Behringer EURORACK PRO RX1202FX Manual de usuario

User Manual

EURORACK PRO RX1202FX

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preampliers, British EQ’s and

Multi-FX Processor

2 EURORACK PRO RX1202FX User Manual

Thank you

Congratulations! In purchasing our EURORACK PRO RX1202FX you have

acquired a mixing console whose small size belies its incredible versatility

and audio performance.

Table of Contents

Thank you ....................................................................... 2

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited warranty ............................................................ 3

1. Introduction ............................................................... 4

1.1 General mixing console functions ............................... 4

1.2 The user’s manual ............................................................... 5

1.3 Before you get started ...................................................... 5

2. Control Elements and Connectors .......................... 5

2.1 Mono channels .................................................................... 5

2.2 Stereo channels ................................................................... 6

2.3 Connector array of the main section ........................... 7

2.4 Main section ......................................................................... 8

2.5 Digital eects processor .................................................. 9

2.6 Voltage supply, phantom power supply

and fuse .......................................................................................... 9

3. Applications ............................................................. 10

3.1 Recording studio ............................................................... 10

3.2 Live sound ........................................................................... 11

4. Installation ............................................................... 12

4.1 Mains connection ............................................................. 12

4.2 Audio connections ........................................................... 12

5. Specications ........................................................... 13

6. EURORACK PRO RX1202FX Eects Presets ............ 15

3 EURORACK PRO RX1202FX User Manual

Important Safety

Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

Terminals marked with this symbol carry

electrical current of su cient 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 modi cation should be performed only

by quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the

enclosure-voltage that may be su cient to constitute a

risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the

accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, donot

remove the top cover (or the rear section).

No user serviceable parts inside. Refer servicing to

quali ed personnel.

Caution

To reduce the risk of  re or electric shock,

do not expose this appliance to rain and

moisture. The apparatus shall not be exposed to dripping

or splashing liquids and no objects  lled with liquids,

suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed 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 quali ed

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 ampli ers) 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  t 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 speci ed by

themanufacturer.

12. Use only with the

cart, stand, tripod, bracket,

or table speci ed 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 quali ed 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.

17. Correct disposal of this

product: This symbol indicates

that this product must not be

disposed of with household

waste, according to the WEEE

Directive (2012/19/EU) and

your national law. This product

should be taken to a collection center licensed for the

recycling of waste electrical and electronic equipment

(EEE). The mishandling of this type of waste could have

a possible negative impact on the environment and

human health due to potentially hazardous substances

that are generally associated with EEE. At the same time,

your cooperation in the correct disposal of this product

will contribute to the e cient use of natural resources.

For more information about where you can take your

waste equipment for recycling, please contact your local

city o ce, or your household waste collection service.

18. Do not install in a con ned space, such as a book

case or similar unit.

19. Do not place naked  ame sources, such as lighted

candles, on the apparatus.

20. Please keep the environmental aspects of battery

disposal in mind. Batteries must be disposed-of at a

battery collection point.

21. Use this apparatus in tropical and/or

moderate climates.

MUSIC Group accepts no liability for any loss

which may be su ered by any person who relies

either wholly or in part upon any description,

photograph, or statement contained herein.

Technical speci cations, appearances and other

information are subject to change without notice.

All trademarks are the property of their respective

owners. MIDAS, KLARK TEKNIK, LAB GRUPPEN, LAKE,

TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON,

BEHRINGER, BUGERA and DDA are trademarks

or registered trademarks of MUSIC Group IP Ltd.

For the applicable warranty terms and conditions

and additional information regarding MUSIC Group’s

Limited Warranty, please see complete details online at

music-group.com/warranty.

4 EURORACK PRO RX1202FX User Manual

1. Introduction

With 8 phantom-powered microphone inputs as well as 4 high-headroom line

inputs, the RX1202FX comprises a total of 12 channels. All channels come with

60-mm faders and the extremely musical 2-band EQ, the clip LEDs, as well

as the 2 aux sends enable an uncompromising functionality of the console.

An integrated power supply guarantees optimal exibility through worldwide

independence of any mains connection. Additionally, it oers an absolutely

noiseless audio signal as well as an outstanding transient response by minimal

power consumption. With rst-class “Invisible“ Mic Preamps, the ultra-low

noise circuitry, the 24-bit eects processor as well as the separate control room,

headphones and CD/tape outputs, the RX1202FX has all the features that also

distinguish our UB mixers.

As sub-mixer, monitor mixer or as line mixer for audio/video installations,

the RX1202FX is the rst choice for demanding xed installations and mobile use.

IMP “INVISIBLE” MIC PREAMP

The microphone channels are tted with BEHRINGER’s premium quality

IMP invisible mic preamps that boast the following features:

t 130 dB dynamic range for an incredible amount of headroom

t A bandwidth ranging from below 10 Hz to over 200 kHz for crystal-clear

reproduction of even the nest nuances

t The extremely low-noise and distortion-free circuitry gua rantees absolutely

natural and transparent signal repro duction

t They are perfectly matched to every conceivable micro phone with up to

60 dB gain and +48 volt phantom power supply

t They enable full utilization of the greatly extended dynamic range of your

24-bit/192 kHz HD recorder, thereby main taining optimal audio quality.

MULTI-EFFECTS PROCESSOR

In addition, the RX1202FX oers an eects processor equipped with 24-bit

A/D and D/A converters. The FX processor puts at your disposal 100 presets

with rst-class room simulations, delay and modulation eects, and many

multi-eects in outstanding audio quality.

 Caution!

◊ We would like to inform you that high volume can damage your

hearing and/or the headphones or loudspeakers. Before turning on

the device, please move the MAIN MIX fader of the main section all

the way down. Always take care to keep an appropriate volume level.

1.1 General mixing console functions

A mixing console fulls three main functions:

t Signal processing:

Preamplication

Microphones convert sound waves into voltage that has to be amplied

several-fold; then, this voltage is turned into sound that is reproduced

in a loudspeaker. Because micro phone capsules are very delicate in their

construction, output voltage is very low and therefore susceptible to

interference. Therefore, mic signal voltage is amplied 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 amplication

using an amplier of the highest quality in order to amplify the signal

and add as little noise to it as possible. The IMP “Invisible” Mic Preamp

performs this role beautifully, leaving no traces of noise or sound coloration.

Interference that could take place at the preamplication level could aect

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 eectively adjust the way a signal sounds.

t Signal distribution:

Individual, processed signals from the channel strips are compiled on busses

and are fed into the main section for further processing. Connections for

recording equipment, power ampliers, headphones as well as CD/tape

connectors are available here. The mix is sent to the internal FX processors or

external eects processors via aux sends and returns. Similarly, a mix can be

created for the musicians on the stage (monitor mix).

t 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/amplier).

