Behringer Xenyx 1832FX 사용자 설명서

XENYX 1622FX/1832FX/2222FX/2442FX User Manual

XENYX 1622FX/1832FX/2222FX/2442FX User Manual

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.

Frequency response correction
Using the equalizers found in each channel strip, you can 

simply, quickly and effectively adjust the way a signal 

sounds.

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.

: 

Individual signals adjusted at each channel strip are laid 

out at the aux sends and returns, and 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.

: 

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 control surface of BEHRINGER mixing consoles is  

opti-mized in such a way that these functions become easy 

to fulfil while the signal path remains simple to follow.

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 information and explanations about various 

music industry/audio technology terminology can be found 

on individual product pages as well as in the glossary. 

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.

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 as radiators or power amps. The console is connected 

to the mains via the supplied cable. The console meets 

the required safety standards. Blown fuses must only be 

replaced by fuses of the same type and rating.

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 distributors 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. 

This chapter describes the various control elements of your 

mixing console. All controls, switches and connectors will be 

discussed in detail.

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 switchable  

+48 V phantom power supply for condenser microphones. 

The XENYX preamps provide undistorted and noise-free gain 

as is typically known only from costly outboard preamps.

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.

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 dB) refers to the line 

input and shows its sensitivity. The settings for equipment 

with st andard 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).

All mono input channels have a 3-band equalizer with semi-

parametric mid bands. All bands provide boost or cut of up 

to15 dB. In the central position, the equalizer is off (flat).
The circuitry of the British EQs 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.