Behringer Xenyx X2222USB Bus Mixer User Manuals

Behringer Xenyx X2222USB Bus Mixer 

Important Safety Instructions

Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock. Use only high-quality professional speaker cables with ¼”TS or twist-locking plugs pre-installed. All other
installation or modification should be performed only by qualified personnel.

Caution

These service instructions are for use by qualified service personnel only. To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualified service personnel.

1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including  amplifiers that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
11. Use only attachments/accessories specified by the manufacturer.
12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has
    been dropped.
15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.
16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

LEGAL DISCLAIMER

TECHNICAL SPECIFICATIONS AND APPEARANCES ARE SUBJECT TO CHANGE WITHOUT NOTICE AND ACCURACY IS NOT GUARANTEED. BEHRINGER, KLARK TEKNIK, MIDAS, BUGERA, AND TURBOSOUND ARE PART OF THE MUSIC GROUP (MUSIC-GROUP.COM).

ALL TRADEMARKS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NO LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED BY ANY PERSON WHO RELIES EITHER WHOLLY OR  IN PART UPON ANY DESCRIPTION, PHOTOGRAPH OR STATEMENT CONTAINED HEREIN. COLORS AND SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.

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ALL RIGHTS RESERVED.

© 2013 MUSIC Group IP Ltd.
Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands

LIMITED WARRANTY

For the applicable warranty terms and conditions and additional information regarding MUSIC Group’s Limited Warranty, please see complete details online at www.music-group.com/warranty.

Introduction

XENYX Mic Preamp

The microphone channels feature high-end XENYX Mic Preamps that compare well with costly outboard preamps in terms of sound quality and dynamics and boast the following features:

• 130 dB dynamic range for an incredible amount of headroom
• A bandwidth ranging from below 10 Hz to over 200 kHz for crystal-clear reproduction of even the finest nuances
• The extremely low-noise and distortion-free circuitry guarantees absolutely natural and transparent signal reproduction
• They are perfectly matched to every conceivable microphone with up to 60 dB gain and +48 volt phantom power supply
• They enable you to use the greatly extended dynamic range of your 24-bit/192-kHz HD recorder to the full, thereby maintaining optimal audio quality

“British EQ”

The equalizers used for the XENYX Series are based on the legendary circuitry of top-notch consoles made in Britain, which are renowned throughout the world for their incredibly warm and musical sound character. Even with extreme gain settings these equalizers ensure outstanding audio properties.

Multi-effects processor

Additionally, your XENYX mixing console has an effects processor with 24-bit A/D and D/A converters included, which gives you 16 presets producing first-class reverb, delay and modulation effects plus numerous multi-effects in excellent audio quality.

The XENYX mixing consoles are equipped with a state-of-the-art switched-mode power supply (SMPS). Unlike conventional circuitry an SMPS provides an optimum supply current regardless of the input voltage. And thanks to its considerably higher efficiency a switched-mode power supply uses less energy than conventional power supplies.

FBQ Feedback Detection System

The FBQ Feedback Detection System integrated into the graphic EQ of your X1832USB is one of this mixer’s most outstanding features. This ingenious circuitry lets you immediately recognize and eliminate feedback frequencies. The FBQ Feedback Detection System uses the LEDs in the frequency band faders of the graphic EQ to indicate the critical frequencies. This way, what once used to be a labor-intensive search for feedback frequencies is now an activity that even a child could master.

Voice Canceller

We have added another useful feature to the XENYX X1832USB: the Voice Canceller. The Voice Canceller is a filter circuitry that filters out vocal portions from a track. Therefore, this mixing console is ideally suited for use as a karaoke machine. This feature is also an optimal solution for singers who need accompanying music for their rehearsals.

