Behringer UB1222FX-Pro
Contents
1. 2 1 3 Aux sends MON and FX 2 1 4 Pan mute switch and channel fader 2 2 Stereo channels isiin 2 2 1 Channel inputs 2 2 2 Equalizer stereo channels 2 2 3 Aux sends stereo channels 2 2 4 Balance mute switch and channel fader 2 3 Connector panel and main section 2 3 1 Monitor send and FX send channels 2 3 2 Monitor send and FX send connector 2 3 3 Aux return connectors 2 3 4 CD tape return channel voice canceller and connection socket een 9 2 3 5 Main mix main out connectors and headphone connector seeeseeeeeeeeeee 10 2 3 6 Level meter and level setting 10 2 4 Graphic 7 band equalizer E 11 2 5 Rear view of UBI232EN PRO 11 3 DIGITAL EFFECTS PROCESSORAND XPQ SURROUND FUNCTION ener 12 3 1 Digital effects processor 4 12 3 2 XPQ surround function irinin isinai 12 4 INSTALLATION ion 12 4 1 Rack mounting epe ene rete 12 4 2 Cable connections ssnseiisennesiiseiinsinnenineinninenennni 12 4 2 1 Audio connections ssssssss 13 5 SPECIFICATIONS iii a 14 6 WARRANTY coins 15 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 EUROR2. EE P 96566645556008 X ei unm February 2006 BEHRINGER JUST LISTEN A Eas ag o a To d MAIN s E we A E i aA A3 KE AN 28 829 ANI AT EI AN RI 97 van mo Version 1 1 2 a leis aes LIS TE X KO Ks E bases Di 133883 0 34808 EA Bee NIS 033 ss ss User s Manual www behringer com O 0 0 U 0 8 r a a 20 20 20 8 8 8 ae laelae lse laelae laelae lae lae ae ise aei a 4 al l C3 JE E s JE ze EAT 9 2 on eno ex seno EE WAIN ma Odd XdicccLian AJVaddana EURORACK UB1222FX PRO IMPORTANT SAFETY INSTRUCTIONS A 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 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION WARNING To reduce the risk of fire or electric shock do not expose this appliance to rain and moisture The apparatus shall not be exposed to dripping or splashing and no objects filled with liquids such as vases shall be placed on the apparatus This symbol wherever it appears alerts you to the presence of uninsulated dangerous voltage inside the enclosure voltage that may be sufficient to constitute a risk of shock This symbol wherever it appear
3. channels have to be open for feedback to occur at all Feedback is particularly common when stage monitors wedges are concerned because monitors project sound in the direction of microphones Therefore you can also use the FBQ Feedback Detection for monitors by placing the equalizer in the monitor bus see MAIN MIX MONITOR EQIN Use this switch to activate the graphic equalizer When activated the fader LEDs will illuminate MAIN MIX MONITOR This toggles the graphic equalizer between the main mix and the monitor mix With the switch up not depressed the equalizer is active in stereo on the main mix and inactive on the monitor mix When the switch is depressed the equalizer is active in mono on the monitor mix and inactive on the main mix 2 5 Rear view of UB1222FX PRO CAUTION REPLACE FUSE WITH SAME TYPE FUSE AND RATING POWER PHANTOM ATTENTION ON ON UTILISER UN FUSIBLE DE RECHANGE DE MEME TYPE ET CALIBRE FUSE 100 240 V T 1 8 AH POWER SOURCE 100 240 V 40 W max Fig 2 16 Voltage supply and fuse FUSE HOLDER IEC MAINS RECEPTACLE The console is connected to the mains via the cable supplied which meets the required safety standards Blown fuses must only be replaced by fuses of the same type and rating The mains connection is made via a cable with IEC mains connector An appropriate mains cable is supplied with the equipment POWER Use the POWER switch to power up the mix
4. press the button the flashing stops You can also recall the selected preset using the footswitch 3 2 XPQ surround function The surround function can be enabled disabled with the XPQ TO MAIN switch This is a built in effect that widens the stereo width thus making the sound more lively and transparent Use the SURROUND control to determine the intensity of this effect 4 INSTALLATION 4 1 Rack mounting The packaging of your mixing console contains two 19 rack mount brackets which can be installed on the side panels of the console Before you can attach the rack mount brackets to the mixing console you need to remove the screws holding the left and right side panels Use these screws to fasten the two brackets onto the console being careful to note that each bracket fits a specific side With the rack mount brackets installed you can mount the mixing console in a commercially available 19 rack Be sure to allow for proper air flow around the unit and do not place the mixing console close to radiators or power amps so as to avoid overheating IS Only use the screws holding the mixing console side panels to fasten the 19 rack mounts 4 2 Cable connections You will need a large number of cables for the various connections to and from the console The following illustrations show the wiring of these cables Be sure to use only high grade cables 1 4 TS footswitch connector sleeve strain relief clamp pole 1 grou
