Behringer Eurorack UB1222FX-Pro - Stereo Channels Overview; Stereo Channel Inputs; Balance, Mute Switch, and Channel Fader; Connector Panel and Main Section

14 15EURORACK UB1222FX-PRO Quick Start Guide
EURORACK UB1222FX-PRO Controls
(EN) Controls
(1) MIC – Each mono input channel oers a balanced
microphone input via the XLR connector and also
features a switchable +48 V phantom power supply for
condenser microphones.
(2) LINE IN – Each mono input also features a balanced line
input on a ¼" connector.
(3) INSERT – Insert points enable the processing of a signal
with dynamic processors or equalizers and pre-aux send.
(4) LOW CUT – The mono channels of the mixing consoles
have a high-slope LOW CUT lter for eliminating
unwanted, low-frequency signal components
(80Hz,18dB/octave).
(5) 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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 dBu) refers to the
line input and shows its sensitivity.
(6) 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.
(7) The upper (HIGH) and the lower band (LOW) 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 band are 12 kHz and 80Hz
respectively. Themid band is congured as a peak lter
with a center frequency of 2.5 kHz.
(8) MON – In the UB1222FX-PRO, aux send 1 (MON) is wired
pre-fader and is thus particularly suitable for setting up
monitor mixes.
(9) FX – The aux send labeled FX is for feeding external
eects devices and is thus set up to be post-fader.
(10) 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.
(11) MUTE – Use the MUTE switch to mute the channel.
(12) MUTE LED – The MUTE LED indicates that the relevant
channel is muted.
(13) CLIP LED – The CLIP LED lights up when the input signal
is driven too high.
(14) Each stereo channel features two line-level inputs on
¼" 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.”
(15) Both channels ⁄ and ⁄ feature an additional balanced
XLR input for microphones with available +48 V
phantom power.
(16) 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 preamplication 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.
(17) 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 amplier for monitorpurposes.
(18) FX TO MON – You can use this control to insert an
eects signal from the built-in eects processor to your
monitormix.
(19) 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.
(20) FX SEND – The FX SEND fader determines the overall
level of the eects bus. Both external eects processors
(via the FX SEND connector) and the built-in processor
only receive an input signal if this control is open.
(21) FX TO MAIN – Use the FX TO MAIN control to feed the
eects signal into the main mix. If the control is turned
all the way to the left, no eects signal can be heard.
(22) FX MUTE – If the FX MUTE switch is pressed, the eects
channel is muted, i.e. no signal is present at the FX SEND
connector and the eects processor no longer receives
an input signal.
(23) 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.
(24) 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 eects device in order to process the FX
bus’ master signal. Once an eects mix is created,
theprocessed signal can then be routed from the eects
device outputs back into the AUX RETURN connectors.
(25) AUX RETURN 1 – The AUX RETURN 1 connectors
generally serve as the return path for the eects mix
generated using the FX send. This is where you connect
the output signal of the external eects device. If only
the left connector is used, the aux return 1automatically
operates in mono.
(26) 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 eects signal back into the console
via a dierent stereo channel, with the added benet
that the channel EQ can be used to adjust the frequency
response of the eects return signal.
(27) 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.
(28) 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.
To bring in other sound sources, you can use the 2-track
inputs, stereo input channels 9 to 12 and the aux
returninputs.
(29) 2-TRACK MUTE – Using this switch, the input signal
from the 2-track inputs is muted.
(30) 2-TRACK RET(URN) – This stereo fader assigns the input
signal from the 2-track inputs into the mainmix.
(31) 2-TRACK INPUT – The 2-TRACK INPUT RCA connectors
are provided for connecting a 2-track machine
(e.g.DATrecorder) or also a CD player.
(32) 2-TRACK OUTPUT – These connectors are wired pre
graphic EQ and pre XPQ surround function. Theycarry
the main mix signal (unbalanced), eects mix included.
Connect the 2-TRACK OUTPUT to the inputs of your
recording device.
(33) MAIN MIX – Use the high-precision quality faders to
control the output level of the main mix.
(34) MAIN OUT – The MAIN outputs carry the MAIN MIX
signal and are on balanced XLR connectors with a
nominal level of +4 dBu.
(35) PHONES/CTRL connector – You can connect
headphones to this ¼" TRS connector. The connector
can also be used for feeding active monitor
loudspeakers (or an amplier) in your control room.
For this purpose, the signal is taken directly before
itispassed on to the main mix faders.
(36) POWER – The blue POWER LED indicates that the
device is switched on.
(37) +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.
(38) LEVEL METER/CLIP – The high-precision level meter
accurately displays the appropriate signal level.
(39) 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. Thegraphic stereo equalizer has to be
turned on in order to use this function.
(40) EQ IN – Use this switch to activate the graphic
equalizer. When activated, the fader LEDs
willilluminate.
(41) 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.
(42) 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.
(43) POWER – Use the POWER switch to power up the
mixing console. The POWER switch should always be in
the “O” 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.
(44) 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.
(45) SERIAL NUMBER.
(46) 24-BIT MULTI-EFFECTS PROCESSOR –
Hereyoucannd a list of all presets stored in the
multi-eects processor.
These eect 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 eect signal.
This also goes for mixing eects signals with the
monitor mix. The main dierence is that the mix ratio
is adjusted using the FX TO MON control. Of course,
asignal has to be fed into the eects processor via the
FX control in the channel strip for both applications.
(47) FOOTSWITCH – Connect a standard footswitch to the
footswitch connector; use this to switch the eects
processor on and o. A ashing dot at the bottom of the
display indicates if the eects processor is muted via
the footswitch.
(48) 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.
The FX SEND fader determines the level that reaches the
eects module.
(49) PROGRAM – You can select the eect preset by turning
the PROGRAM control. The display ashes the number
of the current preset. To recall the selected preset,
pressthe button; the ashing stops. You can also recall
the selected preset using thefootswitch.
(50) XPQ – The 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.
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