereoeffektprozessor.

Dieser Effektprozessor bietet Ihnen eine

Fülle von Standardeffekten wie z. B.

Hall, Chorus, Flanger, Delay und diverse

Kombinationseffekte. Über die FX-Regler in den Kanälen können Sie den Effektprozessor mit Signalen speisen. Das integrierte

Effektmodul hat den Vorteil, dass es nicht verkabelt werden muss. Damit wird die Gefahr von Brummschleifen oder ungleichen Pegeln von vornherein ausgeschlossen und so die

Handhabung wesentlich vereinfacht.

(24)

Die SIG LED am Effektmodul zeigt ein anliegendes Signal mit ausreichend hohem

Pegel an. Sie sollte stets aufleuchten.

Achten Sie jedoch darauf, dass die CLIP LED nur bei Pegelspitzen aufleuchtet. Leuchtet sie konstant, übersteuern Sie den Effektprozessor und es kommt zu unangenehmen

Verzerrungen. Sollte dies der Fall sein, regeln Sie die FX-Regler in den Kanälen etwas zurück.

(25)

Der PROGRAM -Regler besitzt zwei

Funktionen: durch Drehen des PROGRAM-

Reglers wählen Sie eine Effektnummer an.

Das Display zeigt blinkend die Nummer des gerade eingestellten Presets an. Um das ausgewählte Preset zu bestätigen, drücken Sie den PROGRAM-Regler; das Blinken hört auf.

(26)

Mit dem FX TO MAIN -Regler wird das

Effektsignal in den Main Mix eingespeist.

Steht der Regler auf Linksanschlag, ist kein

Effektsignal im Summensignal des Mischpults zu hören. Wählen Sie diese Stellung, wenn Sie ein externes Effektgerät am FX-Ausgang verwenden wollen.

(27)

SICHERUNGSHALTER /

IEC-KALTGERÄTEBUCHSE —

Die Netzverbindung erfolgt über eine

IEC-Kaltgerätebuchse. Sie entspricht den erforderlichen Sicherheitsbestimmungen.

Ein passendes Netzkabel gehört zum

Lieferumfang. Beim Ersetzen der Sicherung sollten Sie unbedingt den gleichen

Typ verwenden.

(28) Mit dem POWER -Schalter nehmen Sie das

Mischpult in Betrieb. Der POWER-Schalter sollte sich in der Stellung „Aus“ befinden, wenn Sie die Verbindung zum Stromnetz herstellen.

(29) Mit dem PHANTOM -Schalter aktivieren Sie die Phantomspeisung für die XLR-Buchsen der Monokanäle, die für den Betrieb von

Kondensatormikrofonen erforderlich ist.

Die rote +48 V-LED leuchtet, wenn die

Phantomspeisung eingeschaltet ist. Der Einsatz von dynamischen Mikrofonen ist in der Regel weiterhin möglich, sofern sie symmetrisch beschaltet sind. Wenden Sie sich im Zweifel an den Hersteller des Mikrofons!

Das komplette Handbuch finden Sie unter behringer.com

18


EURORACK PRO RX1202FX Controles

(PT)

Controles

(1)

MIC — Cada canal de entrada mono oferece-lhe uma entrada de microfone simétrica através da tomada XLR, na qual ao premir um botão (interruptor PHANTOM na parte de trás) terá disponível também uma alimentação fantasma (+48 Volt) para o funcionamento de microfones de condensador.

(2)

LINE IN — Cada entrada mono dispõe também de uma entrada Line simétrica concebida como tomada jack de 6,3-mm. Estas entradas também podem ser ocupadas com fichas com ligação assimétrica (jack mono).

(3) A tomada INSERT é, simultaneamente, uma entrada e uma saída. Aqui, pode rectificar processadores de sinal externos

(compressor, gate, etc.) para o canal. A recolha do sinal ocorre atrás do TRIM e é, praticamente, um desvio do sinal. O sinal de entrada é conduzido para o processador de sinais conectado, processado e reenviado de volta para o canal, para continuar o processamento.

(4)

Com o potenciómetro GAIN poderá regular a amplificação de entrada. Sempre que ligar ou separar uma fonte de sinais a/de uma das entradas, este regulador deverá estar posicionado no limitador esquerdo.

(5) HIGH/LOW — Todos os canais de entrada mono dispõem de uma definição de som de 2 bandas. As bandas permitem, respectivamente, um aumento/redução máximo em 15 dB, o equalizador é neutro na posição central.

A banda superior (HIGH) e a banda inferior

(LOW) são filtros shelving que aumentam ou diminuem todas as frequências acima ou abaixo da sua frequência limite. As frequências limite das bandas superior e inferior situam-se em

12 kHz e 80 Hz.

(6) MON/FX — As vias FX Send (ou vias AUX Send) oferecem-lhe a possibilidade de separar sinais de um ou mais canais e reuni-los numa barra colectora (bus). Na tomada Send, pode recolher o sinal e, p.ex., enviá-lo para um aparelho de efeitos externo. A entrada AUX Return é utilizada como via de retorno. As vias Send estão disponíveis no RX1202FX como vias mono.

Como a designação indica, o canal FX das mesas de mistura EURORACK está previsto para conectar aparelhos de efeitos e post-Fader.

Isto significa, que o volume do efeito num canal se regula pela posição do fader de canal. Caso contrário, o sinal de efeitos do canal permaneceria audível mesmo que o fader estivesse completamente rodado para a esquerda.

No modelo RX1202FX o FX-Send constitui também a via directa para o processador de efeitos integrado. Para que o processador de efeitos receba um sinal de entrada, este regulador não deve estar completamente regulado para o limitador esquerdo (-∞).

A via MON - tal como o nome indica - foi concebida para ser utilizada como via de monitorização. Para esta aplicação,

é importante que o botão pre-fader trabalhe independentemente da posição do fader. É por isso que esta via Aux Send não é adequada para a ligação de aparelhos de efeitos. Recorrendo ao botão MON em cada canal, pode elaborar uma mistura mono dos vários sinais e enviá-la para um amplificador de auscultadores

(p.ex., o MINIAMP AMP800) ou para uma fase final de som de monitorização através da tomada MON na parte posterior.