The interface of BEHRINGER mixing consoles is optimized for these tasks,

enabling you to easily keep track of the signal path.

5 EURORACK PRO RX1202FX User Manual

1.2 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 specic 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 area

of behringer.com.

◊ 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.

For the moment, just try and trace the signal path from the microphone input

to the FX SEND connector. Don’t be put o by the huge range of possibilities;

it’s easier than you think! If you look at the overview of the controls at the same

time, you’ll be able to quickly familiarize yourself with your mixing console and

you’ll soon be making the most of all its many possibilities.

1.3 Before you get started

1.3.1 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 that 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.

◊ To assure optimal protection of your EURORACK during use or transport,

we recommend utilizing a carrying case.

◊ Please always use the original packaging to avoid damage due

to storage or shipping.

◊ Never let unsupervised children play with the EURORACK or

with its packaging.

◊ Please dispose of all packaging materials in an

environmentally-friendly fashion.

1.3.2 Initial operation

Be sure that there is enough space around the unit for cooling purposes and to

avoid overheating please do not place your mixing console on high-temperature

equipment such as radiators or power amps.

◊ Never connect the EURORACK to the power supply unit when the latter

is connected to the mains! First connect the power supply unit to the

console, then connect the power supply unit to the mains.

◊ Please make sure that all units have a proper ground connection.

For your own safety, never remove or disable the ground

conductor from the unit or on the AC power cord. The unit should

always be connected to a mains socket outlet with a protective

earthing connection.

◊ When installing the product, ensure the appliance coupler or

power cord is easily accessible for disconnecting the unit from mains.

1.3.3 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 eciently.

Thank you for your cooperation!

2. 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.

2.1 Mono channels

Fig. 2.1: Connectors and controls on the mono channels

MIC

Each mono input channel oers a balanced microphone input via the

XLR connector and also features a switchable +48 V phantom power supply

for condenser microphones.

◊ Please mute your playback system before you activate the

phantom power supply to prevent switch-on thumps being

directed to your loudspeakers. Please also note the instructions

in chapter 2.4 “Main section”.

6 EURORACK PRO RX1202FX User Manual

LINE IN

Each mono input also features a balanced line input on a ¼" connector.

Unbalanced devices (mono connectors) can also be connected to these inputs.

◊ Please remember that you can only use either the microphone

or the line input of a channel at any one time. You can never use

both simultaneously!

INSERT

The INSERT connector is input and output at the same time. This allows you

to insert external signal processors (compressors, gate, etc.) in the channel.

The signal retrieval occurs after the TRIM and is practically a diversion of

the signal. The input signal of the connected signal processor is diverted,

processed and led back to the channel for further processing.

TRIM

Use the TRIM control to adjust the input gain. This control should always be

turned fully counterclockwise 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 TRIM control is turned all the way

down, connect your equipment. Set the TRIM 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 TRIM slightly, for -10 dBV a

bit more. Tweaking is done using the CLIP LED.

HIGH/LOW

All mono input channels include a 3-band equalizer. All bands provide boost

or cut of up to 15 dB. In the central position, the equalizer is inactive.

The upper (HIGH) and the lower band (LOW) 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 band are 12 kHz and 80Hz respectively.

MON/FX

FX send buses (or AUX send buses) enable you to extract signals from one or

more channels and collect these on a bus. You can retrieve the signal at the send

connector to direct it to an external eects device, for example. The AUX return

input is used as the return path. The send buses of the RX1202FX are mono buses.

As the name suggests, the FX sends of the EURORACK mixing consoles are

intended to drive eects devices (reverb, delay, etc.) and are therefore congured

post-fader. This means that the mix between dry signal and eect remains at

the level determined by the channel’s aux send, irrespective of the channel fader

setting. If this were not the case, the eects signal of the channel would remain

audible even when the fader is lowered to zero.

In the RX1202FX, the FX send is routed directly to the built-in eects processor.

To make sure that the eects processor receives an input signal, you shouldn’t

turn this control all the way to the left (-∞).

The MON path—as the name already implies—is meant to be used as monitor

signal path. For this application, it is important that the controller works as

pre-fader, which means it does not rely on the fader position. For this reason the

AUX send path is unsuitable for the connection to eects devices. By using the

MON controller, you can produce a mono mix of individual signals that can be

routed over the MON plug, located on the backside, to a headphones amplier

(e.g. MINIAMP AMP800) or a power amplier for monitoring.

PAN

The PAN control determines the position of the channel signal within the

stereo image. This control features a constant-power characteristic, which means

the signal is always maintained at a constant level, irrespective of position in

the stereo panorama.

CLIP

The CLIP LEDs of the mono channels illuminate when the input signal is driven

too high, which could cause distortion. If this happens, use the TRIM control to

reduce the preamp level until the LED does not light anymore.

Channel fader

The channel fader determines the level of the channel signal in the Main Mix.

◊ Caution: The channel fader needs to be open so that the effects

processor receives a signal from this channel because the FX bus

to the effects processor is switched to post-fader!

2.2 Stereo channels

Fig. 2.2: Connectors and controls on the stereo channels

LINE IN

Each stereo channel has two balanced line level inputs on ¼" connectors

for left and right channels. If only the connector marked “L” (left) is used,

the channel operates in mono. The stereo channels are designed to handle

typical line level signals. Both inputs will also accept unbalanced connectors.

7 EURORACK PRO RX1202FX User Manual

TRIM

The controller works the same as the one for the mono channels.

However, the level control range is limited from +20 to -20 dBu

because the stereo channels only process line signals.

HIGH/LOW

The stereo-channel equalizer features 2 bands like the one used for the

mono channels.

MON/FX

The MON/FX buses of the stereo channels work like those of the mono channels.

Since both paths are mono, the signal of a stereo channel is initially mixed to a

summed mono signal before reaching the MON/FX bus.

BAL

The BAL(ANCE) control determines the levels of left and right input signals

relative to each other before both signals are then routed to the main stereo

mix bus. If a channel is operated in mono via the left line input, this control

has the same function as the PAN control used in the mono channels.

CLIP

The CLIP LEDs of the stereo channels light up when the input signal’s level is too

high. In this case, reduce the preamplication with the TRIM controller until the

LED goes out.

Channel fader

As with the mono channels, the channel fader determines the level of the

channel strip for the stereo channels in the main mix.

2.3 Connector array of the main section

Fig.2.3: Connectors of the main section

MAIN OUT

The MAIN OUT connectors are balanced and laid out as XLR

connectors. Here the summed signal of the main mix has a level of

0 dBu. According to the way you want to use the mixer and which

equipment you have, following devices can be connected:

Live PA systems:

A stereo dynamics processor (optional), stereo equalizer (optional) and the

stereo power amplier for full-range loudspeakers with passive crossovers.