5. 4 RETURN AUTHORIZATION NUMBER 1 To obtain warranty service the buyer or his authorized dealer must call BEHRINGER see enclosed list during normal business hours BEFORE returning the product All inquiries must be accompanied by a description of the problem BEHRINGER will then issue a return authorization number 2 Subsequently the product must be returned in its original shipping carton together with the return authorization number to the address indicated by BEHRINGER 3 Shipments without freight prepaid will not be accepted 5 WARRANTY REGULATIONS 1 Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer s invoice Any product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced 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
6. for mixing effects signals with the monitor mix The main difference is that the mix ratio is adjusted using the FX TO MON control Of course a signal has to be fed into the effects processor via the FX control in the channel strip for both applications IS Turn down the FX controls in those channel strips whose signals you don t wish to process FOOT sw Fig 3 2 Connection socket for the footswitch FOOTSWITCH Connect a standard footswitch to the footswitch connector use this to switch the effects processor on and off A flashing dot at the bottom of the display indicates if the effects processor is muted via the footswitch IS In chapter 4 2 you will find an illustration showing how to connect your footswitch correctly Q O MAX SURROUND XPQ TO MAIN 24 BIT DUAL ENGINE DSP 24 BIT A D amp D A CONVERTER Fig 3 3 Digital Effects module and XPQ Surround Function control elements LEVEL The LED level meter on the effects module should display a sufficiently high level Take care to ensure that the clip LED only lights up at peak levels If it is lit constantly you are overloading the effects processor and this could cause unpleasant distortion The FX SEND fader determines the level that reaches the effects module PROGRAM You can select the effect preset by turning the PROGRAM control The display flashes the number of the current preset To recall the selected preset
7. 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 IS 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 MON 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 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 I amp f 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 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 a
8. 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 7 return input All mono input channels are equipped with inserts 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 TRIM Use the TRIM control to adjust the input gain This control should always be turned fully counter clockwise whenever you connect or disconnect a signal source to one of the inputs The scale has 2 different value ranges the first value range 10 to 60 dB refers to the MIC input and shows the amplification for the signals fed in there The second value rang
9. ACK 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 4 1 INTRODUCTION EURORACK UB1222FX PRO 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 BEHRINGER s brand new high end IMP INVISIBLE MIC PREAMPs that boast the following features A 130dB dynamic range for an incredible amount of headroom A a bandwidth ranging from below 10 Hz to over 200 kHz for crystal clear reproduction of even the finest nuances A the extremely low noise and distortionless circuitry gua rantees absolutely natural and transparent signal repro duction A they are perfectly matched to every conceivable micro phone with up to 60 dB gain and 48 vol
10. Bu In 22 dB Gain 0 005 0 004 A weighted 1 4 TRS connector electronically balanced approx 20 kQ balanced 10 kQ unbalanced 10 to 40 dB 22 dBu 0 dB Gain 98 dB 85 dB 85 dB 0 dB 1 dB 0 dB 3 dB XLR microphone connector electronically balanced approx 2 6 KQ balanced 0 dB to 40 dB 2 dBu 2 x 1 4 TRS connector unbalanced approx 40 kQ 0 dB Gain 20 dB to 20 dB 22 dBu 0 dB Gain 2 x 1 4 TRS connector unbalanced approx 40 kO 0 dB Gain 20 dB to 20 dB 22 dBu 0 dB Gain RCA connectors approx 10 kQ 22 dBu EQ mono channels Low Mid High Low cut EQ stereo channels Low Mid High MON FX send Type Impedance Max output level Aux returns Type Impedance Max input level Main outputs Type Impedance Max output level Headphone output Type Max output level CD tape out Type Impedance Max output level DSP Converter Sampling rate 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 Power supply Mains voltage Power consumption Fuse Mains connection Physical Dimensions H x W x D Weight net Measuring conditions 80 Hz 15 dB 2 5 kHz 15 dB 12kHz 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 2 22 dBu 1 4 TRS connector unbalanc