(7) Com o regulador PAN é definida a posição do sinal do canal dentro do campo estéreo.

Este componente proporciona uma característica Constant-Power, ou seja, o sinal apresenta sempre um nível constante, independentemente do posicionamento no panorama estéreo.

(8) Os LEDs de CLIP dos canais mono acendem se o sinal de entrada apresentar uma modulação demasiado elevada. Neste caso, reduza a pré-amplificação com o regulador TRIM até o LED apagar.

(9) FADER DE CANAL — O fader de canal define o nível de sinal do canal no Main Mix.

(10)

Quando um canal é operado em estéreo, o regulador de BAL (ANÇO) determina a percentagem relativa entre o sinal de entrada esquerdo e o sinal de entrada direito antes de os dois sinais serem conduzidos para o bus de mistura principal esquerdo ou direito. Se um canal for operado mono através da entrada Line esquerda, então este regulador terá a mesma função dos reguladores PAN dos canais mono.

19

Quick Start Guide

(11)

As tomadas MAIN OUT estão conectadas simetricamente e apresentam-se como tomadas XLR. Aqui, o sinal compostodo

Main Mix apresenta-se com um nível de 0 dBu.

(12)

As tomadas CTRL OUT servem para controlar os sinais compostos (mistura de efeitos e

Main Mix) e os sinais isolados, através de monitores de escuta de estúdio. Com o botão

PHONES/CONTROL ROOM na secção Main, determina-se o nível das duas saídas.

(13)

As tomadas CD/TAPE IN destinam-se à ligação de uma fonte de sinais externa

(por ex. leitor de CD, deck de cassetes, etc.).

Também as poderá utilizar como entrada Line estéreo, à qual também pode ser ligado um sinal de saída de um segundo EURORACK ou do ULTRALINK PRO MX882 da BEHRINGER.

Mesmo que se queira, por norma, controlar o sinal da mistura principal, existem excepções, por ex. reprodução de 2 pistas (ou qualquer outra fonte externa). Se ligar o CD/TAPE IN com um amplificador HiFi com selector da fonte, poderá controlar fontes adicionais da forma mais simples (por exemplo gravador de cassetes, leitor MD, placa de som, etc.).

(14) CD/TAPE OUT — Estas ligações estão configuradas como saídas Cinch e estão ligadas em paralelo à saída MAIN OUT. Deve ligar aqui as entradas de uma placa de som de computador ou de um gravador. O nível de saída é ajustado através de um Fader MAIN MIX de alta precisão.

(15) AUX SENDS — A tomada FX passa o sinal que separou dos diversos canais com o botão

FX e, correspondentemente, a tomada MON passa o sinal que separou com o botão MON.

Ligue a tomada FX à entrada do aparelho de efeitos externo com que quer processar o sinal composto da barra colectora FX. O sinal de efeito é então conduzido de novo para a mesa de mistura através das tomadas AUX RETURN.

Pode ligar um amplificador/amplificador de auscultadores à saída MON, para obter som de monitorização para os músicos.

(16)

AUX RETURN — Pode ligar as saídas de um aparelho de efeitos externo às tomadas

AUX RETURN. Neste caso, o sinal de efeito vai directamente para o bus de Main Mix e é, então, misturado com o sinal “seco”.

Também pode reconduzir o efeito de sinal em mono, utilizando a tomada L.

(17)

O fader MAIN MIX permite-lhe ajustar o volume da saída Main.

(18)

PHONES — Esta tomada serve para conectar uns auscultadores. O nível do volume de som é ajustado através do botão

PHONES/CONTROL ROOM.

(19)

O regulador PHONES/CONTROL ROOM permite-lhe determinar o nível das saídas

CTRL OUT e PHONES.

(20)

FX SOLO — Se desejar ouvir apenas o sinal de efeito nos seus auscultadores ou nos altifalantes de monitorização, então prima o interruptor FX SOLO. É agora possível escutar apenas o sinal do aparelho de efeitos, o sinal do Main Mix ou de CD/Tape deixa de ser audível nas saídas PHONES e CTRL OUT.

(21) CD/TAPE TO CTRL — Prima o interruptor

CD/TAPE TO CTRL para colocar também a entrada CD/Tape na saída de monitor

(CTRL OUT/PHONES). A gravação de música numa estação de trabalho de áudio digital

(Digital Audio Workstation) com reprodução em simultâneo é uma das aplicações típicas desta função.

(22)

Quando o interruptor CD/TAPE TO MIX se encontra premido, a entrada CD/Tape é comutada para o Main Mix, actuando assim como entrada adicional para a inserção de bandas, instrumentos MIDI ou quaisquer outras fontes de sinais, que não requeiram processamento posterior.

(23)

100 EFEITOS DE PRIMEIRA CATEGORIA —

A mesa de mistura EURORACK RX1202FX está equipada com um processador estéreo digital.

Este processador de efeitos oferece uma vasta gama de efeitos standard, tais como, Hall,

Chorus, Flanger, Delay e muitos outros efeitos combinados. Os reguladores FX nos canais permitem aduzir sinais ao processador de efeitos. O módulo de efeitos integrado tem a vantagem de não necessitar de ser conectado por cabos. Deste modo, são excluídos logo

à partida, possíveis faixas de ruído ou níveis desiguais, o que facilita substancialmente a sua utilização.

(24)

O LED SIG no módulo de efeitos indica o sinal existente com um nível suficientemente alto. Este LED deve estar sempre aceso.

No entanto, preste atenção ao LED CLIP que só deve acender em picos de nível. Se estiver continuamente aceso, o processador de efeitos está sobremodulado, resultando daí distorções desagradáveis. Se for esse o caso, baixe ligeiramente os reguladores FX nos canais.

(25)

O regulador PROGRAMA tem duas funções: ao girar o regulador PROGRAMA selecciona um número de efeitos. O display indica um número a piscar que corresponde ao Preset acabado de seleccionar. Para confirmar o Preset seleccionado, prima o regulador PROGRAMA e o número deixa de piscar.