If you wish to use multi-way loudspeaker systems without an integrated

crossover, you have to use an active crossover and several power ampliers.

Often, limiters are already built into active crossovers (e.g. BEHRINGER SUPER-X

PRO CX2310 and ULTRADRIVE PRO DCX2496). Active crossovers are implemented

directly before the power amplier, and they divide the frequency range into

several segments that are rst amplied in the ampliers and then passed on

to the corresponding loudspeakers.

Recording:

For mastering, using a stereo compressor such as the COMPOSER PRO-XL

MDX2600 can be recommended. Use it to custom-tailor the dynamic

characteristics of your signal to the dynamic range of the recording equipment

you are using. The signal is in this case passed on from the compressor into

the recorder.

CTRL OUT

The CTRL OUT connectors are used for controlling the summed signal

(eects mix and main mix) as well as for individual signals over studio monitor

speakers. By using the PHONES/CONTROL ROOM controller in the main section,

you can control the level of both outputs.

CD/TAPE IN

The CD/TAPE INs are used to bring an external signal source (e.g. CD player,

tape deck, etc.) into the console. They can also be used as a standard stereo line

input, so the output of a second EURORACK or BEHRINGER ULTRALINK PRO MX882

can be connected. Alternatively, the line or tape output of a hi- amplier with

source selection switch could also be hooked up here, allowing you to easily listen

to additional sources (e.g. cassette recorder, minidiskplayer, sound card etc.).

CD/TAPE OUT

These connections are laid out as RCA connectors and are wired parallel to

MAIN OUT. Connect the inputs of a computer sound card or a recorder here.

The output signal level is set up using the highly accurate MAIN MIX fader.

AUX SENDS

The FX connector routes the signal, which you have extracted from the individual

channels by using the FX controller; the MON plug does the same to the signal

that has been extracted by using the MON controller. Connect the input of

an external eects processor to the FX plug, with which you want to modify

the signal sum of the FX bus. Then, route the eects signal back to the mixer

over the AUX RETURN connectors. With the MON outputs, you can connect an

amplier/headphones amplier for the musicians to monitor.

8 EURORACK PRO RX1202FX User Manual

◊ When the connected effects device does not receive an input signal,

none of the FX controllers are probably turned up, which also applies

to the integrated effects -processor.

◊ Adjust your external effects processor to 100% wet (effects signal

only), because the effects signal is added to the main mix along with

the “dry” channel signals.

AUX RETURN

You can connect the outputs of an external eects device to the AUX RETURN

connectors. In this case, the eects signal is routed directly to the main mix bus

and is then mixed with the “dry” signal. It is also possible to route the eects

signal as mono by using the L connector.

◊ You can also use the AUX RETURN connectors as additional stereo input

channels, although, in this case, there are no possibilities to control the

level, timbre and panning.

2.4 Main section

Fig. 2.4: Control elements of the main section

+48 V

The red “+48 V”-LED lights up when the phantom power supply is switched on.

Phantom powering is necessary to use condenser microphones and is activated

with the PHANTOM ON switch found on the backside.

◊ Connect microphones before you switch on the phantom power supply.

Please do not connect microphones to the mixer (or the stagebox/

wallbox) while the phantom power supply is switched on. In addition,

the monitor/PA loud speakers should be muted before you activate the

phantom power supply. After switching on, wait approx. one minute to

allow for system stabilization.

◊ Caution! You must never use unbalanced XLR connectors (PIN 1 and

3 connected) on the MIC input connectors if you want to use the

phantom power supply.

POWER

The blue POWER LED indicates that the console is powered on.

LEVEL INDICATOR

The 4-segment display accurately displays the relevant signal level.

Level Control:

To level the signal, you should set the channel fader of the input channels to 0 dB

and raise the input amplication with the TRIM controller to the extent that a

level of maximal 0 dB is displayed.

When recording to digital recorders, the recorder’s peak meter should not go into

overload. While analog recorders can be overloaded to some extent, creating only

a certain amount of distortion, digital recorders distort quickly when overloaded.

In addition, digital distortion is not only undesirable, but also renders your

recording completely useless.

When recording to an analog device, the VU meters of the recording machine

should reach approx. +3 dB with low-frequency signals (e.g. kick drum). Due to

their inertia VU meters tend to display too low a signal level at frequencies

above 1 kHz. This is why, for example, a Hi-Hat should only be driven as

far as -10 dB. Snaredrums should be driven to approx. 0 dB.

◊ The CLIP LEDs of your EURORACK display the level virtually

independent of frequency. A recording level of 0 dB is

recommended for all signal types.

MAIN MIX

Use the MAIN MIX fader to adjust the volume of the main out.

PHONES

The connector is used to connect a pair of headphones. The volume level

is changed with the PHONES/CONTROL ROOM controller.

PHONES/CONTROL ROOM

Use the PHONES/CONTROL ROOM control to adjust the signal level of the

CTRL OUT and PHONES outputs.

FX SOLO

If you want to only listen to the eects signal with your headphones or monitor

speakers, then press the FX SOLO switch. The signal of the eects device can

then be heard individually; the main mix or CD/tape signal is inaudible at the

PHONES and CTRL OUT outputs.

CD/TAPE TO CTRL

Press the CD/TAPE TO CTRL switch if you want to monitor the CD/TAPE IN via

the CTRL OUT and PHONES outputs. A typical studio application of this function

is recording music into a digital audio workstation (DAW) with simultaneous

reproduction (see ch. 3.1).

◊ When you are recording a signal over the CD/TAPE OUT and

simultaneously want to monitor over the CD/TAPE IN, the CD/TAPE

TO MIX switch is not allowed to be pressed. Otherwise a feedback loop

would occur because this signal would be sent over the Main Mix back

to the CD/TAPE OUT. In case of such an application, you should send the

CD/TAPE signal to the monitor speakers or headphones by using the

CD/TAPE TO CTRL switch. In contrast to the main mix, this signal is not

sent to the CD/TAPE OUT.

9 EURORACK PRO RX1202FX User Manual

CD/TAPE TO MIX

When the CD/TAPE TO MIX switch is pressed, the CD/tape input is assigned to

the main mix providing an additional input for tape machines, MIDI instruments

or other signal sources that do not require any processing.

2.5 Digital eects processor

Fig. 2.5: Eects section

100 FIRST-CLASS EFFECTS

The EURORACK RX1202FX features a built-in digital stereo eects processor.

This eects processor oers a large number of standard eects such as Hall,

Chorus, Flanger, Delay and various combination eects. Using the FX control,

you can feed signals into the eects processor. The integrated eects

module has the advantage of requiring no wiring. This way, the danger of

creating ground loops or uneven signal levels is eliminated at the outset,

completely simplifying the handling.

