Behringer Xenyx QX2442USB Owner's Manual

XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB User Manual

WIRELESS INPUT
This connector accepts a USB receiver for use with BEHRINGER ULM wireless 

microphones. Note that only one source may be used per channel, either the 

wireless connection, XLR input, or the ¼" input.

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 different value ranges: the first value range (+10 to +60 dB) 

refers to the MIC input and shows the amplification for the signals fed in there.
The second value range (-10 to +40 dBu) refers to the line input and shows 

its sensitivity. The settings for equipment with standard line-level signals 

(-10 dBV or +4 dBu) look like this: While the GAIN control is turned all the way 

down, connect your equipment. Set the GAIN 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 GAIN slightly, for -10 dBV 

a bit more. Fine-tuning of a signal being fed in is done using the level meter. 

To route the channel signal to the level meter, you have to press the SOLO switch 

and set the MODE switch in the main section to PFL (LEVEL SET).
Using the GAIN control, drive the signal to the 0-dB mark. This way you have 

a vast amount of drive headroom for use with very dynamic signals. The CLIP 

display should light up only rarely, preferably never. While fine-tuning, 

the equalizer should be set to neutral.

LOW CUT
Additionally, the mono channels of the mixing consoles have a high-slope 

LOW CUT filter for eliminating unwanted, low-frequency signal components 

(75 Hz, 18 dB/octave).

COMPRESSOR
Each mono channel features a built-in compressor which lowers the dynamic 

range of the signal and increases its perceived loudness. The loud peaks are 

squashed down and the quiet sections are boosted. 
Turn the COMP knob clockwise to add more compression effect. The adjacent LED 

with light when the effect is engaged.

2.1.2  Equalizer
All mono input channels have a 3-band equalizer with semi-parametric mid 

bands. All bands provide boost or cut of up to 15 dB. In the central position, 

the equalizer is off (flat).
The circuitry of the British EQ is based on the technology used in the best-known 

top-of-the-line consoles and providing a warm sound without any unwanted 

side effects. The result are extremely musical equalizers which, unlike simple 

equalizers, cause no side effects such as phase shifting or bandwidth limitation, 

even with extreme gain settings of ±15 dB.

Fig. 2.2: Equalizer of the input channels

The upper (HIGH) and the lower (LOW) bands 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 bands are 12 kHz and 80 Hz respectively. 

For the mid range, the console features a semi-parametric equalizer with a 

filter 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.

Fig. 2.3: Aux Send control MON and FX in the channel strips

Monitor and effects busses (AUX sends) source their 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 (for monitoring applications: MON OUT - QX1832USB) 

and then routed, for example, to an active monitor speaker or external effects 

device. In the latter case, the effects return can then be brought back into the 

console via the aux return connectors.
All monitor and effects busses are mono, are tapped into post EQ and offer 

amplification of up to +15 dB.

Pre-fader/post-fader
When using effects on a channel signal, it is usual to have the aux send post fader 

so that the balance between effect and dry signal stays constant even when 

the channel fader is altered. If this were not the case, the effects signal of the 

channel would remain audible even when the channel fader is turned all the way 

down. For monitoring, the aux sends are generally pre-fader, i.e. they operate 

independently of the position of the channel fader.

PRE
When the PRE switch is pressed down, the associated aux send is taken pre-fader.

FX
The aux send marked FX offers a direct route to the built-in effects processor and 

is therefore post-fader and post-mute. Please refer to chapter 4 “Digital Effects 

Processor” for detailed information.