(26)

Com o botão FX TO MAIN , o sinal de efeito alimenta o Main Mix. Se se girou o botão totalmente para a esquerda, não se ouve qualquer sinal de efeito no sinal composto da mesa de mistura. Escolha esta posição se desejar utilizar um aparelho de efeitos externo na saída FX.

(27)

SUPORTE DO DISPOSITIVO DE SEGURANÇA/

TOMADA PARA LIGAÇÕES A FRIO IEC —

A ligação à rede é efectuada por meio de uma tomada de ligação a frio IEC. A ligação à rede está em conformidade com as disposições em matéria de segurança. No material a fornecer está incluído um cabo de alimentaçã adequado. Quando proceder à substituição do fusível, utilize impreterivelmente um fusível do mesmo modelo.

(28)

A mesa de mistura é colocada em funcionamento através do interruptor POWER .

O interruptor POWER deverá encontrar-se na posição “Desligado”, sempre que ligar o aparelho à corrente eléctrica.

(29) Com o interruptor PHANTOM poderá activar a alimentação fantasma para as tomadas XLR dos canais mono, a qual é necessária para o funcionamento de microfones de condensador.

O LED vermelho +48 V acende quando a alimentação fantasma está ligada. Por norma, a utilização de microfones dinâmicos é possível, desde que possuam ligação simétrica. Em caso de dúvida contacte o fabricante do microfone!

Verifique o site behringer.com para obter o manual completo “Full Manual”

20


Specifications


CD/TAPE IN

Type

Impedance

Max. input level

Aux Return

Type

Impedance

Max. input level

Outputs

AUX SENDS (FX)

Type

Impedance

Max. output level

Aux Sends (MON)

Type

Impedance

Max. output level

Mono Inputs


Type

Mic E.I.N. (20 Hz – 20 kHz)




Frequency response

Gain range

Max. input level

Impedance


Distortion (THD+N)

Line In

Type

Impedance

Gain range

Max. input level

Stereo Inputs

Type

Impedance

Max. input level

Insert

Type





<10 Hz – 200 kHz

+10 to +60 dB



0.003%, A-weighted


-10 dB to +40 dB

+22 dBu @ 0 dB gain


+22 dBu

¼" TRS connector

(Tip=Send, Ring=Return)


+22 dBu

¼" TRS connector, balanced approx. 20 kΩ balanced approx. 10 kΩ unbalanced

+22 dBu


+22 dBu


+22 dBu

Main Out

Type

Impedance


+28 dBu balanced / +22 dBu unbalanced Max. output level

Ctrl Out

Type

Impedance


+22 dBu Max. output level

CD/Tape Out

Type

Impedance

Max. output level

Phones

Type

Max. output level

EQ

Low

High


+22 dBu

¼" TRS connector

+19 dBu / 150 Ω (316 mW)

Power Supply

Power consumption

Voltage

Fuse

Mains connection


100 Hz / ±15 dB

12 kHz / ±15 dB

Main Mix System Data

Noise

Main mix @ -∞, Channel fader -∞

Main mix @ 0 dB, Channel fader -∞

Main mix @ 0 dB,


Fade Attenuation (Crosstalk Attenuation)

Main fader closed

Channel fader closed


Microphone Input to Main Out

<20 Hz – 105 kHz

<10 Hz – 170 kHz




90 dB

90 dB

+1 dB / -1 dB

+3 dB / -3 dB

Effects Section

Converter 24-bit Sigma-Delta

Frequency rate 40 kHz

Presets 100

18 W

100 – 240 V~, 50/60 Hz

100 – 240 V~: T 1.6 A H 250 V

IEC (power) cable

Dimensions (H x W x D)

Weight (net) approx. 5 1⁄5 x 19 x 5 9⁄10" approx. 133 x 482 x 150 mm approx. 6.6 lbs / 3 kg

Quick Start Guide

21

Especificaciones técnicas

Impedancia

Nivel de entrada máx.

Insert

Tipo

Entradas Auxiliares

CD/TAPE IN

Tipo

Impedancia


Aux Return

Tipo

Impedancia


Salidas

AUX SENDS (FX)

Tipo

Impedancia

Nivel de salida máx.

Aux Sends (MON)

Tipo

Entradas Mono


Tipo

Mic E.I.N. (20 Hz - 20 kHz)

@ 0 Ω resistencia/fuente



Respuesta en frecuencia

Rango de amplificación


Impedancia

Relación señal a ruido

Distorsión (THD+N)

Line In (Entradas de Línea)

Tipo

Impedancia

Rango de amplificación


Entradas Estéreo

Tipo

Impedancia


XLR, balanceado electrónicamente

-132 dB / -134 dB ponderado A



<10 Hz - 200 kHz

+10 dB a +60 dB

+12 dBu @ +10 dB de ganancia aprox. 2,6 kΩ balanceada


0,003%, ponderado A jack estéreo de 6,3 mm, balanceado electrónicamente aprox. 20 kΩ balanceada aprox. 10 kΩ no balanceada

-10 dB a +40 dB

+22 dBu @ 0 dB de ganancia jack estéreo de 6,3 mm, balanceado electrónicamente aprox. 20 kΩ balanceada, aprox. 10 kΩ no balanceada

+22 dBu jack estéreo de 6,3 mm

(punta=Send, anillo=Return)

RCA, no balanceado aprox. 20 kΩ

+22 dBu jack estéreo de 6,3 mm, balanceado aprox. 20 kΩ balanceada, aprox. 10 kΩ no balanceada

+22 dBu jack estéreo de 6,3 mm, impedancia balanceada aprox. 240 Ω balanceada, aprox. 120 Ω no balanceada

+22 dBu jack estéreo de 6,3 mm, impedancia balanceada aprox. 240 Ω balanceada, aprox. 120 Ω no balanceada

+22 dBu

Main Out

Tipo

Impedancia


XLR, balanceado aprox. 240 Ω balanceada, aprox. 120 Ω no balanceada

+28 dBu balanceada

+22 dBu no balanceada

Ctrl Out

Tipo

Impedancia


CD/Tape Out

Tipo

Impedancia


Phones

Tipo


EQ

Low (graves)

High (agudos)

Datos De Sistema, Main Mix

Ruido

Main Mix @ -∞, Fader de canal -∞

Main Mix @ 0 dB, Fader de canal -∞

Main Mix @ 0 dB,

Fader de canal @ 0 dB

Atenuación de Diafonía

Fader principal cerrado

Fader de canal cerrado jack estéreo de 6,3 mm, impedancia balanceada aprox. 240 Ω balanceada, aprox. 120 Ω no balanceada

+22 dBu

RCA, no balanceado aprox. 1 kΩ

+22 dBu jack estéreo de 6,3 mm

+19 dBu / 150 Ω (316 mW)

100 Hz / ±15 dB

12 kHz / ±15 dB




Dimensiones y Peso

Dimensiones (alt. x anch. x prof.)