SIG and CLIP LED

The SIG LED on the eects module shows the presence of a signal whose level

is high enough. This LED should always be on. However, make sure that the

CLIP LED lights up only sporadically. If it is lit constantly, you are overdriving

the eects processor, which leads to unpleasant distortion. If this occurs,

turn the FX controls down somewhat.

PROGRAM

The PROGRAM control has two functions: by turning the PROGRAM control,

you dial the number of an eect. The number of the preset you just dialed up

blinks in the display. To conrm your selection, press the PROGRAM control;

the blinking stops.

FX TO MAIN

By using the FX TO MAIN controller, the eects signal is sent to the main mix.

No eects signal is to be heard in the summed signal of the mixer when the

controller is positioned entirely to the left. Choose this position if you want to

use an external eects device for the FX output.

An overview of all the multieect processor’s presets are to be found in

the appendix.

2.6 Voltage supply, phantom power supply

and fuse

FUSE HOLDER/IEC MAINS RECEPTACLE

The mains connection is made via a cable with an IEC mains connector and

meets the required safety standards. An appropriate mains cable is supplied

with the equipment. Blown fuses must only be replaced by fuses of the same

type and rating.

Fig. 2.6: Voltage supply and fuse

POWER switch

Use the POWER switch to turn on the mixing console. The POWER switch

should always be in the “O” position when you are about to connect your unit

to the mains.

To disconnect the unit from the mains, pull out the main cord plug.

When installing the product, ensure that the plug is easily accessible.

If mounting in a rack, ensure that the mains can be easily disconnected

by a plug pull or by an all-pole disconnect switch on or near the rack.

◊ Attention: The POWER switch does not fully disconnect the unit from

the mains. Unplug the power cord completely when the unit is not

used for prolonged periods of time.

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 conguration. In case of doubt, contact the

microphone manufacturer!

◊ Connect microphones before you switch on the phantom power supply.

Please do not connect microphones to the mixer (or the stagebox/

wallbox) while the phantom power supply is switched on. In addition,

the monitor/PA loud-speakers should be muted before you activate the

phantom power supply. After switching on, wait approx. one minute to

allow for system stabilization.

◊ Caution! Please also note the information given in chapter 4.2

“Audio connections”.

SERIAL NUMBER

Please note the important information on the serial number given in

chapter 1.3.3.

10 EURORACK PRO RX1202FX User Manual

3. Applications

3.1 Recording studio

MIDI sound module

B-2 Pro

V-Amp 3

Electric Guitar

HPS3000

TRUTH B200A

Keyboard

F-Control FCA202

Laptop

MD Recorder

Mini Amp Amp 800

Fig. 3.1: The RX1202FX in a recording studio

Even though most of the tasks in a studio can nowadays be accomplished using

a computer, a mixing console remains an unavoidable piece of equipment that

lets you eectively manage audio inputs and outputs: microphone signals

need to be pre-amplied prior to being recorded, and the quality of microphone

sound is often worked on; recording and playback signals must be routed to the

appropriate connectors or integrated into the mix; the volume of headphones

and studio monitors needs to be adjusted, and so on. The well-equipped main

section of the RX1202FX is extremely useful in this case.

Cabling:

Connect your sound sources to the mic or line inputs of the mixer. Join your

master machine (DAT/MD recorder) to the main outputs. Your monitor speaker

is connected to the CTRL OUT connector, the headphones to the PHONES

output. Now attach the CD/TAPE outputs with the inputs of the sound

card of your Digital Audio Workstation (DAW). Hook up the outputs of the

computer’s soundcard to the CD/TAPE inputs. Connect a headphone amplier

to the MON connector to be able to provide performing musicians with a

monitoring signal.

Record and playback:

The recording signal is preamplied in a mixer’s channel, processed with the

EQ and routed back to the main bus. Determine the recording level with the

LEVEL fader. The entire level to the computer is adjusted with the MAIN MIX

fader. To ensure that the signal is really being recorded, you should not listen

in to the main mix signal (i.e. the output signal of the console, prior to recording)

of the phones or control room bus. Instead, listen in to the returned signal

of the soundcard that is connected to the CD/TAPE inputs, in which case you

have a kind of read-after-write control. In this case, press the CD/TAPE TO CTRL

switch and adjust the volume level with the PHONES/CONTROL ROOM controller.

This way you can record further tracks to an existing playback (so-called

overdubs). In the process, use the Direct Monitoring function of your DAW

(Digital Audio Workstation).

Determine the amount of the input signals (keyboard, guitar, sound module

and microphone) in the mono and stereo channels that are to be sent to the

MON output by using the MON controller of the corresponding channel.

◊ With this application, the CD/TAPE TO MIX switch should not be pressed;

otherwise, the playback signal from the sound card output would be

routed back to the computer and would be added to the recording.

This would not only be undesirable, it would also create a feedback loop.

11 EURORACK PRO RX1202FX User Manual

3.2 Live sound

MD Recorder

VP1520

COMPOSER PRO-XL MDX2600

EP2000

CD Player

EP2000 VIRTUALIZER 3D FX2000

EUROLIVE F1220A

Electric Guitar

HPS3000

Keyboard

Electric Bass

BX4500H

BB410

VIRTUE VT250FX

Drum Machine

XM8500

Fig. 3.2: Live application of the RX1202FX

12 EURORACK PRO RX1202FX User Manual

This illustration shows a typical arrangement for a live setup. Two vocal

microphones and the line outputs of a guitar and a bass amplier are connected

to the mono channels of the RX1202FX. A keyboard and a drum computer are

connected to the stereo channels. The power amplier in your sound system is

connected to the main outputs; equipment such as compressors, equalizers or

crossovers are located between the mixer and the amp in the signal path. If you

wish to make a live recording, you can connect your recording equipment

(in this case, a minidisk recorder) to the CD/TAPE outputs. A CD player that is

playing during intermissions is connected via the CD/TAPE inputs. If you connect

a recorder/player combo (e. g. a tape deck recorder), the CD/TAPE TO MIX switch

should not be pressed during a recording because this way the signal intended

for recording would be directly re-routed back to the mixing console, and then

back to the recorder... this would cause a feedback loop as soon as you hit the

record button. A loud, unpleasant, even painful sound would result.

Connect two monitor speakers over a power amplier to the MON output which

musicians can then use on stage. Determine the amount of the input signals

(microphone, bass, keyboard, drum computer and guitar) in the mono and stereo

channels that are to be sent to the MON output by using the MON controller of

the corresponding channel.

4. Installation

4.1 Mains connection

AC POWER IN

The power supply is delivered through the power supply line to be found on

the backside. The connection complies with the required security regulations.

◊ Never connect the EURORACK to the power supply line while the latter

is already connected to the mains! Rather connect the console with the

power supply line before plugging it into the mains.

