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Руководство по эксплуатации Страница: 6

Behringer QX2222USB Руководство по эксплуатации онлайн [6/26] 758868

6 XENYX QX2442USB/QX2222USB/QX1832USB/QX1622USB User Manual

WIRELESS INPUT

This connector accepts a USB receiver for use with BEHRINGER ULM wireless

microphones. Note that only one source may be used per channel, either the

wireless connection, XLR input, or the ¼" input.

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 dierent value ranges: the rst value range (+10 to +60 dB)

refers to the MIC input and shows the amplication for the signals fed in there.

The second value range (-10 to +40 dBu) refers to the line input and shows

its sensitivity. The settings for equipment with standard 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 ne-tuning,

theequalizer should be set to neutral.

LOW CUT

Additionally, the mono channels of the mixing consoles have a high-slope

LOWCUT lter 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 eect. The adjacent LED

with light when the eect is engaged.

2.1.2 Equalizer

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

bands. All bands provide boost or cut of up to 15 dB. In the central position,

theequalizer is o (at).

The circuitry of the British EQ is based on the technology used in the best-known

top-of-the-line consoles and providing a warm sound without any unwanted

side eects. The result are extremely musical equalizers which, unlike simple

equalizers, cause no side eects such as phase shifting or bandwidth limitation,

even with extreme gain settings of ±15 dB.

All Models

Fig. 2.2: Equalizer of the input channels

The upper (HIGH) and the lower (LOW) bands are shelving lters that increase

or decrease all frequencies above or below their cut-o frequency. The cut-o

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

lter 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 eects busses (Aux Sends)

QX1622USB

QX2442USB

Fig. 2.3: Aux Send control MON and FX in the channel strips

Monitor and eects 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 - QX1832USB)

and then routed, for example, to an active monitor speaker or external eects

device. Inthe latter case, the eects return can then be brought back into the

console via the aux return connectors.

All monitor and eects busses are mono, are tapped into post EQ and oer

amplication of up to +15 dB.

Pre-fader/post-fader

When using eects on a channel signal, it is usual to have the aux send post fader

so that the balance between eect and dry signal stays constant even when

the channel fader is altered. If this were not the case, the eects 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.

The aux send marked FX oers a direct route to the built-in eects processor and

is therefore post-fader and post-mute. Please refer to chapter 4 “Digital Eects

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 (QX2442USB and

QX2222USB), 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.

◊ QX1622USB and QX1832USB: On these consoles, the above note refers

to the STEREO AUX RETURN 2 jacks as these models do not have a

dedicated effect output.

Behringer QX2222USB Руководство по эксплуатации онлайн [6/26] 758868

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