Peso (neto)

90 dB

90 dB

Respuesta en Frecuencia

Entrada de Micrófono a Salida Principal

<20 Hz - 105 kHz

<10 Hz - 170 kHz

Sección de Efectos

Convertidor

Frecuencia de muestreo

+1 dB / -1 dB

+3 dB / -3 dB

Sigma-Delta de 24 bits

40 kHz

Presets 100

Suministro de Corriente

Consumo de potencia

Tensión de red

Fusible

Conexión de red

18 W

100 - 240 V~, 50/60 Hz

100 - 240 V~: T 1,6 A H 250 V conector IEC estándar aprox. 133 x 482 x 150 mm aprox. 3 kg

22


Caractéristiques techniques

Entrees Mono

MIC (Entrée avec Préampli Micro « Invisible » IMP)

Type XLR, symétrie électronique

Mic E.I.N. (de 20 Hz à 20 kHz)

@ 0 Ω résistance source



Bande passante

-132 dB / -134 dB A pondéré



<10 Hz - 200 kHz

Plage d’amplification

Niveau de sortie max.

Impédance

Rapport signal/bruit

Distorsion (THD+N)

De +10 dB à +60 dB

+12 dBu @ +10 dB de gain

Env. 2,6 kΩ symétrique


0,003%, A pondéré

Line In (Entrée Ligne)

Type

Impédance

Plage d’amplification


Entrees Stereo

Jacks stéréo de 6,3 mm, symétrie électronique

Env. 20 kΩ symétrique, 10 kΩ asymétrique

De -10 dB à +40 dB

+22 dBu @ 0 dB de gain

Type

Impédance

Niveau d’entrée max.

Inserts

Jacks stéréo de 6,3 mm, symétrie électronique


+22 dBu

Type

Jacks stéréo de 6,3 mm

(pointe=départ, bague=retour)

Entrees Supplementaires

CD/TAPE IN

Type

Impédance


Aux Return (Retour Auxiliaire)

Type

Impédance


Sorties

AUX SENDS (FX)

Cinch/RCA, asymétriques

Env. 20 kΩ

+22 dBu

Jacks stéréo de 6,3 mm, symétriques


+22 dBu

Type

Impédance


Aux Send (MON)

Jack stéréo de 6,3 mm, impédance symétrique

Env. 240 Ω symétrique, 120 Ω asymétrique

+22 dBu

Type

Impédance


Main Out (Sortie Principale)

Type

Impédance


Jack stéréo de 6,3 mm, impédance symétrique


+22 dBu

XLR, symétriques


+28 dBu symétrique,

+22 dBu asymétrique

Ctrl Out (Sortie D’écoute)

Type

Impédance


CD/Tape Out

Type

Impédance


Phones (Sortie Casque)

Type


EQ (Égaliseur)

Low

High

Caracteristiques du Main Mix

Niveau de Bruit

Fader Main Mix @ -∞,

Fader du canal @ -∞

Fader Main Mix @ 0 dB,


Fader Main Mix @ 0 dB,

Fader du canal @ 0 dB

Amortissement de Diaphonie

Fader Main @ -∞


Bande Passante

Entrée Micro sur Sortie Main

<20 Hz - 105 kHz

<10 Hz - 170 kHz

90 dB

90 dB

+1 dB / -1 dB

+3 dB / -3 dB

Section D’effet

Convertisseurs

Fréq. d’échantillonnage

Sigma-Delta 24 bits

40 kHz

Presets 100

Alimentation Électrique

Consommation d’énergie

Tension secteur

Fusible

Liaison secteur

Dimensions et Poids

Dimensions (H x L x P)

Poids (net)

Jacks stéréo de 6,3 mm, impédance symétrique


+22 dBu

Cinch/RCA, asymétriques

Env. 1 kΩ

+22 dBu

Jack stéréo de 6,3 mm

+19 dBu / 150 Ω (316 mW)

100 Hz / ±15 dB

12 kHz / ±15 dB

98 dB / -101 dB A pondéré



18 W

100 - 240 V~, 50/60 Hz

100 - 240 V~: T 1,6 A H 250 V

Embase IEC standard

Env. 133 x 482 x 150 mm

Env. 3 kg

Quick Start Guide

23

Technische Daten

Impedanz

Max. Eingangspegel

Insert

Typ

Auxiliary-Eingänge

CD/TAPE IN

Typ

Impedanz

Max. Eingangspegel

Aux Return

Typ

Impedanz

Max. Eingangspegel

Ausgänge

AUX SENDS (FX)

Typ

Monoeingänge


Typ

Mic E.I.N. (20 Hz - 20 kHz)

@ 0 Ω Quellwiderstand



Frequenzgang

Verstärkungsbereich

Max. Eingangspegel

Impedanz

Rauschabstand

Verzerrungen (THD+N)

Line In

Typ

Impedanz

Verstärkungsbereich

Max. Eingangspegel

Stereoeingänge

Typ

Impedanz

Max. Ausgangspegel

Aux Sends (MON)

Typ

Impedanz

Max. Ausgangspegel

XLR, elektr. symmetriert

-132 dB / -134 dB A-gewichtet



<10 Hz - 200 kHz

+10 dB bis +60 dB

+12 dBu @ +10 dB Gain ca. 2,6 kΩ symmetrisch


0,003%, A-gewichtet

6,3-mm-Stereoklinke, elektronisch symmetriert ca. 20 kΩ symmetrisch ca. 10 kΩ unsymmetrisch