◊ Please note that the mixer warms up when in operation.

This is absolutely normal.

4.2 Audio connections

You will need a large number of cables for dierent applications.

The illustrations below show how the connectors should be wired.

Be sure to use only high-grade cables.

Please use commercial RCA cables to connect the CD/tape inputs and outputs.

You can, of course, also connect unbalanced equipment to the balanced

inputs/outputs. To do this, use either mono plugs or stereo plugs with the

ring and sleeve bridged (pins 1 and 3 in the case of XLR connectors).

◊ Caution! Never use unbalanced XLR connectors (PIN 1 and 3 connected)

on the MIC input connectors when using the phantom power supply.

For unbalanced use, pin 1 and pin 3 have to be bridged

1 = ground/shield

2 = hot (+ve)

3 = cold (-ve)

input

output

Fig. 4.1: XLR connections

strain relief clamp

sleeve

tip

sleeve

(ground/shield)

Unbalanced ¼" TS connector

tip

(signal)

Fig. 4.2: ¼" mono plug

strain relief clamp

sleeve

ring

tip

sleeve

ground/shield

For connection of balanced and unbalanced plugs,

ring and sleeve have to be bridged at the stereo plug.

Balanced ¼" TRS connector

ring

cold (-ve)

tip

hot (+ve)

Fig. 4.3: ¼" stereo plug

strain relief clamp

sleeve

ring

tip

sleeve

ground/shield

¼" TRS headphones connector

ring

right signal

tip

left signal

Fig. 4.4: Stereo plug for headphones connection

13 EURORACK PRO RX1202FX User Manual

5. Specications

Mono Inputs

MIC (IMP Invisible Mic Preamp)

Type XLR, electr. balanced

Mic E.I.N. (20 Hz – 20 kHz)

@ 0 Ω source resistance -132 dB / -134 dB A-weighted

@ 50 Ω source resistance -130 dB / -132 dB A-weighted

@ 150 Ω source resistance -128 dB / -130 dB A-weighted

Frequency response <10 Hz – 200 kHz

Gain range +10 to +60 dB

Max. input level +12 dBu @ +10 dB gain

Impedance approx. 2.6 kΩ balanced

Signal-to-noise ratio -110 dB / -112 dB A-weighted

Distortion (THD+N) 0.003%, A-weighted

Line In

Type ¼" TRS connector,

electronically balanced

Impedance approx. 20 kΩ balanced

approx. 10 kΩ unbalanced

Gain range -10 dB to +40 dB

Max. input level +22 dBu @ 0 dB gain

Stereo Inputs

Type ¼" TRS connector,

electronically balanced

Impedance approx. 20 kΩ balanced

approx. 10 kΩ unbalanced

Max. input level +22 dBu

Insert

Type ¼" TRS connector

(Tip=Send, Ring=Return)

Auxiliary Inputs

CD/TAPE IN

Type RCA connectors, unbalanced

Impedance approx. 20 kΩ

Max. input level +22 dBu

Aux Return

Type ¼" TRS connector, balanced

Impedance approx. 20 kΩ balanced

approx. 10 kΩ unbalanced

Max. input level +22 dBu

Outputs

AUX SENDS (FX)

Type ¼" TRS connector, impedance balanced

Impedance approx. 240 Ω balanced

approx. 120 Ω unbalanced

Max. output level +22 dBu

Aux Sends (MON)

Type ¼" TRS connector, impedance balanced

Impedance approx. 240 Ω balanced

approx. 120 Ω unbalanced

Max. output level +22 dBu

Main Out

Type XLR connectors, balanced

Impedance approx. 240 Ω balanced

approx. 120 Ω unbalanced

Max. output level +28 dBu balanced

+22 dBu unbalanced

Ctrl Out

Type ¼" TRS connector, impedance balanced

Impedance approx. 240 Ω balanced

approx. 120 Ω unbalanced

Max. output level +22 dBu

CD/Tape Out

Type RCA connectors, unbalanced

Impedance approx. 1 kΩ

Max. output level +22 dBu

Phones

Type ¼" TRS connector

Max. output level +19 dBu / 150 Ω (316 mW)

Low 100 Hz / ±15 dB

High 12 kHz / ±15 dB

14 EURORACK PRO RX1202FX User Manual

Main Mix System Data

Noise

Main mix @ -∞, -98 dB / -101 dB A-weighted

Channel fader -∞

Main mix @ 0 dB, -85 dB / -88 dB A-weighted

Channel fader -∞

Main mix @ 0 dB, -77 dB / -80 dB A-weighted

Channel fader @ 0 dB

Fade Attenuation

(Crosstalk attenuation)

Main fader closed 90 dB

Channel fader closed 90 dB

Frequency Response

Microphone input to Main Out

<20 Hz – 105 kHz +1 dB / -1 dB

<10 Hz – 170 kHz +3 dB / -3 dB

Eects Section

Converter 24-bit Sigma-Delta

Frequency rate 40 kHz

Presets 100

Power Supply

Power consumption 18 W

Voltage 100 – 240 V~, 50/60 Hz

Fuse 100 – 240 V~: T 1.6 A H 250 V

Mains connection IEC (power) cable

Dimensions/Weight

Dimensions (H x W x D) approx. 133 x 482 x 150 mm

approx. (5.2 x 19 x 6")

Weight (net) approx. 3.04 kg (6.7 lbs)

Measuring conditions:

1: 20 Hz – 20 kHz; measured at main output. Channels1 – 8 gain @ unity; EQ flat; all channels on main mix;

channels 1/3/5/7 leftmost, channels 2/4/6/8 rightmost. Reference = +6 dBu.

2: 1 kHz relative to 0 dBu; 20 Hz – 20 kHz; line input; main output; gain @ unity.