11. G 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 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 O dB IS 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 2 8 8 8 8 8 12 E EH E E E E EE 0 es MI Il M Il Il BM o 4k 2 5k 6 31 X LA enon ZA zf L eo Fig 2 15 The graphic stereo equalizer The graphic stereo equalizer allows you to tailor the sound to the room acoustics FBQ FEEDBACK DETECTION The switch turns on the FBQ Feedback Detection System It uses the LEDs in the frequency band faders to indicate the critical frequencies On a per need basis lower the frequency range in question somewhat in order to avoid feedback The graphic stereo equalizer has to be turned on in order to use this function IS Logically at least one ideally several microphone
12. O e 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 PHONES Man MAIN MIX LEFT RIGHT Fig 2 11 Main mix fader MAIN MIX Use the high precision quality faders to control the output level of the main mix MAIN OUT LEFT BAL OR UNBAL RIGHT LA Ze 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 an
13. annel 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 IS 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 shouldn t turn this control all the
14. applicable unless they constitute an infringement of national warranty law 2 ONLINE REGISTRATION Please do remember to register your new BEHRINGER equipment right after your purchase by visiting www behringer com alternatively www behringer de and kindly read the terms and conditions of our warranty carefully Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently Thank you for your cooperation 3 WARRANTY 1 BEHRINGER BEHRINGER International GmbH including all BEHRINGER subsidiaries listed on the enclosed page except BEHRINGER Japan warrants the mechanical and electronic components of this product to be free of defects in material and workmanship for a period of one 1 year from the original date of purchase in accordance with the warranty regulations described below If the product shows any defects within the specified warranty period that are not excluded from this warranty as described under 5 BEHRINGER shall at its discretion either replace or repair the product using suitable new or reconditioned parts In the case that other parts are used which constitute an improvement BEHRINGER may at its discretion charge the customer for the additional cost of these parts 2 If the warranty claim proves to be justified the product will be returned to the user freight prepaid 3 Warranty claims other than those indicated above are expressly excluded
15. are expressly excluded from this warranty in particular if caused by improper handling of the product by the user This also applies to defects caused by normal wear and tear in particular of faders crossfaders potentiometers keys buttons tubes guitar strings illuminants and similar parts 4 Damages defects caused by the following conditions are not covered by this warranty A improper handling neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals A 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 A 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 separa
16. d are either fed into external effects processors or fed back to the internal effects processor Then the signals are brought back into the main mix either via the aux return connectors or via direct internal wiring The mix for the on stage musicians is also created using the aux sends monitor mix Similarly for example signals for recording equipment power ampli fiers headphones and 2 track outputs can also be taken A 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 1 2 The user s manual The user s manual is designed to give you both an overview of the controls as well as detailed information on how to use them In order to help you understand the links between the controls we have arranged them in groups according to their function If you need to know more about specific issues please visit our website at http www behringer com Additional
17. d 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 don t 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 built in graphical equalizer Lower all frequencies above 160 Hz and assign the equalizer to Monitor IS 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 c
18. d which gear you own you can connect the following equipment Live PA systems A stereo dynamics processor optional stereo equalizer optional and the stereo power amplifier for full range loud speakers 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 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 IS 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 mai
19. e 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 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 6 2 CONTROL ELEMENTS AND CONNECTORS EURORACK 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 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 3 Aux sends MON and FX q Fig 2 3 The AUX SEND controls in the ch