General mixing console functions

A mixing console fulfils three main functions:

• Signal processing: Preamplification

Microphones convert sound waves into voltage that has to be amplified several-fold; then, this voltage is turned into sound that is reproduced in a loudspeaker. Because microphone capsules are very delicate in their construction, output voltage is very low and therefore susceptible to interference. Therefore, mic signal voltage is amplified directly at the mixer input to a higher signal level that is less prone to interference.

This higher, interference-safe signal level has to be achieved through amplification using an amplifier of the highest quality in order to amplify the signal and add as little noise to it as possible. The XENYX Mic Preamp performs this role beautifully, leaving no traces of noise or sound coloration. Interference that could take place at the preamplification level could affect signal quality and purity, and would then be passed on to all other devices, resulting in inaccurate sounding program during recording or playback.

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.

Effects mixing

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.

Signal distribution

Individual signals adjusted at each channel strip are laid out at the aux sends and returns, and are either led into external elects processors or ted 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 amplifiers, headphones and 2-track outputs can also be taken.

Mix

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 optimized in such a way that these functions become easy to fulfill while the signal path remains simple to follow.

The user’s manual

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://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.

• The block diagram supplied with the mixing console gives you an overview of the connections between the inputs and outputs, as well as the associated switches and controls.

Before you get started

Shipment

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.

• If the unit is damaged, please do NOT return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not be granted.

Initial operation

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 note that all units must be properly grounded. For your own safety, you should never remove any ground connectors from electrical devices or power cables, or render them inoperative.
• Please ensure that only qualified people install and operate the mixing console. During installation and operation, the user must have sufficient electrical contact to earth, otherwise electrostatic discharges might affect the operation of the unit.

Online registration

Please register your new BEHRINGER equipment right after your purchase by visiting http://behringer.com and read the terms and conditions of our warranty carefully. Should your BEHRINGER product malfunction, it is our intention to have it repaired as quickly as possible. To arrange for warranty service, please contact the BEHRINGER 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 (http://behringer.com). Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently.

Thank you for your cooperation!

Control Elements and Connectors

This chapter describes the various control elements of your mixing console. All controls, switches and connectors will be discussed in detail.

Mono channels

Microphone and 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.

• Please mute your monitor system before you switch on phantom power. Otherwise potentially damaging thumps will be sent to your speakers. Please also note the instructions in chapter 5.5 “Voltage supply, phantom power and fuse”.

LINE IN

Each mono input also has a balanced line input on a * jack. You can also connect unbalanced devices using mono jacks to these inputs.

• Please remember that you can use either the microphone input or the line input of a channel, but not both at the same time!

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. Detailed information on using insert points can be found in chapter 5.3.
• Unlike the X2442USB, the X1622USB, X1832USB and X2222USB have their insert points located on the rear of the console.

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 standard line-level signals (-10 DBV or +4 DBV) 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 DBV, 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-B 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.

Equalizer

All mono input channels have a 3-band equalizer with semi-parametric mid bands. All bands provide boost or cut of up to15 DBV . 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 DBV .

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.

2.1.3 Monitor and effects busses (Aux Sends)

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 DBV .

Pre-fader/post-fader

When using effects on a channel signal, it is usual to have the aux send post fa 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 v 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 a is therefore post-fader and post-mute. Please refer to chapter 4 “Digital Effect Processor” for detailed information.

• If you are using the built-in effects processor, make sure that STEREO AUX RETURN 3 has nothing plugged into it (X2442USB and X2222USB otherwise the internal effects return will be muted. This is not relevant if you use the FX OUT jack to drive an external effects device.
• X1622USB and X1832USB: On these consoles, the above note refers to the STEREO AUX RETURN 2 jacks as these models do not have a dedicated effect output.

Routing switch, PAN, SOLO and channel fader

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 X2442USB 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 sub mix).

Stereo channels

Channel inputs

Fig. 2.5: The various stereo channel inputs

LOW CUT and MIC GAIN

These two control elements operate on the XLR connectors of the X2442USB, 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 (X2442USB only)

LEVEL

For level matching, the stereo inputs on the X1622USB, X1832USB and X2222USB have a LEVEL switch to select between +4 DBV and -10 DBV. At -10 DBV (home recording level), the input is more sensitive than at +4 DBV (studio level).

