Behringer Europack UB2222FX-Pro Quick Setup Guide

EURORACK UB2442FX-PRO/UB2222FX-PRO/UB1832FX-PRO/UB1622FX-PRO

Quick Start Guide

(EN) 

(1) 

MIC – Each mono input channel offers 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 1/4" 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 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.

(5) 

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).

(6) 

EQUALIZER – 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.

(7) 

PRE – When the PRE switch is pressed down, 

the associated aux send is taken pre-fader.

(8) 

FX – The aux send marked FX offers a direct route to the 

built-in effects 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 off 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 affecting 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 filter 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 effects processing, i.e. regulates the level to an 

external (or the internal) effects 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 effects device to 

process the FX bus. The processed signal can then 

be brought from the effects 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 effects mix 

(created using the post-fader aux sends) by connecting 

the output of an external effects 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 effects mix return (created using the 

channel FX sends).

(27) 

The first 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 effects 

return, this will determine the level of the effects 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 effect 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 effects 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 effect that widens the stereo width, 

thus  making the sound more lively and transparent. 

Use the SURROUND control to determine the intensity 

of this effect.

(39) 

VOICE CANCELLER – Here, you have a filter circuitry 

that lets you almost entirely remove the vocal portion 

of a recording. The filter is constructed in such a way 

that voice frequencies are targeted without majorly 

affecting the rest of the signal. Additionally, the filter 

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 final 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 1/4" 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 find a list of all presets stored in the multi-

effects processor. This built-in effects module 

produces high-grade standard effects such as reverb, 

chorus, flanger, delay and various combination effects. 

Use the Aux Send FX on the channels and the Aux 

Send FX master control to determine the input signal of 

the effects processor.

(58) 

LEVEL – The LED level meter on the effects module 

should display a sufficiently 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 effects 

processor and this could cause unpleasant distortion.

(59) 

PROGRAM – You can select the effect preset by turning 

the PROGRAM control. The display flashes with the 

number of the current preset. To recall the selected 

preset, press on the button; the flashing 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 effects devices, whose signals are 

usually added to the dry signal, dynamic processors are 

most effective 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) 

(67) 

POWER SWITCH – Use the POWER switch to turn on 

the mixing console. The POWER switch should always 

be in the “Off” 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 configuration. In case of 

doubt, contact the microphone manufacturer!