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-PRO
Users Manual
Version 1.0 October 2003
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EURORACK UB1222FX
-PRO
IMPORTANT SAFETY INSTRUCTIONS
DETAILED SAFETY INSTRUCTIONS:
1) Read these instructions.
2) Keep these instructions.
3) Heed all warnings.
CAUTION: To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside; refer servicing to qualified personnel.
WARNING: To reduce the risk of fire or electric shock, do not expose this appliance to rain and moisture.
This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosurevoltage that may be sufficient to constitute a risk of shock.
This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual.
4) Follow all instructions.
5) Do not use this device near water.
6) Clean only with a dry cloth.
7) Do not block any ventilation openings. Install in accordance with the manufacturers instructions.
8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10) Protect the power cord from being walked on or pinched particularly at plugs, extension cords, and the point at which they exit the unit.
11) Only use attachments/accessories specified by the manufacturer.
12) Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the device.
When a cart is used, use caution when moving the cart/ device combination to avoid injury from stumbling over it.
13) Unplug this device during lightning storms or when not used for long periods of time.
14) Refer all servicing to qualified service personnel.
Servicing is required when the unit 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 device, the unit has been exposed to rain or moisture, does not operate normally, or has been dropped.
EURORACK UB1222FX
-PRO
EURORACK
Ultra Low-Noise Design 16-Input Mic/Line Mixer with Premium Mic Preamplifiers, FBQ Feedback Detection System and 24-Bit Multi-FX Processor
s Ultra low-noise ULN design, highest possible headroom, ultra-transparent audio s 4 new state-of-the-art, studio-grade IMP Invisible Mic Preamps with:
- 130 dB dynamic range for 24-bit, 192 kHz sampling rate inputs
- Ultra-wide 60 dB gain range
- Lowest possible distortion 0.0007% (20 Hz - 20 kHz) s Revolutionary, patent-pending FBQ Feedback Detection System instantly reveals critical frequencies s Integrated 24-bit digital stereo FX processor with 99 great-sounding VIRTUALIZER presets including reverb, delay, chorus, compressor, tube distortion, vinylizer and more plus 1 kHz test tone generator s Voice Canceller function on dedicated CD/tape return channel for easy-to-use sing-along applications s Breathtaking XPQ 3D stereo surround effect for more vitality and enhanced stereo image s 7-band stereo graphic EQ allows precise frequency correction of monitor or main mixes s 4 fully equipped stereo input channels featuring 2 additional mic inputs on channels 5/6 and 7/8, 3-band
EQ and input trim control s Effective, extremely musical 3-band EQ plus switchable low cut filter on all mono channels s Inserts on each mono channel for flexible connection of outboard equipment s 12 high-headroom line inputs s Standby-switch mutes all mic channels during breaks while background music is provided via CD/tape or line inputs s State-of-the-art 4580 operational amplifiers provide lowest noise and distortionbetter than 4560 op amps s 2 aux sends per channel: 1 pre fader for monitoring, 1 post fader (for internal FX and/or as external send) s Clip indication and gain level set LEDs plus mute switches for each channel allow fast and accurate level setting s 2 multi-functional stereo aux returns s Balanced main mix outputs with gold-plated XLR connectors, headphone/control room output and stereo tape outputs s Switchable +48 V phantom power for condenser microphones s Long-wearing 60-mm logarithmic-taper ALPS
®
faders and sealed rotary controls s Internal switch-mode power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus lowest possible power consumption for energy saving s Extremely rugged steel construction ensures long life even under most demanding conditions s Rack mount brackets included s Designed in Germany. Manufactured under ISO9001 certified management system
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EURORACK UB1222FX
-PRO
FOREWORD
Dear Customer,
Im sure youre one of those people who have devoted themselves body and soul to your chosen area and no doubt this has transformed you into an expert in your field!
Well, for over 30 years, my passion has been music and electronics.
This not only led me to establish BEHRINGER, but also enabled me to convey and share my enthusiasm with my employees.
During all the years that
Ive been involved with studio technology and end users, I have developed a feel for the things that really count, such as sound quality, reliability and ease of use. Whats more, I have always had the desire to push the boundaries of technical possibilities to the extreme.
It was precisely this motivation that prompted me to start work on a new series of mixing consoles. Since our EURORACKs had already set new standards world-wide, I knew the development objectives behind the products bearing my initials had to be especially ambitious.