20. ects device Fig 4 5 Insert send return 1 4 TRS connector 1 4 TRS headphones connector sleeve tip strain relief clamp ground shield left signal leev SEE e ring ring right signal uhaja Fig 4 6 1 4 TRS connector for headphones 4 INSTALLATION 13 EURORACK UB1222FX PRO 5 SPECIFICATIONS Mono inputs Microphone inputs IMP Invisible Mic Preamp Type Mic EIN 20 Hz 20 kHz 0 Q source resistance 50 Q source resistance 150 source resistance Frequency response Gain range Max input level Impedance Signal to noise ratio Distortion THD N Line input Type Impedance Gain range Max input level Fade out attenuation Crosstalk attenuation Main fader closed Channel muted Channel fader muted Frequency response Microphone input to main out lt 10 Hz 90 kHz lt 10 Hz 160 kHz Stereo inputs Channels 5 6 7 8 Microphone input Type Impedance Gain range Max input level Stereo inputs Type Impedance Gain range Max input level Channels 9 10 11 12 Type Impedance Gain range Max input level CD tape in Type Impedance Max input level 14 XLR electronically balanced discrete input circuitry 134 dB 135 7 dB A weighted 131 dB 133 5 dB A weighted 129 dB 130 5 dB A weighted lt 10 Hz 150 kHz 1 dB lt 10 Hz 200 kHz 3 dB 10 to 60 dB 12 dBu 10 dB Gain approx 2 6 KQ balanced 110 dB 112 dB A weighted 0 d
21. ed approx 10 kQ 22 dBu XLR electronically balanced approx 240 2 balanced 120 unbalanced 28 dBu 1 4 TRS connector unbalanced 19 dBu 150 Q 25 dBm RCA connectors approx 1 KQ 22 dBu Texas Instruments 24 bit Sigma Delta 64 128 times oversampling 40 kHz 99 dB 101 dB A weighted 84 dB 87 dB A weighted 80 dB 82 dB A weighted 100 to 240 V 50 60 Hz 40W 100 240V T 1 6A 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 1 1 kHz rel to O dBu 20 Hz 20 kHz line input main output unity gain 2 20 Hz 20kHz measured at main output Channels 1 4 unity gain EQ flat all channels on main mix channels 1 3 as far left as possible channels 2 4 as far right as possible Reference 6 dBu BEHRINGER is constantly striving to manintain the highest professional standards As a result ofthese efforts modifications may be made from time to time to existing products without prior notice Specifications and appearance may differ from those listed or illustrated 5 SPECIFICATIONS EURORACK UB1222FX PRO 6 WARRANTY 1 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1 This warranty does not exclude or limit the buyer s statutory rights provided by national law in particular any such rights against the seller that arise from a legally effective purchase contract 2 The warranty regulations mentioned herein are
22. eller function on dedicated CD tape return channel for easy to use sing along applications Breathtaking XPQ 3D stereo surround effect for more vitality and enhanced stereo image 7 band stereo graphic EQ allows precise frequency correction of monitor or main mixes 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 Inserts on each mono channel for flexible connection of outboard equipment 12 high headroom line inputs Standby switch mutes all mic channels during breaks while background music is provided via CD tape or line inputs State of the art 4580 operational amplifiers provide lowest noise and distortion better than 4560 op amps 2 aux sends per channel 1 pre fader for monitoring 1 post fader for internal FX and or as external send Switchable 48 V phantom power for condenser microphones Balanced main mix outputs with gold plated XLR connectors headphone control room output and stereo tape outputs Clip indication and gain level set LEDs plus mute switches for each channel allow fast and accurate level setting 2 multi functional stereo aux returns Long wearing 60 mm logarithmic taper faders and sealed rotary controls 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 Rack mount brackets included High quality components and excep
23. h for the effect processor is connected post fader the channel fader has to be turned up in order to get this channel s signal to the effects processor EURORACK UB1222FX PRO 2 2 Stereo channels 2 2 1 Channel inputs MIC A LINE IN LINE IN LINE IN O O 7 8 9 10 C3 TRIM C3 TRIM dB dBu dB E2 20 ven 20 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 q gt 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 O 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 di
24. heir 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 Direct Injection or the output of a sound card or a keyboard often have to be adjusted to the operating level of your mixing console 1 INTRODUCTION Frequency response correction Using the equalizers found in each channel strip you can simply quickly and effectively adjust the way a signal sounds Effects mixing In addition to the effects processor contained in your mixer using the insert connectors on the mono channels and both aux busses lets you insert additional signal processors into your signal path A Signal distribution Individual signals adjusted at each channel strip are laid out at the aux sends and returns an
25. ing 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 Ik gt 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 The PHANTOM switch activates the phantom power supply for the XLR microphone inputs which is required to operate condenser microphones The red 48 V LED lights up when phantom power is on As a rule dynamic microphones can still be used with phantom power switched on provided that they are wired in a balanced configuration In case of doubt contact the microphone manufacturer IS 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 IS Caution You must never use unbalanced XLR connectors PIN 1 and 3 connected on the MIC input connecto
