Quick Start Guide

12 13EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO Quick Start Guide
EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX- PRO/UB1622FX-PRO Controls
(EN) Controls
(1) MIC – Each mono input channel oers a balanced
microphone input via XLR as well as switchable phantom
power (+48 volt) for powering condenser microphones.
(2) LINE IN – Each mono input also has a balanced line input
on a ¼" jack. You can also connect unbalanced devices
using mono jacks to these inputs.
(3) 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.
(4) GAIN – Use the GAIN 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 dierent
value ranges: the rst value range (+10 to +60 dB)
refers to the MIC input and shows the amplication for
the signals fed in there.
The second value range (+10 to -40 dB) refers to the line
input and shows its sensitivity.
(5) LOW CUT – Additionally, the mono channels of the
mixing consoles have a high-slope LOW CUT lter
for eliminating unwanted, low-frequency signal
components (75 Hz, 18 dB/octave).
(6) EQUALIZER – The upper (HIGH) and the lower (LOW)
bands are shelving lters that increase or decrease all
frequencies above or below their cut-o frequency.
The cut-o frequencies of the upper and lower bands
are 12 kHz and 80Hz respectively. For the mid range,
the console features a semi-parametric equalizer
with a lter quality (Q) of 1 octave, tunable from
100Hzto 8 kHz. Use the MID control to set the amount
of boost or cut, and the FREQ control to determine the
central frequency.
(7) PRE – When the PRE switch is pressed down,
theassociated aux send is taken pre-fader.
(8) FX – The aux send marked FX oers a direct route to the
built-in eects processor and is therefore post-fader and
post-mute.
(9) PAN – The PAN control determines the position of the
channel signal within the stereo image.
(10) MUTE – The MUTE switch breaks the signal path
pre-channel fader, hence muting that channel in the
main mix. The aux sends which are set to post-fader are
likewise muted for that channel, while the pre-fader
monitor paths remain active irrespective of whether the
channel is muted or not.
(11) MUTE LED – The MUTE LED indicates a muted channel.
(12) CLIP LED – The CLIP-LED lights up when the input
signal is driven too high. If this happens, back o the
GAIN control and, if necessary, check the setting of the
channel EQ.
(13) SOLO – The SOLO switch is used to route the channel
signal to the solo bus (Solo In Place) or to the PFLbus
(Pre Fader Listen). This enables you to listen to a
channel signal without aecting the main output
signal. The signal you hear is taken either before the
pancontrol (PFL, mono) or after the pan and channel
fader (Solo, stereo).
(14) SUB (1-2 and 3-4) – The SUB switch routes the signal
to the corresponding subgroups. The UB2442FX-PRO has
4 subgroups (1-2 and 3-4).
(15) MAIN – The MAIN switch routes the signal to the
main mix bus.
(16) LOW CUT and MIC GAIN – These two control elements
operate on the XLR connectors of the UB2442FX-PRO,
and are used to lter out frequencies below 75 Hz
(LOW CUT) and to adjust microphone levels (MIC GAIN).
(17) LINE GAIN – Use this control to adjust the line signal
levels on channels 13-16 (UB2442FX-PRO only).
(18) LEVEL – For level matching, the stereo inputs on the
UB1622FX-PRO, UB1832FX-PRO and UB2222FX-PRO have
a LEVEL switch to select between +4dBu and -10dBV.
At -10dBV (homerecording level), the input is more
sensitive than at +4dBu (studio level).
(19) BAL – The BAL (ANCE) control has a similar function
to the PAN control in the mono channels. The balance
control determines the levels of the left and right
input signals relative to each other before both
signals are routed to the left/right main mix bus
(or odd/even subgroup).
(20) AUX SEND 1, 2 and 4 – The AUX SEND 1 control governs
the master send level of the mix created by the individual
channel AUX 1 sends. Likewise, the AUX SEND 2 contol
is the master control for the aux 2 bus, and AUX SEND 4
controls the AUX 4 bus.
(21) AUX SEND 3 (FX) – The FX control determines the signal
level for eects processing, i.e. regulates the level to an
external (or the internal) eects device. UB1622FX-PRO
and UB1832FX-PRO: On these consoles, this function is
performed by the AUX SEND 2 control (FX).
(22) SOLO – You can use the SOLO switch to separately
monitor the aux sends via the PHONES/CTRL ROOM
outputs and check these with the level meters.