Thus, the concept and design of the new UB mixing consoles bear my signature. The design work, the entire circuit diagram and PCB development, and even the mechanical concepts are my own work. I carefully selected each individual component with the aim of pushing the mixing consoles analog and digital technologies to their limits.
My vision was to enable you, the user, to give free rein to your true potential and creativity. The result is incredibly powerful mixing consoles that offer intuitive operation. They cannot fail to impress with their extremely flexible routing possibilities plus fantastic wealth of functions. Innovative technologies, such as the completely new
IMP Invisible Mic Preamps, guarantee optimum sound quality and extraordinarily high-quality components provide unrivalled reliability, even under extreme loads.
Your new UB mixing console is of high quality yet is simple to use; youll soon appreciate that I, both personally and in my capacity as musician and sound engineer, put you, the end user, first and that these products were only possible because of the passion and the attention to detail that went into them.
Thank you for the confidence you have placed in us by purchasing the UB mixing console. I would also like to thank all those who, with their personal commitment and passion, have helped me realize this impressive series of mixing consoles.
TABLE OF CONTENTS
1. INTRODUCTION ......................................................... 4
1.1 General mixing console functions .................................. 5
1.2 The users manual .......................................................... 5
1.3 Before you get started ................................................... 5
1.3.1 Shipment ............................................................... 5
1.3.2 Initial operation ...................................................... 6
1.3.3 Warranty .............................................................. 6
2. CONTROL ELEMENTS AND CONNECTORS .............. 6
2.1 Mono channels ............................................................... 6
2.1.1 Microphone and line inputs .................................. 6
2.1.2 Equalizer ............................................................... 6
2.1.3 Aux sends (MON and FX) .................................... 7
2.1.4 Pan, mute switch and channel fader .................. 7
2.2 Stereo channels ............................................................. 8
2.2.1 Channel inputs ...................................................... 8
2.2.2 Equalizer stereo channels ................................... 8
2.2.3 Aux sends stereo channels ................................ 8
2.2.4 Balance, mute switch and channel fader ........... 8
2.3 Connector panel and main section ................................. 8
2.3.1 Monitor send and FX send channels ................... 8
2.3.2 Monitor send and FX send connector ................. 9
2.3.3 Aux return connectors ........................................ 9
2.3.4 CD/tape return channel, voice canceller and connection socket ................................................ 9
2.3.5 Main mix, main out connectors and headphone connector ........................................ 10
2.3.6 Level meter and level setting ............................. 10
2.4 Graphic 7-band equalizer ............................................ 11
2.5 Rear view of UB1222FX-PRO ...................................... 11
3. DIGITAL EFFECTS PROCESSOR AND
XPQ SURROUND FUNCTION ................................... 12
3.1 Digital effects processor .............................................. 12
3.2 XPQ surround function ................................................. 12
4. INSTALLATION ......................................................... 12
4.1 Rack mounting .............................................................. 12
4.2 Cable connections ........................................................ 12
4.2.1 Audio connections ............................................. 13
5. SPECIFICATIONS ..................................................... 14
6. WARRANTY .............................................................. 15
Kindest regards,
Uli Behringer
1. INTRODUCTION
Congratulations! In purchasing the BEHRINGER EURORACK you have acquired a mixer whose small size belies its incredible versatility and audio performance.
The BEHRINGER EURORACK mixing console offers you premium-quality microphone preamplifiers with optional phantom power supply, balanced line inputs and the ability to connect external effects devices. Because of its extensive and carefully thought-out routing possibilities, your EURORACK lends itself equally to both live and studio use.
FBQ Feedback Detection System
The FBQ Feedback Detection System, integrated into the graphic equalizer, is one of the most outstanding characteristics of this mixing console. This ingenious circuitry lets you immediately recognize and eliminate feedback frequencies. The FBQ
Feedback Detection System uses the LEDs in the frequency band faders of the graphic EQ to indicate the critical frequencies.
1. INTRODUCTION
This way, what once used to be a labor-intensive search for feedback frequencies is now an activity that even a child could master.