 Equalizer stereo channels

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.

Aux sends stereo 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 channe3 is first summed to mono before it reaches the aux bus.

Routing switch, solo and channel fader

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). The remaining control elements in the stereo channels perform the same functions as their counterparts in the mono channels (MUTE switch, MUTE and CLIP LEDS, SOLO switch, SUB and MAIN switches and channel fader).

Interface panel and main section

Where it was useful to trace the signal flow from top to bottom in order to gain an understanding of the channel strips, we now look at the mixing console from left to right. The signals are, so to speak, collected from the same point on each of the channel strips and then routed to the main section all together.

MON control, aux sends 1, 2 and 3 (FX)

Turning up the AUX 1 control in a channel routes the signal to the aux send bus 1.

• As the X1832USB is equipped with an additional monitor path, its first aux control in the channel strips is named MON. The console also has a dedicated master fader (MON SEND) for this aux path.

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 control is the master control for the aux 2 bus, and AUX SEND 4 controls the AUX 4 bus.

Fig. 2.7: The AUX SEND controls of the main section!

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.

X1622USB and X1832USB: On these consoles, this function is performed by the AUX SEND 2 control (FX).

SOLO

You can use the SOLO switch to separately monitor the aux sends via the CONTROL ROOM/PHONES outputs and check these with the level meters.

• If you want to monitor the signal of just one AUX bus, none of the other SOLO SWITCHES should be pressed and the MODE switch should be in the SOLO position (not depressed).

Aux send jacks

Fig. 2.8: Aux send jacks

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.

• On the X2222USB, aux send 1 is hard wired as pre-fader and hence called MON. Model X1832USB has a dedicated monitor output (MON OUT jack), cf. chapter 2.3.4.

As already mentioned, the aux sends in the channels— if set post-fader— can be used to connect to external effects devices.

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.

 Stereo aux return connectors

Fig. 2.9: The aux return connectors

• On the X2222USB, X1832USB and X1622USB the STEREO AUX RETURN jacks are located on the front panel of the unit.

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.

• You can also use these jacks as additional line inputs. All stereo aux returns are balanced, but can of course also be used with unbalanced connectors. If you use an aux send for monitoring, the associated unused stereo aux returns are available for other line level signals (e.g. keyboards).
• A signal fed into the stereo return jacks can be output via an aux send jack. More information on this can be found in chapter 2.3.5 “STEREO AUX RETURN 1/2 (TO AUX SEND)”.

STEREO AUX RETURN FX

The STEREO AUX RETURN FX jacks accept the effects mix return (created using the channel FX sends). If these jacks are already in use as additional inputs, you can route the effects signal back into the console via a different channel. The advantage of this is that you can now use that channel’s EQ on the effects return signal.

Monitor mix with effect

In this instance, your effects device should be set up as follows: the AUX SEND 2 jack should be connected to the L/Mono input of your effects device, with its outputs coming back into the STEREO AUX RETURN 1 jacks. Connect the AUX SEND 1 jack output to the amplifier of your monitor system. The AUX SEND 1 master control determines the overall volume of the monitor mix.
Using the STEREO AUX RETURN (TO AUX SEND) control, the effect signal can now be blended into the monitor mix. You can easily use the headphones distribution amplifier BEHRINGER POWERPLAY PRO HA4700/HA8000 to provide four (HA8000: eight) stereo headphone mixes for your studio.

The following table shows which jacks on the console can be used for this purpose.

CD/Tape input, CD/tape output

Level meter and monitoring

PFL (LEVEL SET)

To activate the PFL function, press the MODE switch. The PFL function should, as a rule, be used for level setting (GAIN). The signal Is sourced pre-fader and assigned to the mono PFL bus. In “PFL” mode, only the left side of the peak meter is in operation. A PCFL’s channel should be driven to the 0 dB mark of the VU meter.