-10 dB bis +40 dB

+22 dBu @ 0 dB Gain

6,3-mm-Stereoklinke, elektronisch symmetriert ca. 20 kΩ symmetrisch, ca. 10 kΩ unsymmetrisch

+22 dBu

6,3-mm-Stereoklinke

(Spitze=Send, Ring=Return)

Cinch-Buchsen, unsymmetrisch ca. 20 kΩ

+22 dBu

6,3-mm-Stereoklinke, symmetrisch ca. 20 kΩ symmetrisch, ca. 10 kΩ unsymmetrisch

+22 dBu

6,3-mm-Stereoklinke, impedanz-symmetrisch ca. 240 Ω symmetrisch, ca. 120 Ω unsymmetrisch

+22 dBu


+22 dBu

Main Out

Typ

Impedanz

Max. Ausgangspegel

XLR-Anschlüsse, symmetrisch ca. 240 Ω symmetrisch, ca. 120 Ω unsymmetrisch

+28 dBu symmetrisch

+22 dBu unsymmetrisch

Ctrl Out

Typ

Impedanz

Max. Ausgangspegel

Cd/Tape Out

Typ

Impedanz

Max. Ausgangspegel

Phones


+22 dBu

Cinch-Buchsen, unsymmetrisch ca. 1 kΩ

+22 dBu

Typ

6,3-mm-Stereoklinke, stereo unsymmetrisch

+19 dBu / 150 Ω (316 mW)

EQ

Max. Ausgangspegel

Low

High

100 Hz / ±15 dB

12 kHz / ±15 dB

Main Mix-Systemdaten

Rauschen

Main Mix @ -∞, Kanal-Fader -∞

Main Mix @ 0 dB, Kanal-Fader -∞

Main Mix @ 0 dB,

Kanal-Fader @ 0 dB




Ausblenddämpfung (Übersprechdämpfung)

Main-Fader geschlossen 90 dB

Kanal-Fader geschlossen

Frequenzgang

90 dB

Mikrofoneingang zu Main Out

<20 Hz - 105 kHz

<10 Hz - 170 kHz

Effekt-Sektion

+1 dB / -1 dB

+3 dB / -3 dB

Wandler

Abtastrate

24-Bit Sigma-Delta

40 kHz

Presets 100

Stromversorgung

Netzspannung

Leistungsaufnahme

Sicherung

Netzverbindung

100 - 240 V~, 50/60 Hz

18 W

100 - 240 V~:T 1,6 A H 250 V

IEC-Kaltgerätekabel

Abmessungen und Gewichte

Maße (H x B x T)

Gewicht (netto) ca. 133 x 482 x 150 mm ca. 3 kg

24


Dados técnicos

Tipo

Entradas Auxiliary

CD/TAPE IN

Tipo

Impedância

Nível máx. de entrada

Aux Return

Tipo

Impedância


Saídas

AUX SENDS (FX)

Tipo

Impedância

Nível máx. de saída

Aux Sends (MON)

Tipo

Impedância


Entradas Mono


Tipo

Mic E.I.N. (20 Hz - 20 kHz)

@ 0 Ω de resistência interna



Amplitude de frequências

Margem de amplificação


Impedância

Relação sinal/ruído

Distorções

Line In

Tipo

Impedância

Margem de amplificação


Entradas Estéreo

Tipo

Impedância


Insert

XLR, electr. simétricas

-132 dB / -134 dB ponderada em A



<10 Hz - 200 kHz

+10 dB a +60 dB

+12 dBu @ +10 dB Gain ca. 2,6 kΩ simétrica


0,003%, ponderadas em A

Jaque estéreo de 6,3 mm, electronicamente simétrico ca. 20 kΩ simétrica, 10 kΩ assimétrica

-10 dB a +40 dB

+22 dBu @ 0 dB Gain

Jaque estéreo de 6,3 mm, electronicamente simétrico ca. 20 kΩ simétrica, 10 kΩ assimétrica

+22 dBu

Jaque estéreo de 6,3 mm

(Topo=Envio, Anel=Retorno)

Tomadas Cinch, assim.

ca. 20 kΩ

+22 dBu

Jaque estéreo de 6,3 mm, sim.

ca. 20 kΩ simétrica, 10 kΩ assimétrica

+22 dBu

Jaque estéreo de 6,3 mm, impedância simétrica ca. 240 Ω simétrica, 120 Ω assimétrica

+22 dBu


+22 dBu

Main Out

Tipo

Impedância


Ctrl Out

Ligações XLR, simétricas ca. 240 Ω simétrica, 120 Ω assimétrica

+28 dBu simétrica, +22 dBu assimétrica

Tipo

Impedância


CD/Tape Out

Tipo

Impedância


Phones

Tipo

EQ


Graves

Agudos

Dados Do Sistema Main Mix

Ruído

Main Mix @ -∞, Fader de canal ∞

Main Mix @ 0 dB, Fader de canal ∞

Main Mix @ 0 dB,

Fader de canal @ 0 dB


+22 dBu

Tomadas Cinch, assim.

ca. 1 kΩ

+22 dBu

Jaque estéreo de 6,3 mm,

+19 dBu / 150 Ω (316 mW)

100 Hz / ±15 dB

12 kHz / ±15 dB

-98 dB / -101 dB ponderado em A



Atenuação (Diafonia)

Fader de Main fechado

Fader de canal fechado

Amplitude de Frequências

Entrada do Microfone para Main Out

<20 Hz - 105 kHz

<10 Hz - 170 kHz

90 dB

90 dB

Dimensões e Pesos

Dimensões (A x L x P)

Peso (líquido)

+1 dB / -1 dB

+3 dB / -3 dB

Secção de Efeitos

Transformadores

Taxa de exploração

De 24 bit Multibit Sigma-Delta

40 kHz

Presets 100

Alimentação

Consumo de energia

Tensão da rede

Fusível

Ligação à corrente

18 W

100 a 240 V~, 50/60 Hz

100 - 240 V~: T 1,6 A H 250 V

Cabo IEC para aparelhos frios ca. 133 x 482 x 150 mm ca. 3 kg

Quick Start Guide

25

Other important information

Important information Informations importantes

Outras Informações

Importantes

1. Register Please register your new

MUSIC Group equipment right after you purchase it by visiting behringer. com. Registering your purchase using our simple online form helps us to process your repair claims more quickly and efficiently. Also, read the terms and conditions of our warranty, if applicable.