IMP INVISIBLE MIC PREAMP
The microphone channels are fitted with BEHRINGERs brand new high-end IMP INVISIBLE MIC PREAMPs that boast the following features:
EURORACK UB1222FX
-PRO
Frequency response correction
Using the equalizers found in each channel strip, you can simply, quickly and effectively adjust the way a signal sounds.
s 130 dB dynamic range for an incredible amount of headroom,
Effects mixing
In addition to the effects processor contained in your mixer, using the insert connectors on the mono channels and both aux busses lets you insert additional signal processors into your signal path.
s a bandwidth ranging from below 10 Hz to over 200 kHz for crystal-clear reproduction of even the finest nuances, s Signal distribution : s the extremely low-noise and distortionless circuitry guarantees absolutely natural and transparent signal reproduction, s they are perfectly matched to every conceivable microphone with up to 60 dB gain and +48 volt phantom power supply and s they enable full utilisation of the greatly extended dynamic range of your 24-bit/192 kHz HD recorder, thereby maintaining optimal audio quality.
Individual signals adjusted at each channel strip are laid out at the aux sends and returns, and are either fed into external effects processors or fed back to the internal effects processor. Then, the signals are brought back into the main mix either via the aux return connectors or via direct internal wiring. The mix for the on-stage musicians is also created using the aux sends (monitor mix). Similarly, for example, signals for recording equipment, power amplifiers, headphones and 2-track outputs can also be taken.
s Mix :
In addition, the BEHRINGER UB1222FX-PRO offers an effects processor equipped with 24-bit A/D and D/A converters. The processor is fitted with the effect algorithms from our tried and tested 19" multi-effects device, the VIRTUALIZER PRO DSP2024P.
99 presets are available providing first-class room simulations, delay and modulation effects, as well as compression, tube distortion and many other effects, all with stunning audio quality.
The mixing consoles of the PRO series feature a state of the art, integrated switch-mode power supply. One of the great advantages is that (compared to conventional circuits) a switchmode power supply adapts to mains voltages between 100 and
240 volts automatically. Furthermore, due to its much greater efficiency, it consumes much less energy than a conventional power supply unit.
CAUTION!
+
We would like to draw your attention to the fact that extreme volumes may damage your hearing and/or your headphones or loudspeakers. Turn the MAIN
MIX faders and the PHIONES control in the main section fully down before you switch on the unit.
Always be careful to set the appropriate volume.
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, youll 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.
1.2 The users manual
The users manual is designed to give you both an overview of the controls, as well as detailed information on how to use them.
In order to help you understand the links between the controls, we have arranged them in groups according to their function. If you need to know more about specific issues, please visit our website at http://www.behringer.com. Additional information and explanations about various music industry/audio technology terminology can be found on individual product pages as well as in the glossary in the ULTRANET area of www.behringer.com.
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The block diagram supplied with the mixing console gives you an overview of the connections between the inputs and outputs, as well as the associated switches and controls.
1.1 General mixing console functions
A mixing console fulfils three main functions: s Signal processing :
Preamplification
Microphones convert sound waves into voltage that has to be amplified several-fold; then, this voltage is turned into sound that is reproduced in a loudspeaker. Because microphone 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.
For the moment, just try and trace the signal path from the microphone input to the MON SEND connector. Dont be put off by the huge range of possibilities; its easier than you think! If you look at the overview of the controls at the same time, youll be able to quickly familiarize yourself with your mixing console and youll soon be making the most of all its many possibilities.
1.3 Before you get started
1.3.1 Shipment
Your mixing console was carefully packed in the factory to guarantee safe transport. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred during transit.
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If the unit is damaged, please do NOT return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not be granted.
1. INTRODUCTION 5
EURORACK UB1222FX
-PRO
1.3.2 Initial operation
Be sure that there is enough space around the unit for cooling purposes and to avoid over-heating. Please do not place your mixing console on high-temperature devices such as radiators or power amps. The console is connected to the mains via the supplied power cable. The console meets the required safety standards. Blown fuses must only be replaced by fuses of the same type and rating.
+
Please note that all units must be properly grounded. For your own safety, you should never remove any ground connectors from electrical devices or power cables, or render them inoperative.
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Please ensure that only qualified people install and operate the mixing console. During installation and operation, the user must have sufficient electrical contact to earth, otherwise electrostatic discharges might affect the operation of the unit.