SOLO (NORMAL)

When the MODE switch is not depressed, the stereo solo bus is active. Solo is actually short for “Solo in Place”. This is the customary method for listening to an individual signal or to a group of signals. As soon as a solo switch is pressed, all channels not solo selected are muted in the monitor path (control room and phones). A channel’s position in the stereo image is maintained. The solo bus carries the output signals of the channel pan controls, the aux sends and the stereo line inputs. On the X2442USB all aux returns, and on the X1832USB only aux return 2 can be routed to the solo bus. The solo bus is, as a rule, taken post-fader.

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 sub mix is present only at the corresponding subgroup outputs.

Graphic 9-Band Equalizer (X1832USB only)

The graphic stereo equalizer allows you to tailor the sound to the room acoustics.

Digital Effects Processor

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, flinger, 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.

The built-in stereo effects processor has the advantage that it does not need to be wired up. This excludes the danger of humming or level mismatch right from the start and thus considerably facilitates use. These effect presets are classical “mixing effects”. If you move the STEREO AUX RETURN FX control, you mix the channel signal (dry) and the effect signal. You can control the balance between the two signals with the channel fader and the STEREO AUX RETURN FX control.

FX OUT

Mixing consoles X2222USB and X2442USB have a separate output for the effects device, which is unbalanced and stereo (tip = left signal; ring = right signal; sleeve = ground/shielding). Thus, you can record, for example, a vocal track enhanced with reverb in parallel to a “dry” vocal track; when doing the mix-down later on, you can freely determine the amount of reverb added.

• The X2442USB has the effect output on the rear, X2222USB has it located next to the aux sends on the front panel.

FX FOOTSW

Connect a standard foot switch to the foot switch jack and use this to switch the effects processor on and off. A light at the bottom of the display indicates wheatear the effects processor has been muted by the foot switch.

Rear Panel Connectors

Main mix outputs, insert points and control room outputs

Installation

Rack mounting

The packaging of your mixing console contains two 19″ rack mounts for installation on the side panels of the console. Before you can attach the rack mounts to the mixing console, you need to remove the screws holding the left and right side panels.

Then, use these screws to fasten the two rack mounts, each specifically to one side. With the rack mounts installed, you can mount the mixing console in a commercially available 19″ rack. Be sure to allow for proper air flow around the unit, and do not place the mixing console close to radiators or power amps, so as to avoid overheating.

Cable connections

You will need a large number of cables for the various connections of the console. The illustrations below show the wiring of these cables. Be sure to use only high- grade cables.

Audio connections

Please use commercial RCA cables to wire the 2-track inputs and outputs. You can, of course, also connect unbalanced devices to the balanced input/ outputs. Use either mono plugs, or use stereo plugs to link the ring and shaft (or pins 1 & 3 in the case of XLR connectors).

XLR connections

¼” mono plug

6.4: ¼” stereo plug

Insert send/return stereo plug

Stereo plug for headphones connection

Specifications

Microphone Inputs (XENYX Mic Preamp)

Type: Mic E.I.N. (20 Hz – 20 kHz)

• 0.0 Ω source resistance :134 dB / 135.7 dB A-weighted
• 50 Ω source resistance:131 dB / 133.3 dB A-weighted
• 150 Ω source resistance:129 dB / 130.5 dB A-weighted
• Frequency response:<10 Hz – 150 kHz (-1 dB), <10 Hz – 200 kHz (-3 dB)
• Gain range:+10 to +60 dB
• Max. input level:+12 DBV @ +10 dB Gain
• Impedance: approx. 2.6 k Q balanced
• Signal-to-noise ratio: 110 dB / 112 dB A-weighted
• XLR, electronically balanced, discrete input circuit: (0 DBV In @ +22 dB gain

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Behringer Xenyx X2222USB Bus Mixer -FAQs