26. lug this apparatus during lightning storms or when unused for long periods of time 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 15 CAUTION These service instructions are for use by qualified service personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions unless you are qualified to do so 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 A A gt gt gt gt p gt p gt gt gt gt gt Ultra low noise ULN design highest possible headroom ultra transparent audio 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 Revolutionary FBQ Feedback Detection System instantly reveals critical frequencies Studio grade 24 bit stereo FX processor with 100 awesome presets including reverb chorus flanger delay pitch shifter and various multi effects Voice Canc
27. n section fully down before you switch on the unit Always be careful to set the appropriate volume PHONS O 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 POWER 48V o 9 Q cur E ak EE 1 9 9 9 0 9 9 SEN 9 9 Q 10 9 Q 2 9 Q 9 m D 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 IS 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 SETTIN
28. nd sleeve 11 4 fa The footswitch connects both poles momentarily Fig 4 1 1 4 TS footswitch connector 12 4 INSTALLATION EURORACK UB1222FX PRO 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 amp 3 in the case of XLR connectors I gt 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 Balanced XLR connectors 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 2 XLR connections Unbalanced 1 4 TS connector sleeve ground shield strain relief clamp sleeve tip Fig 4 3 1 4 TS connector Balanced 1 4 TRS connector sleeve tip strain relief clamp ground shield hot ve sleeve ring ring cold ve HIT For connection of balanced and unbalanced plugs ring and sleeve have to be bridged at the stereo plug Fig 4 4 1 4 TRS connector Insert send return 1 4 TRS connector sleeve tip strain relief clamp ground shield send out leev e Sleeve ring ring return in TM Connect the insert send with the input and the insert return with the output of the eff
29. o 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 you ll soon appreciate that I both personally and in my capacity as musician and sound engineer put you the end user first and that these products were only possible because of the passion and the attention to detail that went into them Thank you for the confidence you have placed in us by purchasing the UB mixing console would also like to thank all those who with their personal commitment and passion have helped me realize this impressive series of mixing consoles Kindest regards Uli Behringer TABLE OF CONTENTS 1 INTRODUCTION eene 4 1 1 General mixing console functions s seeeeeieeeeeeeeeeeee 5 1 2 The user s manual tete tit 1 3 Before you get started e Sa 1 3 2 Initial operaton 1 3 3 Online registration 2 CONTROL ELEMENTS AND CONNECTORS 6 2 1 Mono channels isian reena 2 1 1 Microphone and line inputs 2 1 2 Equalizer
30. olutely no authority to bind BEHRINGER by any express or implied undertaking or representation No part of this manual may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying and recording of any kind for any purpose without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH BEHRINGER is a registered trademark ALL RIGHTS RESERVED O 2006 BEHRINGER Spezielle Studiotechnik GmbH Hanns Martin Schleyer Str 36 38 47877 Willich M nchheide II Germany Tel 49 2154 9206 0 Fax 49 2154 9206 4903 6 WARRANTY 15
31. ontrol is turned all the way to the left no effects signal can be heard 8 2 CONTROL ELEMENTS AND CONNECTORS EURORACK UB1222FX PRO 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 3 2 Monitor send and FX send connector 9 SEND G3 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 FXSEND 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 IS 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 IS 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 L 1 R mono AUX RET L R 2 Fig 2 8 Aux return connec
32. rs can be found in the support area of our website www behringer com Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently Thank you for your cooperation 2 CONTROL ELEMENTS AND CONNECTORS This chapter describes the various control elements of your mixing console All controls switches and connectors will be discussed in detail 2 1 Mono channels 2 1 1 Microphone and line inputs MIC BLE Wer e IN BAL OR UNBAL INSERT 1 0 1 dE dB dBu G AE LOW CUT 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 IS Please mute your playback system before you activate the phantom power supply to prevent switch on thumps being directed to your loud speakers Please also note the instructions in chapter 2 5 Rear view of UB1222FX PRO 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 IS 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
