Behringer Xenyx XL2400 Brochure

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All dials on the XL series are assigned 

to colors that not only allow you to easily 
locate each function, but to also quickly 
identify corresponding faders.

At the top of each mono channel strip, 

you’ll find a TRIM dial (white) for adjusting 
input gain and an 80 Hz switch that can 
eliminate unwanted infrasonics such as 
mic-handling noise.

Each mono channel has a 4-band EQ 

(High, High Mid, Low Mid, Low). High Mid 
and Low Mid dials (blue) are each paired 
with a FREQ control (lighter blue) that 
allows you to select the frequency boosted 
or cut. Directly below the EQ, there’s an 
EQ switch allowing you to switch between 
processed and unprocessed signals.

British EQ is a smashing thing to have 

on your side when you start reaching for 
those channel equalization knobs at a live 
concert or in the studio. 

The EQ’s on British consoles from the 

60’s and 70’s are what many engineers 
believe does their sound the best justice. 
When it comes to tweaking your sound, 
they’re kind, gentle and above all, musical. 
It’s like drinking a fine scotch instead of 
fortified wine—or maybe receiving a warm 
hug instead of a kick to the crotch.  

British EQ’s distinct configuration 

of wider curves/lower Q and harmonic 
phase characteristics allows you to add 
or subtract EQ more generously than you 
can with conventional EQ circuit designs.  
When you add low midrange, you get 
a firmer sound instead of a nasty bonk.  
When you back high frequencies off a 
bit, treble backs off just a hair instead of 
turning muffled.

Controls for the channel’s FX (orange), 

MON (blue) and AUX (red) sends are 
directly below the EQ section. Use these 
to assign a channel to an outboard 
FX processor or monitor and auxiliary 
channels. Further down the channel 
strip, the PAN control (black) determines 
the signal’s position in the stereo mix. 
The channel fader (black) adjusts the level 
of the channel signal as part of the main 
mix. Press the 1-2 or 3-4 switches to assign 
the channel to a bus.

Stereo channels are configured 

in the same way, but with a 
fixed-frequency 4-band EQ (blue). 
They are equipped with ¼" stereo 
inputs, as well as XLR mono inputs, 
providing 4 additional Mic channels.

Once all mics and instruments are 

connected, it’s time to take a look at 
the MAIN, subgroup, MONITOR and 
FX sections.

All four subgroups’ controls are 

positioned in the lower right corner of 
the mixer. They feature individual faders 
with CLIP LEDs, SOLO switches and 
PAN controls to adjust the signal’s position 
in the stereo image.

The FX section is positioned on the 

middle right section of the console. 
Both FX 1 and FX 2 signals have orange 
faders; SOLO and MUTE switches; 1-2 
and 3-4 switches that assign the signal to 
subgroups; MAIN switches to route the 
signals to the main outputs; MON dials 
(blue) that determine the level of FX heard 
in Monitor sends 1 & 2; and SEND dials 
(orange) for adjusting the volume of all 
FX send signals.

Both monitor sends also have their own 

dedicated faders (blue), as well as MUTE 
and SOLO switches.

14-LED ladders for Main and  
Monitor level metering

Separate pre/post Main B output

Long-wearing 60 mm logarithmic-
taper faders and sealed rotary 
controls

Internal autorange power  
supply for maximum flexibility  
(100 – 240 V~), noise-free audio, 
superior transient response plus 
low power consumption for 
energy saving