LINE IN
Each mono input also features a balanced line input on a 1/4" connector. Unbalanced devices (mono jacks) 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
Insert points enable the processing of a signal with dynamic processors or equalizers. They are sourced pre-fader, pre-EQ and pre-aux send. Unlike reverb or other effects devices, whose signals are usually added to the dry signal, dynamic processors are most effective on the complete signal. In this case, aux send paths are a less-than-perfect solution. It is better to interrupt the signal path and insert a dynamic processor and/or equalizer.
After processing, the signal is routed back to the console at precisely the same point it left. However, the channel signal path is interrupted only if a plug is inserted into the corresponding jack
(stereo phone plug: tip = signal output; ring = return input). All mono input channels are equipped with inserts.
1.3.3 Warranty
Please take time to fill out and return the warranty card within
14 days after the date of purchase, so as to be entitled to benefit from our extended warranty. Alternatively, you can use our online registration option available on the worldwide web
(www.behringer.com). You will find the serial number on the rear of your mixing console.
Inserts can also be used as pre-EQ direct outputs, without interrupting the signal path. To this end, you will need a cable fitted with mono phone plugs on the tape machine or effects device end, and a bridged stereo phone plug on the console side
(tip and ring connected).
LOW CUT
The mono channels of the mixing consoles have a high-slope
LOW CUT
filter for eliminating unwanted, low-frequency signal components (80 Hz, 18 dB/octave).
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.
TRIM
Use the
TRIM
control to adjust the input gain. This control should always be turned fully counter-clockwise whenever you connect or disconnect a signal source to one of the inputs.
The scale has 2 different value ranges: the first value range
( +10 to +60 dB) refers to the MIC input and shows the amplification for the signals fed in there.
2.1 Mono channels
2.1.1 Microphone and line inputs
The second value range ( +10 to -40 dB) 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
LEVEL SET LED.
LEVEL SET
This LED lights up when the optimum operating signal level is achieved. During normal use, this LED should only light up during signal peaks.
2.1.2 Equalizer
All mono input channels include a 3-band equalizer. All bands provide boost or cut of up to 15 dB. In the central position, the equalizer is inactive.
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Fig. 2.1: Connectors and controls of mic/line inputs
MIC
Each mono input channel offers a balanced microphone input via the XLR connector and also features a switchable +48 V phantom power supply for condenser microphones (see rear panel).
+
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 2.5 Rear view of UB1222FX-PRO.
Fig. 2.2: The equalizer of the input channels
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
2. CONTROL ELEMENTS AND CONNECTORS
EURORACK UB1222FX
-PRO and lower band are 12 kHz and 80 Hz respectively. The mid band is configured as a peak filter with a center frequency of
2.5 kHz. Unlike shelving filters, the peak filter processes a frequency range that extends upwards and downwards around its middle frequency.
2.1.4 Pan, mute switch and channel fader
2.1.3 Aux sends (MON and FX)
Fig. 2.3: The AUX SEND controls in the channel strips
Aux sends take signals via a control from one or more channels and sum these signals to a so-called bus. This bus signal is sent to an aux send connector and then routed, for example, to an active monitor speaker or an external effects device. The return from an external effects device can then be brought back into the console via the aux return connectors.
For situations that require effects processing, the aux sends are usually switched post-fader so that the effects volume in a channel corresponds to the position of the channel fader. If this were not the case, the effects signal of the channel would remain audible even when the fader is turned to zero.
When setting up a monitor mix, the aux sends are generally switched to pre-fader; i.e. they operate independently of the position of the channel fader.
Both aux sends are mono, are sourced after the equalizer and offer up to +15 dB gain.
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If you press the MUTE switch of the respective channel, aux sends and returns (MON and FX) are not being muted.
MON
In the UB1222FX-PRO, aux send 1 (MON) is wired pre-fader and is thus particularly suitable for setting up monitor mixes.
FX
The aux send labeled
FX
is for feeding external effects devices and is thus set up to be post-fader.
In the UB1222FX-PRO, the FX send is routed directly to the built-in effects processor. To make sure that the effects processor receives an input signal, you shouldnt turn this control all the way to the left (-oo). Dont have the FX MUTE switch pressed, and you should also not have the FX SEND fader pulled down.
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EURORACK UB1222FX
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2.2 Stereo channels
are, so to speak, collected from one point on each of the channel strips and then routed to the main section all together.
2.2.1 Channel inputs
2.3.1 Monitor send and FX send channels
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Fig. 2.5: Stereo channel inputs
Each stereo channel features two line-level inputs on 1/4" connectors for left and right channels. Channels 9/10 and 11/12 can also be used in mono if you only use the connector labeled
L.