2. Malfunction.

Should your MUSIC Group

Authorized Reseller not be located in your vicinity, you may contact the MUSIC Group Authorized Fulfiller for your country listed under “Support” at behringer. com.

Should your country not be listed, please check if your problem can be dealt with by our “Online Support” which may also be found under “Support” at behringer. com.

Alternatively, please submit an online warranty claim at behringer. com BEFORE returning the product.

3. Power Before plugging the unit into a power socket, please make sure you are using the correct mains voltage for your particular model.

Faulty fuses must be replaced with fuses of the same type and rating without exception.

1. Enregistrez-vous en ligne.

Prenez le temps d’enregistrer votre produit MUSIC Group aussi vite que possible sur le site Internet behringer. com. Le fait d’enregistrer le produit en ligne nous permet de gérer les réparations plus rapidement et plus efficacement.

Prenez également le temps de lire les termes et conditions de notre garantie.

1. Registre-se Por favor, registre seu novo equipamento MUSIC Group logo após a compra visitando o site behringer. com Registrar sua compra usando nosso simples formulário online nos ajuda a processar seus pedidos de reparos com maior rapidez e eficiência. Além disso, leia nossos termos e condições de garantia, caso seja necessário.

2. Dysfonctionnement.

Si vous n’avez pas de revendeur MUSIC Group près de chez vous, contactez le distributeur MUSIC Group de votre pays : consultez la liste des distributeurs de votre pays dans la page “Support” de notre site Internet behringer. com. Si votre pays n’est pas dans la liste, essayez de résoudre votre problème avec notre “aide en ligne” que vous trouverez également dans la section “Support” du site behringer. com. Vous pouvez

également nous faire parvenir directement votre demande de réparation sous garantie par Internet sur le site behringer. com AVANT de nous renvoyer le produit.

Caso seu fornecedor MUSIC Group não esteja localizado nas proximidades, você pode contatar um distribuidor

MUSIC Group para o seu país listado abaixo de “Suporte” em behringer. com. Se seu país não estiver na lista, favor checar se seu problema pode ser resolvido com o nosso “Suporte Online” que também pode ser achado abaixo de “Suporte”em behringer. com. Alternativamente, favor enviar uma solicitação de garantia online em behringer. com ANTES da devolução do produto.

3. Raccordement au secteur.

Avant de relier cet équipement au secteur, assurez-vous que la tension secteur de votre région soit compatible avec l’appareil.

Veillez à remplacer les fusibles uniquement par des modèles exactement de même taille et de même valeur

électrique — sans aucune exception.

3. Ligações.

Antes de ligar a unidade à tomada, assegure-se de que está a utilizar a voltagem correcta para o modelo em questão. Os fusíveis com defeito terão de ser substituídos, sem qualquer excepção, por fusíveis do mesmo tipo e corrente nominal.

Aspectos importantes

Weitere wichtige

Informationen

registre su nuevo aparato MUSIC Group justo después de su compra accediendo a la página web behringer. com.

El registro de su compra a través de nuestro sencillo sistema online nos ayudará a resolver cualquier incidencia que se presente a la mayor brevedad posible.

Además, aproveche para leer los términos y condiciones de nuestra garantía, si es aplicable en su caso.

1. Online Bitte registrieren Sie Ihr neues MUSIC Group-Gerät direkt nach dem Kauf auf der

Website behringer. com. Wenn Sie Ihren Kauf mit unserem einfachen online Formular registrieren, können wir Ihre

Reparaturansprüche schneller und effizienter bearbeiten.

Lesen Sie bitte auch unsere Garantiebedingungen, falls zutreffend.

2. Averías.

En el caso de que no exista un distribuidor

MUSIC Group en las inmediaciones, puede ponerse en contacto con el distribuidor MUSIC Group de su país, que encontrará dentro del apartado “Support” de nuestra página web behringer. com. En caso de que su país no aparezca en ese listado, acceda a la sección “Online Support”

(que también encontrará dentro del apartado “Support” de nuestra página web) y compruebe si su problema aparece descrito y solucionado allí. De forma alternativa, envíenos a través de la página web una solicitud online de soporte en periodo de garantía ANTES de devolvernos el aparato.

2. Funktionsfehler.

Sollte sich kein MUSIC Group

Händler in Ihrer Nähe befinden, können Sie den

MUSIC Group Vertrieb Ihres Landes kontaktieren, der auf behringer. com unter „Support“ aufgeführt ist.

Sollte Ihr Land nicht aufgelistet sein, prüfen Sie bitte, ob Ihr Problem von unserem „Online Support“ gelöst werden kann, den Sie ebenfalls auf behringer. com unter

„Support“ finden. Alternativ reichen Sie bitte Ihren

Garantieanspruch online auf behringer. com ein, BEVOR Sie das Produkt zurücksenden.

3. Conexiones de corriente.

Antes de enchufar este aparato a una salida de corriente, asegúrese de que dicha salida sea del voltaje adecuado para su modelo concreto.

En caso de que deba sustituir un fusible quemado, deberá hacerlo por otro de idénticas especificaciones, sin excepción.

3. Stromanschluss.

Bevor Sie das Gerät an eine Netzsteckdose anschließen, prüfen Sie bitte, ob Sie die korrekte Netzspannung für Ihr spezielles Modell verwenden. Fehlerhafte Sicherungen müssen ausnahmslos durch Sicherungen des gleichen Typs und Nennwerts ersetzt werden.

26


FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION


Responsible Party Name:

Address:

Phone/Fax No.:

MUSIC Group Services US Inc.

18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,

USA

Phone: +1 425 672 0816

Fax: +1 425 673 7647

EURORACK PRO RX1202FX complies with the FCC rules as mentioned in the following paragraph:

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: t Reorient or relocate the receiving antenna t Increase the separation between the equipment and receiver t Connect the equipment into an outlet on a circuit different from that to which the receiver is connected t Consult the dealer or an experienced radio/TV technician for help

This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions:

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

(2) this device must accept any interference received, including interference that may cause undesired operation.