(23) AUX SEND JACKS – The AUX SEND jack should be used
when hooking up a monitor power amp or active monitor
speaker system. The relevant aux path should be set
pre-fader.
(24) AUX SEND (FX) – The AUX SEND (FX) jack carries
the master aux mix (from the channel’s FX controls).
You can connect this to an external eects device to
process the FX bus. The processed signal can then
be brought from the eects device back into the
STEREO AUX RETURN jacks.
(25) STEREO AUX RETURN – The STEREO AUX RETURN 1
jacks generally serve as the return for the eects mix
(created using the post-fader aux sends) by connecting
the output of an external eects device. If only the left
jack is connected, the AUX RETURN is automatically
switched to mono.
(26) STEREO AUX RETURN FX – The STEREO AUX RETURNFX
jacks accept the eects mix return (created using the
channel FX sends).
(27) The rst aux send (MON) on this console is used to set up
the monitor mix from the channels and route it to the
MON SEND fader.
(28) MUTE – Press the MUTE switch to mute the
monitorsend.
(29) SOLO – The SOLO switch routes the monitor send to the
solo bus (post-fader and post-mute) or to the PFL bus
(pre-fader and pre-mute). The position of the MODE
switch in the main section determines which of the buses
is selected.
(30) STEREO AUX RETURN 1 – The STEREO AUX RETURN1
control determines the level of this signal in the
mainmix. If STEREO AUX RETURN 1 is used as eects
return, this will determine the level of the eects when
mixed with any “dry” channel signal.
(31) STEREO AUX RETURN 1/2 (TO AUX SEND) – Thetwo
right-hand STEREO AUX RETURN controls have a
special function: they can be used to add an eect to a
monitor mix.
(32) STEREO AUX RETURN FX – On consoles UB1622FX-PRO
and UB1832FX-PRO this is the STEREO AUX RETURN 2,
on consoles UB2222FX-PRO and UB2442FX-PRO this
is the STEREO AUX RETURN 3. Use the STEREO AUX
RETURN FX control to determine the level of the signal
routed from the AUX RETURN FX jacks to the main mix.
Ifnothing is connected to these jacks, the output of the
built-in eects module will appear.
(33) MAIN MIX TO SUBS – This switch routes the signal fed
in via the STEREO AUX RETURN FX jacks either to the
main mix (not pressed) or to the submix (pressed).
(34) SOLO RETURNS – Additionally, this model allows you
to route the aux returns together to the solo bus and
the PFL bus. The LED lights up when Solo is on.
(35) STEREO AUX RETURN 4 (UB2442FX-PRO only)–
This control behaves the same way as the other
stereo aux returns. Additionally, it provides for a
simple monitor path using the switch PHONES/CTRL
ROOMONLY.
(36) PHONES/CTRL ROOM ONLY – Use this switch to route
the signal appearing at the AUX RETURN 4 jacks to the
control room and headphones outputs.
(37) MON – The MON switch routes the signals appearing at
the AUX RETURN2 jacks to the monitor path, along with
the monitor signals from the channels.
(38) XPQ – The XPQ surround function can be
enabled/disabled with the XPQ TOMAIN switch.
This is a built-in eect that widens the stereo width,
thus making thesound more lively and transparent.
Use the SURROUND control to determine the intensity
of this eect.
(39) VOICE CANCELLER – Here, you have a lter circuitry
that lets you almost entirely remove the vocal portion
of a recording. Thelter is constructed in such a way
that voice frequencies are targeted without majorly
aecting the rest of the signal. Additionally, thelter
seizes only the middle of the stereo image,
exactly there where the vocals are typically located.
(40) 2-TRACK INPUT – The 2-TRACK INPUT jacks
(RCA) are designed to accept a 2-track recorder
(e.g. DAT recorder), or they can be used as stereo line
input. The output signal of a second EURORACK or
the BEHRINGER ULTRALINK PRO MX882 can also be
connected here.
(41) 2-TRACK OUTPUT – These connectors are wired
in parallel to the MAINOUT and carry the main mix
signal (unbalanced). Connectthis to the inputs of your
recording device. The nal output level can be adjusted
via the high-precision MAIN MIX fader.
(42) LAMP SOCKET – Use this BNC socket to connect a
gooseneck lamp (12 V DC, max. 0.5 A).
(43) 2-TRACK – The 2-TRACK switch routes the signal
from the 2-TRACK INPUT jacks to the level meter,
the CONTROL ROOMOUT outputs and the PHONES
jack—this is a simple way to check recorded signals via
monitor speakers or headphones.