Both channels 5/6 and 7/8 feature an additional balanced XLR input for microphones with available +48 V phantom power.
All stereo channel strips have a TRIM control for level setting.
In those channels in which a mic input is present in the channel, the TRIM control has two scales: just like in the mono channels, there is a 0 to +40 dB scale that shows the preamplification of the mic signal; the +20 to -20 dB scale shows the sensitivity for the corresponding input level that is applied to the line input.
Both inputs can also be used with balanced or unbalanced connectors.
2.2.2 Equalizer stereo channels
The equalizer of the stereo channels is, of course, stereo. The filter characteristics and crossover frequencies are the same as those of the mono channels. A stereo equalizer is always preferable to two mono equalizers if frequency correction of a stereo signal is needed. There is often a discrepancy between the settings of the left and the right channels when using separate equalizers.
2.2.3 Aux sends stereo channels
In principle, the aux sends of the stereo channels function in just the same way as those of the mono channels. As aux send paths are always mono, the signal on a stereo channel is first summed to mono before it reaches the aux bus.
2.2.4 Balance, mute switch and channel fader
BAL
The function of the
BAL
(ANCE) control corresponds to the
PAN control in the mono channels.
The balance control determines the relative proportion between the left and right input signals before both signals are routed to the main stereo mix bus.
The MUTE switch, MUTE LED, CLIP LED and channel fader function in the same way as the mono channels.
2.3 Connector panel and main section
Whereas it was useful to trace the signal flow from top to bottom in order to gain an understanding of the channel strips, we now look at the mixing console from left to right. The signals
Fig. 2.6: Aux send controls of the main section
A channel signal is routed to the MON(ITOR) send bus if the
MON control is turned up on the corresponding channel.
MON SEND
The aux send control
MON SEND
acts as master control for the monitor bus and determines the level of the summed signal that is taken from the mixer via the MON SEND connector and that can for example be fed to an amplifier for monitor purposes.
Using the audio signal from this output, you can also feed a subwoofer if you dont require stage monitors. To this end, you should implement a crossover in your signal path pre-subwoofer and pre-amplifier, so that only low frequencies are fed into the subwoofer. You can achieve the same effect by using the builtin graphical equalizer. Lower all frequencies above 160 Hz and assign the equalizer to Monitor.
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When you use the MAIN MIX fader to reduce the overall volume, keep in mind that the subwoofer is still receiving a signal!
FX TO MON
You can use this control to insert an effects signal from the built-in effects processor to your monitor mix. Of course, to do this, your effects processor must first receive a signal, i.e. the
FX controls in the channel strips must be turned up, and the FX
SEND fader (see fig. 2.6) hast to be open.
MON MUTE
If the
MON MUTE
switch is pressed, the monitor bus is muted, i.e. there is no signal at the MON SEND connector.
FX SEND
The
FX SEND
fader determines the overall level of the effects bus. Both external effects processors (via the FX SEND connector) and the built-in processor only receive an input signal if this control is open.
FX TO MAIN
Use the
FX TO MAIN
control to feed the effects signal into the main mix. If the control is turned all the way to the left, no effects signal can be heard.
FX MUTE
If the
FX MUTE
switch is pressed, the effects channel is muted, i.e. no signal is present at the FX SEND connector and the effects processor no longer receives an input signal.
2. CONTROL ELEMENTS AND CONNECTORS
2.3.2 Monitor send and FX send connector
EURORACK UB1222FX
-PRO
Fig. 2.7: Aux send connectors MON and FX
MON SEND
Connect the input of your monitor power amp or an active monitor system here to make the monitor mix audible to the musicians on the stage. The signal mix is created using the channels MON controls.
FX SEND
The
FX SEND
connector outputs the signal you picked up from the individual channels using the FX controls. You can connect this to the input of an external effects device in order to process the FX bus master signal. Once an effects mix is created, the processed signal can then be routed from the effects device outputs back into the AUX RETURN connectors.
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If the connected effects processor receives no input signal, the FX MUTE switch is probably pressed and/or the FX SEND control is too low. This also goes for the built-in effects processor.
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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.