Important information:

Changes or modifications to the equipment not expressly approved by MUSIC Group can void the user’s authority to use the equipment.

Quick Start Guide

27

We Hear You

Technical Specifications



XENYX Mic Preamplifiers, British EQ's and Multi-FX Processor

2 EURORACK PRO RX1202FX Technical Specifications


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

British EQ's and Multi-FX Processor

Premium ultra-low noise, high headroom analog 3U rack mount mixer

8 state-of-the-art XENYX Mic Preamps comparable to stand-alone boutique preamps

Neo-classic “British” 2-band EQs for warm and musical sound

Studio-grade FX processor with 100 awesome presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects

Switchable +48 V phantom power for condenser microphones

4 additional balanced high-headroom line inputs

CD/Tape inputs assignable to Main mix or Control Room/Phones outputs

2 Aux sends per channel: 1 pre fader for monitoring applications, 1 post fader for internal FX or as external send

Separate Control Room, Phones and stereo CD/tape outputs

Balanced Main mix outputs with gold-plated XLR connectors

Long-wearing 60-mm logarithmic-taper faders and sealed rotary controls

“Planet Earth” switching power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving

High-quality components and exceptionally rugged construction ensure long life

-10 dB to +40 dB

+22 dBu @ 0 dB gain

Conceived and designed by BEHRINGER Germany Gain range

Max. input level

Specifications

Mono Inputs


Type

Mic E.I.N. (20 Hz – 20 kHz)




Frequency response

Gain range

Max. input level

Impedance


Distortion (THD+N)

Line In

Type

Impedance





<10 Hz – 200 kHz

+10 to +60 dB



0.003%, A-weighted


Stereo Inputs

Type

Impedance

Max. input level

Insert

Type


CD/TAPE IN

Type

Impedance

Max. input level

Aux Return

Type

Impedance

Max. input level

¼” TRS connector, electronically balanced approx. 20 kΩ balanced approx. 10 kΩ unbalanced

+22 dBu

¼" TRS connector (Tip=Send, Ring=Return)


+22 dBu

¼” TRS connector, balanced approx. 20 kΩ balanced approx. 10 kΩ unbalanced

+22 dBu

3 EURORACK PRO RX1202FX Technical Specifications

Outputs

Aux Sends (FX)

Type

Impedance

Max. output level

Aux Sends (MON)

Type

Impedance

Max. output level

Main Out

Type

Impedance

Max. output level

CTRL Out

Type

Impedance

Max. output level

CD/TAPE Out

Type

Impedance

Max. output level

Phones

Type

Max. output level

EQ

Low

High

¼" TRS connector, impedancebalanced approx. 240 Ω balanced approx. 120 Ω unbalanced

+22 dBu


+22 dBu


+28 dBu balanced

+22 dBu unbalanced


+22 dBu


+22 dBu

¼" TRS connector

+19 dBu / 150 Ω (316 mW)

100 Hz / ±15 dB

12 kHz/ ±15 dB

Main Mix System Data 1

Noise

Main mix @ -∞,Channel fader -∞ -98 dB / -101 dB A-weighted

Main mix @ 0 dB,Channel fader -∞ -85 dB / -88 dB A-weighted

Main mix @ 0 dB,



Fade Attenuation 2 (Crosstalk Attenuation)

Main fader closed 90 dB

90 dB Channel fader closed


Microphone Input to Main Out

<20 Hz – 105 kHz

<10 Hz – 170 kHz

+1 dB / -1 dB

+3 dB / -3 dB

Effects Section

Frequency rate 40 kHz

Presets 100

Power Supply

Power consumption

Voltage

Fuse

Mains connection

18 W

100 – 240 V~, 50/60 Hz

100 – 240 V~: T 1.6 A H 250 V

IEC (power) cable


Dimensions (H x W x D)

Weight (net)

Measuring conditions: approx. 5 1⁄5 x 19x 5 9⁄10" approx. 133 x 482 x 150 mm approx. 6.4 lbs / 2.9 kg

1:20 Hz – 20 kHz; measured at main output.Channels1 – 8 gain @ unity; EQ flat; all channels on mainmix; channels 1/3/5/7 leftmost, channels 2/4/6/8 rightmost.Reference = +6 dBu.2:1 kHz relative to 0 dBu; 20 Hz – 20 kHz; line input; mainoutput; gain @ unity.

BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.

TECHNICAL SPECIFICATIONS AND APPEARANCE ARE SUBJECT TO CHANGE WITHOUT NOTICE. THE INFORMATION CONTAINED HEREIN IS CORRECT AT THE TIME OF PRINTING. ALL TRADEMARKS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS.

MUSIC GROUP ACCEPTS NO LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED BY ANY PERSON WHO RELIES EITHER WHOLLY OR IN PART UPON ANY DESCRIPTION, PHOTOGRAPH OR STATEMENT CONTAINED HEREIN. COLORS AND SPECIFICATIONS

MAY VARY FROM ACTUAL PRODUCT. MUSIC GROUP PRODUCTS ARE SOLD THROUGH AUTHORIZED FULLFILLERS AND RESELLERS ONLY. FULLFILLERS AND RESELLERS ARE NOT AGENTS OF MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY TO BIND

MUSIC GROUP BY ANY EXPRESS OR IMPLIED UNDERTAKING OR REPRESENTATION. THIS MANUAL IS COPYRIGHTED. NO PART OF THIS MANUAL MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,

INCLUDING PHOTOCOPYING AND RECORDING OF ANY KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS WRITTEN PERMISSION OF MUSIC GROUP IP LTD. ALL RIGHTS RESERVED. © 2011 MUSIC GROUP IP LTD. TRIDENT CHAMBERS, WICKHAMS CAY,