(44) SUB 1-2 or SUB – The SUB 1-2 switch routes subgroup
1-2 to the level meter, CONTROL ROOM OUT and phones.
(45) SUB 3-4 – The SUB 3-4 switch performs a similar
function for subgroup 3-4 (UB2442FX-PRO only).
(46) MAIN MIX – The MAIN MIX switch sends the main mix
to the CONTROL ROOM OUT and the PHONES output as
well as to the level meter.
(47) PHONES/CTRL ROOM – Use this control to adjust the
control room output level and the headphones volume.
(48) 2-TRACK TO MAIN – When the 2-TRACK TO MAIN
switch is depressed, the 2-track input is routed to the
main mix and thus serves as an additional input for
tape machines. You can also connect MIDI instruments
or other signals here that do not require any
further processing.
(49) MODE – The MODE switch determines whether the
channels’ SOLO switch operates as PFL (Pre Fader Listen)
or as solo (Solo In Place).
(50) MAIN SOLO – The MAIN SOLO LED lights up as soon as
a channel or aux send solo switch is pressed. The MODE
switch must be set to “Solo”.
(51) PFL – The PFL LED indicates that the peak meter is set
to PFL mode.
(52) PHONES JACK – You can connect headphones to
this ¼" stereo jack (UB2442FX-PRO: 2 phones jacks).
The signal routed to the PHONES connection is the same
as that routed to the control room output.
(53) LEFT/RIGHT SWITCH – The switches located above
the subgroup faders assign the subgroup signal either
to the left or right side of the main bus. Similarly, itcan
be routed to both sides or none at all. In the lattercase,
the submix is present only at the corresponding
subgroup outputs.
(54) EQUALIZER – Use this switch to activate the
graphic equalizer.
(55) 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.
(56) 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.
(57) 24-BIT MULTI-EFFECTS PROCESSOR – Here you
can nd a list of all presets stored in the multi-
eects processor. This built-in eects module
produces high-grade standard eects such as reverb,
chorus, anger, delay and various combination eects.
Usethe AuxSend FX on the channels and the Aux
SendFX master control to determine the input signal of
the eects processor.
(58) LEVEL – The LED level meter on the eects module
should display a suciently 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 eects
processor and this could cause unpleasant distortion.
(59) PROGRAM – You can select the eect preset by turning
the PROGRAM control. The display ashes with the
number of the current preset. To recall the selected
preset, press on the button; the ashing stops. You can
also recall the selected preset with the foot switch.
(60) MAIN OUTPUTS – The MAIN outputs carry the
MAIN MIX signal and are on balanced XLR jacks with a
nominal level of +4 dBu.
(61) CONTROL ROOM OUTPUTS (CTRL OUT) – The control
room output is normally connected to the monitoring
system in the control room and carries the stereo mix
or, when selected, the solo signals.
(62) MAIN INS(ERTS) – These are the insert points for the
main mix. In the signal path, they are post-main mix
amp, but pre-main fader(s).
(63) SUB OUTPUTS – The subgroup outputs are
unbalanced and provide the mix of those channels
assigned to each subgroup with the SUB switch
(UB2442FX-PRO: switches 1-2 or 3-4) next to the
channel faders. TheEURORACK UB2442FX-PRO already
has subgroup outputs wired in parallel (1-5, 2-6, etc.).
(64) INSERTS – Insert points are very useful to process
channel signals with dynamic processors or equalizers.
Unlike reverb or other eects devices, whose signals are
usually added to the dry signal, dynamic processors are
most eective on the complete signal.
(65) DIRECT OUTPUTS – The direct outputs of the
UB2442FX-PRO (1 each per mono input channel)
areideal for recording if several tracks are to be
recorded simultaneously. These unbalanced phone
jacks are post-EQ, post-mute and post-fader.
(66) FUSE HOLDER/IEC MAINS RECEPTACLE
(67) POWER SWITCH – Use the POWER switch to turn on
the mixing console. The POWER switch should always
be in the “O” position when you are about to connect
your unit to the mains.
(68) PHANTOM SWITCH – The PHANTOM switch
activates the phantom power (necessary to operate
condensermicrophones) onthe XLR sockets of the
mono channels. The red +48 V LED illuminates when
phantom power is on. As a rule, dynamic microphones
can still be used with phantom power, provided that
they are wired in a balanced conguration. In case of
doubt, contact the microphone manufacturer!
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