2.3.3 Aux return connectors
Fig. 2.8: Aux return connectors
AUX RETURN 1
The
AUX RETURN 1
connectors generally serve as the return path for the effects mix generated using the FX send. This is where you connect the output signal of the external effects device. If only the left connector is used, the aux return 1 automatically operates in mono.
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You can also use these connectors as additional line inputs.
AUX RETURN 2
The AUX RETURN 2 connectors are used exactly the same way as the AUX RETURN 1 connectors. If these connectors
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EURORACK UB1222FX
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Live PA systems:
A stereo dynamics processor (optional), stereo equalizer
(optional) and the stereo power amplifier for full-range loudspeakers with passive crossovers.
Fig. 2.10: 2-track connectors
CD/TAPE INPUT
The
CD/TAPE INPUT
RCA connectors are provided for connecting a 2-track machine (e.g. DAT recorder) or also a CD player. They can also be used as stereo line input. Alternatively, the output signal of a second EURORACK or BEHRINGER
ULTRALINK PRO MX882 can also be connected. If you connect a hi-fi amplifier with a source selection switch to the CD/TAPE
INPUT, you can easily switch between additional sources (e.g.
cassette recorder, MD player, sound card etc.).
Using the voice canceller function, you can process all signals being brought into your mixing console via these connectors.
CD/TAPE OUTPUT
These connectors are wired pre graphic EQ and pre XPQ surround function. They carry the main mix signal (unbalanced), effects mix included. Connect the CD/TAPE OUTPUT to the inputs of your recording device. If you wish to use your mixer solely for recording purposes, the main outputs are also an alternative.
2.3.5 Main mix, main out connectors
and headphone connector
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 onto 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.
PHONES
The
PHONES
control adjusts the volume of the headphones connected to the PHONES/CTRL connector. If you connect active monitors or an amplifier, use this connector to adjust the output signal level.
CAUTION!
+
We would like to draw your attention to the fact that extreme volumes may damage your hearing and/ or your headphones or loudspeakers. Turn the
MAIN MIX faders and the PHONES control in the main section fully down before you switch on the unit.
Always be careful to set the appropriate volume.
Fig. 2.13: PHONES/CTRL connector
PHONES/CTRL connector
You can connect headphones to this 1/4" TRS connector. The connector can also be used for feeding active monitor loudspeakers (or an amplifier) in your control room. For this purpose, the signal is taken directly before it is passed on to the main mix faders.
2.3.6 Level meter and level setting
Fig. 2.11: Main mix fader
MAIN MIX
Use the high-precision quality faders to control the output level of the main mix.
Fig. 2.12: Main out connectors
MAIN OUT
The
MAIN
outputs carry the MAIN MIX signal and are on balanced XLR connectors with a nominal level of +4 dBu.
Depending on how you wish to use your mixer and which gear you own, you can connect the following equipment:
Fig. 2.14: Level meter
POWER
The blue
POWER
LED indicates that the device is switched on.
+48 V
The red
+48 V
LED lights up when the phantom power supply is switched on. The phantom power supply is necessary for condenser microphones and is activated using the corresponding switch on the rear of the device.
10 2. CONTROL ELEMENTS AND CONNECTORS
EURORACK UB1222FX
-PRO
+
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 loudspeakers should be muted before you activate the phantom power supply. After switching on, wait approx. one minute to allow for system stabilization.
LEVEL METER/CLIP
The high-precision level meter accurately displays the appropriate signal level.
LEVEL SETTING:
When recording to a digital device, the recorders peak meter should not exceed 0 dB. This is because, unlike analog recordings, slightly excessive levels can create unpleasant digital distortion.
When recording to an analog device, the VU meters of the recording machine should reach approx. +3 dB with lowfrequency signals (e.g. kick drum). Due to their inertia VU meters tend to display too low a signal level at frequencies above 1 kHz.
This is why, for example, a Hi-Hat should only be driven as far as -10 dB. Snare drums should be driven to approx. 0 dB.
+
The peak meters of your EURORACK display the level virtually independent of frequency. A recording level of 0 dB is recommended for all signal types.
2.4 Graphic 7-band equalizer
11
EURORACK UB1222FX
-PRO
3. DIGITAL EFFECTS PROCESSOR
AND XPQ SURROUND FUNCTION
3.1 Digital effects processor
12
EURORACK UB1222FX
-PRO
Fig. 4.1: 1/4" TS footswitch connector
4.2.1 Audio connections
Please use commercial RCA cables to wire the 2-track inputs and outputs.