15 EURORACK PRO RX1202FX User Manual

6. EURORACK PRO RX1202FX Eects Presets

EFFECTS PRESETS

No. EFFECT Description No. EFFECT Description

HALL 00-09 DELAY 50-59

00 SMALL HALL 1 approx. 1.0s reverb decay 50 SHORT DELAY 1 Like a short shattering

01 SMALL HALL 2 approx. 1.2s reverb decay 51 SHORT DELAY 2 1-2 short impulse(s)

02 SMALL HALL 3 approx. 1.5s reverb decay 52 SHORT DELAY 3 1-2 short impulse(s)

03 MID HALL 1 approx. 1.8s reverb decay 53 MID DELAY 1 Classical Delay for up-tempo music (115-125 BPM)

04 MID HALL 2 approx. 2.0s reverb decay 54 MID DELAY 2 Classical Delay for mid-tempo music (105-115 BPM)

05 MID HALL 3 approx. 2.5s reverb decay 55 MID DELAY 3 Classical Delay for slow-tempo music (95-105 BPM)

06 BIG HALL 1 approx. 2.8s reverb decay 56 LONG DELAY 1 Classical Delay for reggae-tempo music (85-95 BPM)

07 BIG HALL 2 approx. 3.2s reverb decay 57 LONG DELAY 2 Classical Delay for dub-tempo music (75-85 BPM)

08 BIG HALL 3 approx. 4s reverb decay 58 LONG DELAY 3 Extra long (nearly innite) delay eect

09 CHURCH approx. 7 s reverb decay 59 LONG ECHO Extra long canyon echo eect

ROOM 10-19 CHORUS 60-69

10 SMALL ROOM 1 approx. 0.5s reverb decay 60 SOFT CHORUS 1 Unobtrusive eect

11 SMALL ROOM 2 approx. 0.8s reverb decay 61 SOFT CHORUS 2 Unobtrusive eect with dierent color

12 SMALL ROOM 3 approx. 1.0s reverb decay 62 WARM CHORUS 1 Analog sounding

13 MID ROOM 1 approx. 1.2s reverb decay 63 WARM CHORUS 2 Analog sounding with dierent color

14 MID ROOM 2 approx. 1.5s reverb decay 64 PHAT CHORUS 1 Pronounced chorus eect

15 MID ROOM 3 approx. 1.8s reverb decay 65 PHAT CHORUS 2 Pronounced chorus eect with dierent color

16 BIG ROOM 1 approx. 2.0s reverb decay 66 CLASSIC FLANGER Standard anger eect

17 BIG ROOM 2 approx. 2.2s reverb decay 67 WARM FLANGER More analog touch

18 BIG ROOM 3 approx. 1.5s reverb decay 68 DEEP FLANGER Deep modulation impression

19 CHAPEL approx. 3s reverb decay 69 HEAVY FLANGER Extremely pronounced eect

PLATE 20-29 PHASE/PITCH 70-79

20 SHORT PLATE approx. 1.0s reverb decay 70 CLASSIC PHASER Standard phaser eect

21 MID PLATE approx. 1.5s reverb decay 71 WARM PHASER More analog touch

22 LONG PLATE approx. 2.2s reverb decay 72 DEEP PHASER Deep modulation impression

23 VOCAL PLATE approx. 1.2s reverb decay 73 HEAVY PHASER Extreme strong eect

24 DRUMS PLATE approx. 1.0s reverb decay 74 PITCH SHIFT DETUNE 2-3 times detune for a wider solo voice sound

25 GOLD PLATE 1 approx. 1.2s reverb decay 75 PITCH SHIFT +3 Minor third added voice

26 GOLD PLATE 2 approx. 2.0s reverb decay 76 PITCH SHIFT +4 Major third added voice

27 SHORT SPRING approx. 1.0s reverb decay 77 PITCH SHIFT +7 Quint above added voice

28 MID SPRING approx. 2.0s reverb decay 78 PITCH SHIFT -5 Fourth down added voice

29 LONG SPRING approx. 2.5s reverb decay 79 PITCH SHIFT -12 1 octave down added voice

GATED/REVERSE 30-39 MULTI 1 80-89

30 GATED REV SHORT approx. 0.8s reverb decay 80 CHORUS + REVERB 1 Soft chorus + medium-short reverb

31 GATED REV MID approx. 1.2s reverb decay 81 CHORUS + REVERB 2 Deep chorus + medium-long reverb

32 GATED REV LONG approx. 2.0s reverb decay 82 FLANGER + REVERB 1 Soft anger + medium-short reverb

33 GATED REV XXL approx.3.0s reverb decay 83 FLANGER + REVERB 2 Deep anger + medium-long reverb

34 GATED REV DRUM 1 approx. 0.8s reverb decay 84 PHASER + REVERB 1 Soft phaser + medium-short reverb

35 GATED REV DRUM 2 approx. 1.2s reverb decay 85 PHASER + REVERB 2 Deep phaser + medium-long reverb

36 REVERSE SHORT approx. 0.8s reverb decay 86 PITCH + REVERB 1 Soft voice detuning + medium-short reverb

37 REVERSE MID approx. 1.2s reverb decay 87 PITCH + REVERB 2 Fourth above interval + medium-long reverb

38 REVERSE LONG approx. 2.0s reverb decay 88 DELAY + REVERB 1 Short delay +medium-short reverb

39 REVERSE XXL approx. 3.0s reverb decay 89 DELAY + REVERB 2 Medium-long delay +medium-long reverb

EARLY REFLECTIONS 40-49 MULTI 2 80-89

40 EARLY REFLECTIONS 1 Short 90 DELAY + GATED REV Short delay + medium-long gated reverb

41 EARLY REFLECTIONS 2 Medium-short 91 DELAY + REVERSE Medium-short delay + medium-long reverse reverb

42 EARLY REFLECTIONS 3 Medium-long 92 DELAY + CHORUS 1 Short delay + soft chorus

43 EARLY REFLECTIONS 4 Long 93 DELAY + CHORUS 2 Medium-long delay + deep chorus

44 SHORT AMBIENCE Short 94 DELAY + FLANGER 1 Short delay + soft anger

45 MID AMBIENCE Medium-short 95 DELAY + FLANGER 2 Medium-long delay + deep anger

46 LIVE AMBIENCE Medium-short 96 DELAY + PHASER 1 Short delay + soft phaser

47 BIG AMBIENCE Medium-long 97 DELAY + PHASER 2 Medium-long delay + deep phaser

48 STADIUM Long 98 DELAY + PITCH 1 Short delay + fourth down interval

49 GHOST AMBIENCE Extra-long special FX 99 DELAY + PITCH 2 Medium-long delay + minor third above interval

16 EURORACK PRO RX1202FX User Manual

FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

Responsible Party Name: MUSIC Group Services NV Inc.

Address: 5270 Procyon Street

Las Vegas, NV 89118

USA

Phone Number: +1 702 800 8290

EURORACK PRO RX1202FX

complies with the FCC rules as mentioned in the followingparagraph:

This equipment has been tested and found to comply with the limits for a ClassB

digital device, pursuant to part 15 of the FCC Rules. These limits are designed

to provide reasonable protection against harmful interference in a residential

installation. This equipment generates, uses and can radiate radio frequency

energy and, if not installed and used in accordance with the instructions, may cause

harmful interference to radio communications. However, there is no guarantee that

interference will not occur in a particular installation. If this equipment does cause

harmful interference to radio or television reception, which can be determined

by turning the equipment o and on, the user is encouraged to try to correct the

interference by one or more of the followingmeasures:

t Reorient or relocate the receiving antenna.

t Increase the separation between the equipment and receiver.

t Connect the equipment into an outlet on a circuit dierent from that to which the

receiver is connected.

t Consult the dealer or an experienced radio/TV technician forhelp.