P.O. BOX 146, ROAD TOWN, TORTOLA, BRITISH VIRGIN ISLANDS

Product Information Document

Rackmount Mixers

EURORACK PRO

RX1202FX


XENYX Mic Preamplifi ers, British EQ's and

Multi-FX Processor

#

Premium ultra-low noise, high headroom analog 3U rack mount mixer

#

8 state-of-the-art XENYX Mic

Preamps comparable to stand-alone boutique preamps

#

Neo-classic “British” 2-band EQs for warm and musical sound

#

Studio-grade FX processor with 100 awesome presets including reverb, chorus, fl anger, delay, pitch shifter and various multi-eff ects

#

Switchable +48 V phantom power for condenser microphones

#

4 additional balanced high-headroom line inputs

#

CD/Tape inputs assignable to

Main mix or Control Room/

Phones outputs

#

2 Aux sends per channel: 1 pre fader for monitoring applications,

1 post fader for internal FX or as external send

#

Separate Control Room, Phones and stereo CD/tape outputs

#

Balanced Main mix outputs with gold-plated XLR connectors

#

Long-wearing 60-mm logarithmic-taper faders and sealed rotary controls

The rack-mountable, 12-Input

RX1202FX mixer enables you to eff ortlessly achieve premiumquality sound, thanks to 8 onboard studio-grade XENYX Mic Preamps,

2 stereo Line Inputs and ultra-musical

“British” channel EQs. Add to this our 24-Bit Multi-FX processor with

100 awesome presets including studio-class reverbs, delays, pitch shifter and various multi-eff ects – and the RX1202FX becomes an incredibly-versatile mixer for your live performances. Ideally suited for musicians, houses of worship and a wide variety of business applications, the incredible RX1202FX is also perfect for sub-mixing keyboards, drums or multiple vocal mics – and is an absolute

“must-have” for monitoring your multitrack recording projects!

Sonically Superior

Mic Preamps

Our legendary, high headroom XENYX mic preamps have been praised by audio engineers all over the world. These state-ofthe-art mic pres represent a major step in the evolution of audio technology – and they can easily hold their own, even when compared to the most expensive stand-alone mic preamps.

XENYX preamps off er a staggering 130 dB of dynamic range, with a bandwidth that extends from below 10 Hz to well above 200 kHz.

Armed with these outstanding mic preamps, the RX1202FX provides such transparent, crystal-clear performance you just might think someone upgraded your mics while you weren’t looking.


Rackmount Mixers

EURORACK PRO

RX1202FX



Multi-FX Processor

#

“Planet Earth” switching power supply for maximum fl exibility

(100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving

#

3-Year Warranty Program*

#

Conceived and designed by

BEHRINGER Germany

Sublimely Musical British EQ

The British consoles of the 1960s and ‘70s changed the sound of rock and roll – without them the British Invasion might not have happened. Those legendary mixing desks soon became the envy of engineers and producers all over the world. The channel EQ on our RX1202FX mixer is based on that very same circuitry, allowing you to imbue signals with incredible warmth and detailed musical character. Even when applied generously, these equalizers exhibit sweet forgiveness and superb audio quality.

Eff ective FX

Every RX1202FX mixer features our 24-Bit

Multi-FX processor, with 100 awesome presets including reverb, chorus, fl anger, delay, pitch shifter and various multi-eff ects. Complete with highly-accurate Signal and Clip LEDs, these eff ects are instantly available at your fi ngertips via the Program selector control.

*Warranty details can be found at music-group.com.

2 of 6


Rackmount Mixers

EURORACK PRO

RX1202FX



Multi-FX Processor

Taking Control

Smooth 60 mm faders and intuitive rotary dials make it quick and simple to create a great mix.

The Main Mix fader adjusts the volume of the Main Output signal, while the dual 4-segment LED ladder display gives a visual confi rmation of the signal level. The Phones jack features a dedicated

Phones/Control Room dial for adjusting the volume. Push CD/Tape To Mix to add backing tracks from an mp3 or CD player, or the CD/Tape To Ctrl to isolate a click or scratch track in the headphones during recording.

Panel Discussion

On the RX1202FX’s rear panel, the Left and Right Main Out XLR connections can be used to feed the mix to a recording device or PA system. For live performances, keep pre-recorded music cued up for between-set breaks by connecting a CD or mp3 player via the stereo 2-Track In jacks. If the band wants a recording of their performance, you can send the signal to a recording device via the

2-Track Out jacks. Use the Mon Aux Send to send the monitor bus signal to your fl oor monitors in a live performance, or to a headphone amp in a recording session. When it’s time for playback of the recorded material, just send the signal to your studio monitors via the Ctrl Out jack.

Amazing Performance and Value

No matter what your audio mixing needs, the RX1202FX provides the performance and features that can take your talent to the next level, at a price sure to amaze you. Professional sound quality, our legendary XENYX mic preamps, British EQs, 24-Bit Multi-FX Processor and USB connectivity make

EURORACK PRO RX1202FX ideal for both your live gigs and recording. Try one out at your authorized

BEHRINGER dealer – or place your order online today!


Rackmount Mixers

EURORACK PRO

RX1202FX



Multi-FX Processor

You Are Covered

We always strive to provide the best possible Customer Experience. Our products are made in our own MUSIC Group factory using state-of-the-art automation, enhanced production workfl ows and quality assurance labs with the most sophisticated test equipment available in the world. As a result, we have one of the lowest product failure rates in the industry, and we confi dently back it up with a generous 3-Year Warranty program .

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Rackmount Mixers

EURORACK PRO

RX1202FX



Multi-FX Processor

5 of 6


Rackmount Mixers

EURORACK PRO

RX1202FX



Multi-FX Processor

For service, support or more information contact the BEHRINGER location nearest you:

Europe

MUSIC Group Services UK

Tel: +44 156 273 2290

Email: [email protected]

USA/Canada

MUSIC Group Services NV Inc.

Tel: +1 702 800 8290


Japan

MUSIC Group Services JP K.K.

Tel: +81 3 6231 0454


MUSIC Group accepts no liability for any loss which may be suff ered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein.

Technical specifi cations, appearances and other information are subject to change without notice. All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK,

LAB GRUPPEN, LAKE, TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON, BEHRINGER, BUGERA and DDA are trademarks or registered trademarks of MUSIC Group IP Ltd.

© MUSIC Group IP Ltd. 2016 All rights reserved.

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