You can, of course, also connect unbalanced devices to the balanced input/outputs. Use either mono plugs, or ensure that ring and sleeve are bridged inside the stereo plug (or pins 1 & 3 in the case of XLR connectors).
+
Caution! You must never use unbalanced XLR connectors (pins 1 and 3 connected) on the MIC inputs if you intend to use the phantom power supply.
4. INSTALLATION 13
EURORACK UB1222FX
-PRO
5. SPECIFICATIONS
Mono inputs
EQ mono channels
Low
Mid
High
Microphone inputs (IMP Invisible Mic Preamp)
Type XLR, electronically balanced, discrete input circuitry
Mic E.I.N. (20 Hz - 20 kHz)
@ 0
Ω
@ 50
@ 150
source resistance
Ω
source resistance
Ω
source resistance
-134 dB / 135.7 dB A-weighted
-131 dB / 133.5 dB A-weighted
-129 dB / 130.5 dB A-weighted
Frequency response <10 Hz - 150 kHz (-1 dB),
<10 Hz - 200 kHz (-3 dB)
Low cut
EQ stereo channels
Low
Mid
High
Gain range
Max. input level
Impedance
Signal-to-noise ratio
+10 to +60 dB
+12 dBu @ +10 dB Gain approx. 2.6 k
Ω
balanced
110 dB / 112 dB A-weighted
(0 dBu In @ +22 dB Gain)
MON/FX send
Type
Impedance
Max. output level
Aux returns
Type
Distortion (THD+N) 0.005% / 0.004% A-weighted
Line input
Type
Impedance
Max. input level
Impedance
Gain range
Max. input level
1/4" TRS connector, electronically balanced approx. 20 k
10 k
Ω
Ω
balanced
unbalanced
-10 to +40 dB
+22 dBu @ 0 dB Gain
Main outputs
Type
Impedance
Max. output level
Fade-out attenuation
1
(Crosstalk attenuation)
Main fader closed
Channel muted
Channel fader muted
98 dB
85 dB
85 dB
Headphone output
Type
Max. output level
Frequency response
Microphone input to main out
<10 Hz - 90 kHz
<10 Hz - 160 kHz
+0 dB / -1 dB
+0 dB / -3 dB
CD/tape out
Type
Impedance
Max. output level
DSP
Converter
Stereo inputs
Channels 5/6, 7/8
Microphone input
Type
Sampling rate
Impedance
Gain range
Max. input level
Stereo inputs
Type
XLR microphone connector, electronically balanced approx. 2.6 k
0 dB to +40 dB
+2 dBu
Ω
balanced
Main mix system data
Noise
Main mix @ -oo,
Channel fader -oo
Main mix @ 0 dB,
Channel fader -oo
Main mix @ 0 dB,
Channel fader @ 0 dB
2
Impedance
Gain range
Max. input level
2 x 1/4" TRS connector, unbalanced approx. 40 k Ω @ 0 dB Gain
-20 dB to +20 dB
+22 dBu @ 0 dB Gain
Power supply
Power consumption
Fuse
Mains connection
Channels 9/10, 11/12
Type
Physical
Dimensions (H x W x D)
Impedance
Gain range
Max. input level
2 x 1/4" TRS connector, unbalanced approx. 40 k Ω @ 0 dB Gain
-20 dB to +20 dB
+22 dBu @ 0 dB Gain
Weight (net)
CD/tape in
Type
Impedance
Max. input level
RCA connectors approx. 10 k Ω
+22 dBu
80 Hz / ±15 dB
2.5 kHz / ±15 dB
12 kHz / ±15 dB
80 Hz, 18 dB/oct.
80 Hz / ±15 dB
2.5 kHz / ±15 dB
12 kHz / ±15 dB
1/4" TS connector, unbalanced approx. 120
+22 dBu
Ω
1/4" TRS connector, unbalanced approx. 10 k
+22 dBu
Ω
XLR, electronically balanced approx. 240
/ 120
Ω
+28 dBu
Ω
balanced
unbalanced
1/4" TRS connector, unbalanced
+19 dBu / 150
Ω
(+25 dBm)
RCA connectors approx. 1 k
+22 dBu
Ω
Texas Instruments
24-bit Sigma-Delta,
®
64/128-times oversampling
46,875 kHz
-99 dB / -101 dB A-weighted
-84 dB / -87 dB A-weighted
-80 dB / -82 dB A-weighted
40 W
100 - 240 V ~: T 1.6 A H
Standard IEC receptacle approx. 97 mm (3 7/8") x
345 mm (13 18/32") x 334 mm
(13 5/32") approx. 3.80 kg (8.38 lbs.)