33. rs if you want to use the phantom power supply SERIAL NUMBER Please note the important information on the serial number given in chapter 1 3 3 2 CONTROL ELEMENTS AND CONNECTORS 11 EURORACK UB1222FX PRO 3 DIGITAL EFFECTS PROCESSOR AND XPQ SURROUND FUNCTION 3 1 Digital effects processor 00 SMALL HALL 36 REVERSE 80 CHORUS amp REVERB 03 MID HALL 40 EARLY REFL 82 FLANGER amp REVERB 06 BIG HALL 44 AMBIENCE 84 PHASER amp REVERB 09 CHURCH 48 STADIUM 86 PITCH amp REVERB 10 SMALLROOM 48 AMBENCEFX 88 DELAY amp REVERB 13 MID ROOM 50 DELAY 90 DELAY amp GATED 16 BIG ROOM 59 ECHO 81 DELAY amp REVERSE 19 CHAPEL 60 CHORUS 82 DELAY amp CHORUS 20 PLATE 66 FLANGER 94 DELAY amp FLANGER 27 SPRING 70 PHASER 96 DELAY amp PHASER 30 GATED REV 74 PITCH SHIFT 98 DELAY amp PITCH Fig 3 1 Effects presets overview 24 BIT MULTI EFFECTS PROCESSOR Here you can find a list of all presets stored in the multi effects processor This built in effects module produces high grade standard effects such as reverb chorus flanger delay and various combination effects The integrated effects module has the advantage of requiring no wiring This way the danger of creating ground loops or uneven signal levels is eliminated at the outset completely simplifying the handling These effect presets are designed to be added to dry signals If you move the FX TO MAIN control you mix the channel signal dry and the effect signal This also goes
34. s alerts you to important operating and maintenance instructions in the accompanying literature Please read the manual DETAILED SAFETY INSTRUCTIONS 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 amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over ALS 13 Unp
35. s 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 IS Please note that all units must be properly grounded For your own safety you should never remove any ground connectors from electrical devices or power cables or render them in operative I amp Please ensure that only qualified people install and operate the mixing console During installation and operation the user must have sufficient electrical contact to earth otherwise electrostatic discharges might affect the operation of the unit 1 3 3 Online registration Please do remember to register your new BEHRINGER equipment right after your purchase by visiting www behringer com alternatively www behringer de and kindly read the terms and conditions of our warranty carefully Should your BEHRINGER product malfunction our goal is to have it repaired as quickly as possible To arrange for warranty service please contact the retailer from whom the equipment was purchased Should your BEHRINGER dealer not be located in your vicinity you may directly contact one of our subsidiaries Corresponding contact information is included in the original equipment packaging Global Contact Information European Contact Information Should your country not be listed please contact the distributor nearest you A list of distributo
36. screpancy 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 are so to speak collected from one point on each of the channel strips and then routed to the main section all together 2 3 1 Monitor send and FX send channels mon seno ex seno 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 an
37. t phantom power supply and A they enable full utilisation of the greatly extended dynamic range of your 24 bit 192 kHz HD recorder thereby main taining optimal audio quality Additionally your UB mixing console has an effects processor with 24 bit A D and D A converters included which gives you 100 presets producing first class reverb delay and modulation effects plus numerous multi effects in excellent audio quality The mixing consoles of the PRO series feature a state of the art integrated switch mode power supply One of the great advantages is that compared to conventional circuits a switch mode 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 IS 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 1 1 General mixing console functions A mixing console fulfils three main functions A 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 t
38. tely when the buyer has sent in a written repair order 6 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer customer of retail dealer and is not transferable to anyone who may subsequently purchase this product No other person retail dealer etc shall be entitled to give any warranty promise on behalf of BEHRINGER 7 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim consequential damages In no event shall the liability of BEHRINGER exceed the invoiced value of the product Customers in the European Union please contact BEHRINGER Germany Support for further details Technical specifications and appearance subject to change without notice The information contained herein is correct at the time of printing The names of companies institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners Their use neither constitutes a claim of the trademarks by BEHRINGER nor affiliation of the trademark owners with BEHRINGER BEHRINGER accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description photograph or statement contained herein Colours and specification may vary slightly from product Products are sold through our authorised dealers only Distributors and dealers are not agents of BEHRINGER and have abs