This device complies with Part 15 of the FCC rules. Operation is subject to the

following two conditions:

(1) this device may not cause harmful interference, and

(2) this device must accept any interference received, including interference that may

cause undesired operation.

Important information:

Changes or modications to the equipment not expressly approved by MUSIC Group

can void the user’s authority to use the equipment.

EURORACK PRO RX1202FX

Dedicate Your Life to Music

(Check out behringer.com for Full Manual)

Quick Start Guide

EURORACK PRO RX1202FX

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preampliers, British EQ's and Multi-FX Processor

2 EURORACK PRO RX1202FX

Important Safety

Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

Terminals marked with this symbol carry

electrical current of su cient 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 modi cation should be performed only

by quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the

enclosure-voltage that may be su cient to constitute a

risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the

accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, donot

remove the top cover (or the rear section).

No user serviceable parts inside. Refer servicing to

quali ed personnel.

Caution

To reduce the risk of  re or electric shock,

do not expose this appliance to rain and

moisture. The apparatus shall not be exposed to dripping

or splashing liquids and no objects  lled with liquids,

suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed 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 quali ed

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 ampli ers) 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  t 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 speci ed by

themanufacturer.

12. Use only with the

cart, stand, tripod, bracket,

or table speci ed 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 quali ed 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.

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.

MUSIC GROUP PRODUCTS ARE SOLD THROUGH

AUTHORIZED FULLFILLERS AND RESELLERS ONLY.

FULLFILLERSAND RESELLERS ARE NOT AGENTS OF

MUSICGROUP AND HAVE ABSOLUTELY NO AUTHORITY

TO BIND MUSICGROUP BY ANY EXPRESS OR IMPLIED

UNDERTAKING OR REPRESENTATION. THIS MANUAL

IS COPYRIGHTED. NO PART OF THIS MANUAL MAY

BE REPRODUCED OR TRANSMITTED IN ANY FORM

OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,

INCLUDING PHOTOCOPYING AND RECORDING OF ANY

KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS

WRITTEN PERMISSION OF MUSICGROUPIPLTD.

Trident Chambers, Wickhams Cay, P.O. Box 146,

Road Town, Tortola, British Virgin Islands

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.

Quick Start Guide 3

Instrucciones de

seguridad

NEGACIÓN LEGAL

GARANTÍA LIMITADA

Las terminales marcadas con este símbolo

transportan corriente eléctrica de

magnitud su ciente como para constituir

un riesgo de descarga eléctrica. Utilice solo cables de

altavoz profesionales y de alta calidad con conectores

TS de 6,3 mm o de bayoneta pre jados. Cualquier otra

instalación o modi cación debe ser realizada únicamente

por un técnico cuali cado.

Este símbolo, siempre que aparece,

leadvierte de la presencia de voltaje

peligroso sin aislar dentro de la caja;

estevoltaje puede ser su ciente para constituir un riesgo

dedescarga.

Este símbolo, siempre que aparece,

leadvierte sobre instrucciones operativas

y de mantenimiento que aparecen en la

documentación adjunta. Por favor, lea el manual.

Atención

Para reducir el riesgo de descarga

eléctrica, no quite la tapa (o la parte

posterior). No hay piezas en el interior del equipo que

puedan ser reparadas por el usuario. Si es necesario,

póngase en contacto con personal cuali cado.

Atención

Para reducir el riesgo de incendio o

descarga eléctrica, no exponga este

aparato a la lluvia, humedad o alguna otra fuente que

pueda salpicar o derramar algún líquido sobre el aparato.

Nocoloque ningún tipo de recipiente para líquidos sobre

el aparato.

Atención

Las instrucciones de servicio deben

llevarlas a cabo exclusivamente personal

cuali cado. Para evitar el riesgo de una descarga eléctrica,

no realice reparaciones que no se encuentren descritas

en el manual de operaciones. Lasreparaciones deben ser

realizadas exclusivamente por personalcuali cado.

1. Lea las instrucciones.

2. Conserve estas instrucciones.

3. Preste atención a todas las advertencias.

4. Siga todas las instrucciones.

5. No use este aparato cerca del agua.

6. Limpie este aparato con un paño seco.

7. No bloquee las aberturas de ventilación. Instale el

equipo de acuerdo con las instrucciones del fabricante.

8. No instale este equipo cerca de fuentes de calor

tales como radiadores, acumuladores de calor, estufas u

otros aparatos (incluyendo ampli cadores) que puedan

producir calor.

9. No elimine o deshabilite nunca la conexión a tierra

del aparato o del cable de alimentación de corriente.

Unenchufe polarizado tiene dos polos, uno de los cuales

tiene un contacto más ancho que el otro. Una clavija con

puesta a tierra dispone de tres contactos: dos polos y la

puesta a tierra. El contacto ancho y el tercer contacto,

respectivamente, son los que garantizan una mayor

seguridad. Si el enchufe suministrado con el equipo no

concuerda con la toma de corriente, consulte con un

electricista para cambiar la toma de corriente obsoleta.

10. Coloque el cable de suministro de energía de manera

que no pueda ser pisado y que esté protegido de objetos

a lados. Asegúrese de que el cable de suministro de

energía esté protegido, especialmente en la zona de la

clavija y en el punto donde sale del aparato.

11. Use únicamente los dispositivos o accesorios

especi cados por el fabricante.

12. Use únicamente la

carretilla, plataforma,

trípode, soporte o mesa

especi cados por el

fabricante o suministrados

junto con el equipo.

Altransportar el equipo,

tenga cuidado para evitar

daños y caídas al tropezar con algún obstáculo.

13. Desenchufe el equipo durante tormentas o si no va a

utilizarlo durante un periodo largo.

14. Confíe las reparaciones únicamente a servicios

técnicos cuali cados. La unidad requiere mantenimiento

siempre que haya sufrido algún daño, si el cable de

suministro de energía o el enchufe presentaran daños,

sehubiera derramado un líquido o hubieran caído objetos

dentro del equipo, si el aparato hubiera estado expuesto

a la humedad o la lluvia, si ha dejado de funcionar de

manera normal o si ha sufrido algún golpe o caída.

15. Al conectar la unidad a la toma de corriente eléctrica

asegúrese de que la conexión disponga de una unión

atierra.

16. Si el enchufe o conector de red sirve como único

medio de desconexión, éste debe ser accesiblefácilmente.

