Behringer 2442FX 用户手册

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

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

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) 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.

Fig. 2.4: The panorama and routing controls and the channel fader

PAN
The PAN control determines the position of the channel 

signal within the stereo image. When working with 

subgroups, you can use the PAN control to assign the signal 

to just one output, which gives you additional flexibility 

in recording situations. For example, when routing to 

subgroups 3 and 4, panning hard left will route the signal 

to group output 3 only, and panning hard right will route to 

group output 4 only.

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. 

MUTE LED
The MUTE LED indicates a muted channel. 

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.

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) (cf. chap. 2.3.10 “Level 

meters and monitoring”).

SUB (1-2 and 3-4)
The SUB switch routes the signal to the corresponding 

subgroups. The 2442FX has 4 subgroups (1-2 and 3-4).

MAIN
The MAIN switch routes the signal to the main mix bus.
The channel fader determines the channel’s volume in the 

main mix (or submix).

Fig. 2.5: The various stereo channel inputs

Each stereo channel has two balanced line level inputs on 

jacks for left and right channels. Channels 9/10 and 11/12 on 

the 2442FX feature an additional XLR microphone jack with 

phantom power. If only the left jack (marked “L”) is used, the 

channel operates in mono. The stereo channels are designed 

to handle typical line level signals, and, depending on 

model, have a level switch (+4 dBu or -10 dBV) and/or a line 

GAIN control. Both jack inputs will also accept unbalanced 

connectors.

LOW CUT and MIC GAIN
These two control elements operate on the XLR connectors 

of the 2442FX, and are used to filter out frequencies below 

75 Hz (LOW CUT) and to adjust microphone levels (MIC 

GAIN).

LINE GAIN
Use this control to adjust the line signal levels on channels 

13-16 (2442FX only).

LEVEL 
For level matching, the stereo inputs on the 1622FX, 1832FX 

and 2222FX 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).

The stereo channels contain a stereo EQ section. The cut-off 

frequencies of the high and low bands are 12 kHz and 80 Hz 

respectively, while the center frequencies of the high-mid 

and low-mid bands are 3 kHz and 500 Hz respectively. The 

HIGH and LOW controls have the same characteristics as the 

EQ in the mono channels. Both mid range bands are of the 

peak filter type. A stereo EQ is superior to two mono EQs on 

a stereo signal as two separate EQs will usually result in a 

discrepancy between left and right channels.

In principle, the aux sends of the stereo channels function 

the same way as those of the mono channels. As the aux 

sends are mono, the send from a stereo channel is first 

summed to mono before it reaches the aux bus.

Fig. 2.6: Balance control and mute switch