39. tionally rugged construction ensure long life Conceived and designed by BEHRINGER Germany EURORACK UB1222FX PRO FOREWORD Dear Customer I m sure you re one of those people who have devoted themselves body and soul to your chosen area and no doubt this has trans formed 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 l ve been involved with studio technology and end users have developed a feel for the things that really count such as sound quality reliability and ease of use What s more 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 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 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 t
40. tors 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 IS 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 already function as additional inputs you can route the effects signal back into the console via a different stereo channel with the added benefit that the channel EQ can be used to adjust the frequency response of the effects return signal 2 CONTROL ELEMENTS AND CONNECTORS I amp In this instance the FX control of the channel being used as an effects return should be turned fully counter clockwise otherwise feedback problems can occur 2 3 4 CD tape return channel voice canceller and connection socket VOICE CANCELLER LA STANDBY MUTES ALL MIC CHANNELS ST CD TAPE RET Fig 2 9 CD tape return channel This channel intended especially for connecting stereo signal sources CD players DAT recorders or even sound cards features a particularly practical feature the VOICE CANCELLER VOICE CANCELLER Here you have a filter circuitry that lets you almost entirely remove the vocal portion of a recording The filter is cons
41. tructed in such a way that voice frequencies are targeted without majorly affecting the rest of the signal Additionally the filter seizes only the middle of the stereo image exactly there where the vocals are typically located Possible applications for the Voice Canceller are obvious you can very simply stage background music for Karaoke events Of course you can also do this at home or at your rehearsal room before you hit the stage Singers with their own band can practice singing difficult parts using a complete playback from a tape player or a CD thus minimizing rehearsal time STANDBY If the STANDBY switch is pressed all input channels with a mic connector XLR connector are muted During breaks or stage conversion you can prevent noise from entering the sound system via the microphones Such noise can in the worst case scenario even irreparably damage loudspeaker membranes The cool thing about this is that the main mix faders can remain open so that you can play music from a CD at the same time Similarly the faders for the muted channels can also remain in their position To bring in other sound sources you can use the CD tape inputs stereo input channels 9 to 12 and the aux return inputs CD TAPE MUTE Using this switch the input signal from the CD tape inputs is muted CD TAPE RET URN This stereo fader assigns the input signal from the CD tape inputs into the main mix EURORACK UB1222FX PRO INPUT OUTPUT O
42. way to the left Got Don t have the FX MUTE switch pressed and you should also not have the FX SEND fader pulled down 2 CONTROL ELEMENTS AND CONNECTORS 2 1 4 Pan mute switch and channel fader Fig 2 4 Channel fader and additional control elements PAN The PAN control determines the position of the channel signal within the stereo image This control features a constant power characteristic which means the signal is always maintained at a constant level irrespective of position in the stereo panorama MUTE Use the MUTE switch to mute the channel This means that the channel signal is no longer present in the main mix However the aux sends MON and FX remain active MUTE LED The MUTE LED indicates that the relevant channel is muted CLIP LED The CLIP LED lights up when the input signal is driven too high In this case lower apparent frequency increase on the channel EQ to avoid distortion For example lower the mids and the highs somewhat to emphasize the bass If you don t wish to change the EQ settings under any circumstances try lowering the TRIM control somewhat counterclockwise If you inserted an external effects processor via the insert connector e g a dynamic processor then you should also control its output signal level It should not be higher than its input signal level 0 dB The channel fader determines the level of the channel signal in the main mix IS Attention Since the aux pat
Download Pdf Manuals
Related Search