Measuring conditions:
1 :
2 :
1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain.
20 Hz - 20kHz; measured at main output. Channels 1 - 4 unity gain; EQ flat; all channels on main mix; channels 1/3 as far left as possible, channels 2/4 as far right as possible. Reference = +6 dBu.
BEHRINGER is constantly striving to manintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
14 5. SPECIFICATIONS
EURORACK UB1222FX
-PRO
6. WARRANTY
§ 1 WARRANTY CARD/ONLINE REGISTRATION
To be protected by the extended warranty, the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik
GmbH, in accordance with the conditions stipulated in § 3. Failure to return the card in due time (date as per postmark) will void any extended warranty claims. Based on the conditions herein, the buyer may also choose to use the online registration option via the Internet (www.behringer.com or www.behringer.de).
§ 2 WARRANTY
1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH including all BEHRINGER subsidiaries listed on the enclosed page, except BEHRINGER Japan) warrants the mechanical and electronic components of this product to be free of defects in material and workmanship for a period of one (1) year* from the original date of purchase, in accordance with the warranty regulations described below. If the product shows any defects within the specified warranty period that are not excluded from this warranty as described under § 4, BEHRINGER shall, at its discretion, either replace or repair the product using suitable new or reconditioned parts. In the case that other parts are used which constitute an improvement, BEHRINGER may, at its discretion, charge the customer for the additional cost of these parts.
2. If the warranty claim proves to be justified, the product will be returned to the user freight prepaid.
3. Warranty claims other than those indicated above are expressly excluded.
§ 3 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized dealer) must call BEHRINGER (see enclosed list) during normal business hours BEFORE returning the product. All inquiries must be accompanied by a description of the problem. BEHRINGER will then issue a return authorization number.
2. Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by BEHRINGER.
3. Shipments without freight prepaid will not be accepted.
§ 4 WARRANTY REGULATIONS
1. Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealers invoice.
Any product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced.
2. If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level, in any country which is not the country for which the product was originally developed and manufactured, this modification/adaptation shall not be considered a defect in materials or workmanship. The warranty does not cover any such modification/adaptation, irrespective of whether it was carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting from such a modification/adaptation.
3. Free inspections and maintenance/repair work are expressly excluded from this warranty, in particular, if caused by improper handling of the product by the user. This also applies to defects caused by normal wear and tear, in particular, of faders, crossfaders, potentiometers, keys/buttons, tubes and similar parts.
4. Damages/defects caused by the following conditions are not covered by this warranty: s improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals.
s connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used.
s damages/defects caused by force majeure or any other condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the warranty.
6. If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty, the inspection costs are payable by the customer.
7. Products which do not meet the terms of this warranty will be repaired exclusively at the buyers expense. BEHRINGER will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice for freight and packing. Such costs will also be invoiced separately when the buyer has sent in a written repair order.
§ 5 WARRANTY TRANSFERABILITY
This warranty is extended exclusively to the original buyer
(customer of retail dealer) and is not transferable to anyone who may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any warranty promise on behalf of BEHRINGER.
§ 6 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim (consequential) damages. In no event shall the liability of BEHRINGER exceed the invoiced value of the product.
§ 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1. This warranty does not exclude or limit the buyers statutory rights provided by national law, in particular, any such rights against the seller that arise from a legally effective purchase contract.
2. The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law.
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. The names of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use neither constitutes a claim of the trademarks by BEHRINGER
®
®
nor affiliation of
accepts no liability for any loss which may be suffered by any person the trademark owners with BEHRINGER
®
. BEHRINGER who relies either wholly or in part upon any description, photograph or statement contained herein. Colors and specifications depicted may vary slightly from product. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER
®
is a registered trademark.
ALL RIGHTS RESERVED. © 2003 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38,
47877 Willich-Münchheide II, Germany
Tel. +49 2154 9206 0, Fax +49 2154 9206 4903
6. WARRANTY 15
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