LAS ESPECIFICACIONES TÉCNICAS Y LA APARIENCIA

EXTERIOR ESTÁN SUJETAS A CAMBIOS SIN

PREVIO AVISO Y NO PODEMOS GARANTIZAR LA

TOTAL EXACTITUD DE TODO LO QUE APARECE

AQUÍ. BEHRINGER, KLARK TEKNIK, MIDAS,

BUGERA, Y TURBOSOUND SON PARTE DEL GRUPO

MUSICGROUP MUSICGROUP.COM. TODAS LAS

MARCAS REGISTRADAS SON PROPIEDAD DE SUS

RESPECTIVOS DUEÑOS. MUSICGROUP NO ACEPTA

NINGÚN TIPO DE RESPONSABILIDAD POR POSIBLES

DAÑOS Y PERJUICIOS SUFRIDOS POR CUALQUIER

PERSONA QUE SE HAYA BASADO COMPLETAMENTE

O EN PARTE EN LAS DESCRIPCIONES, FOTOGRAFÍAS

O EXPLICACIONES QUE APARECEN EN ESTE

DOCUMENTO. LOS COLORES Y ESPECIFICACIONES

TÉCNICAS PUEDEN VARIAR LIGERAMENTE DE UN

PRODUCTO A OTRO. LOSPRODUCTOS MUSICGROUP

SON COMERCIALIZADOS ÚNICAMENTE A TRAVÉS DE

DISTRIBUIDORES OFICIALES. LOS DISTRIBUIDORES

Y MAYORISTAS NO SON AGENTES DE MUSICGROUP,

POR LO QUE NO ESTÁN AUTORIZADOS A CONCEDER

NINGÚN TIPO DE CONTRATO O GARANTÍA QUE

OBLIGUE A MUSICGROUP DE FORMA EXPRESA O

IMPLÍCITA. ESTE MANUAL ESTÁ PROTEGIDO POR LAS

LEYES DEL COPYRIGHT. ESTE MANUAL NO PUEDE

SER REPRODUCIDO O TRANSMITIDO, NI COMPLETO

NI EN PARTE, PORNINGÚN TIPO DE MEDIO, TANTO SI

ES ELECTRÓNICO COMO MECÁNICO, INCLUYENDOEL

FOTOCOPIADO O REGISTRO DE CUALQUIER TIPO Y PARA

CUALQUIER FIN, SIN LA AUTORIZACIÓN EXPRESA Y POR

ESCRITO DE MUSICGROUPIPLTD.

RESERVADOS TODOS LOS DERECHOS.

Trident Chambers, Wickhams Cay, P.O. Box 146,

Road Town, Tortola, British Virgin Islands

Si quiere conocer los detalles y condiciones aplicables

de la garantía así como información adicional sobre la

Garantía limitada de MUSIC group, consulte online toda la

información en la web www.music-group.com/warranty.

4 EURORACK PRO RX1202FX

Consignes de sécurité

DÉNI LÉGAL

GARANTIE LIMITÉE

Les points repérés par ce symbole portent

une tension électrique su sante pour

constituer un risque d’électrocution.

Utilisez uniquement des câbles d’enceintes professionnels

de haute qualité avec  ches Jack mono 6,35 mm ou  ches

à verrouillages déjà installées. Touteautre installation ou

modi cation doit être e ectuée uniquement par un

personnel quali é.

Ce symbole avertit de la présence d’une

tension dangereuse et non isolée à

l’intérieur de l’appareil - elle peut

provoquer des chocs électriques.

Attention

Ce symbol signale les consignes

d’utilisation et d’entre ! Tien importantes

dans la documentation fournie. Lisez les consignes de

sécurité du manuel d’utilisation de l’appareil.

Attention

Pour éviter tout risque de choc électrique,

ne pas ouvrir le capot de l’appareil ni

démonter le panneau arrière. L’intérieur de l’appareil

ne possède aucun élément réparable par l’utilisateur.

Laissertoute réparation à un professionnel quali é.

Attention

Pour réduire les risques de feu et de choc

électrique, n’exposez pas cet appareil à la

pluie, à la moisissure, aux gouttes ou aux éclaboussures.

Ne posez pas de récipient contenant un liquide sur

l’appareil (un vase par exemple).

Attention

Ces consignes de sécurité et d’entretien

sont destinées à un personnel quali é.

Pouréviter tout risque de choc électrique, n’e ectuez

aucune réparation sur l’appareil qui ne soit décrite par le

manuel d’utilisation. Les éventuelles réparations doivent

être e ectuées uniquement par un technicien spécialisé.

1. Lisez ces consignes.

2. Conservez ces consignes.

3. Respectez tous les avertissements.

4. Respectez toutes les consignes d’utilisation.

5. N’utilisez jamais l’appareil à proximité d’un liquide.

6. Nettoyez l’appareil avec un chi on sec.

7. Veillez à ne pas empêcher la bonne ventilation

de l’appareil via ses ouïes de ventilation. Respectezles

consignes du fabricant concernant l’installation

del’appareil.

8. Ne placez pas l’appareil à proximité d’une source

de chaleur telle qu’un chau age, une cuisinière ou tout

appareil dégageant de la chaleur (y compris un ampli

depuissance).

9. Ne supprimez jamais la sécurité des prises bipolaires

ou des prises terre. Les prises bipolaires possèdent deux

contacts de largeur di érente. Leplus large est le contact

de sécurité. Les prises terre possèdent deux contacts plus

une mise à la terre servant de sécurité. Si la prise du bloc

d’alimentation ou du cordon d’ali-mentation fourni ne

correspond pas à celles de votre installation électrique,

faites appel à un électricien pour e ectuer le changement

de prise.

10. Installez le cordon d’alimentation de telle façon

que personne ne puisse marcher dessus et qu’il soit

protégé d’arêtes coupantes. Assurez-vous que le cordon

d’alimentation est sufsamment protégé, notamment au

niveau de sa prise électrique et de l’endroit où il est relié à

l’appareil; cela est également valable pour une éventuelle

rallonge électrique.

11. Utilisez exclusivement des accessoires et des

appareils supplémentaires recommandés par lefabricant.

12. Utilisez

exclusivement des

chariots, des diables,

desprésentoirs, despieds

et des surfaces de

travail recommandés

par le fabricant ou

livrés avec le produit.

Déplacezprécautionneusement tout chariot ou diable

chargé pour éviter d’éventuelles blessures en cas dechute.

13. Débranchez l’appareil de la tension secteur en cas

d’orage ou si l’appareil reste inutilisé pendant une longue

période de temps.

14. Les travaux d’entretien de l’appareil doivent

être e ectués uniquement par du personnel qualié.

Aucunentretien n’est nécessaire sauf si l’appareil est

endommagé de quelque façon que ce soit (dommagessur

le cordon d’alimentation ou la prise par exemple), siun

liquide ou un objet a pénétré à l’intérieur du châssis, si

l’appareil a été exposé à la pluie ou à l’humidité, s’il ne

fonctionne pas correctement ou à la suite d’une chute.

15. L’appareil doit être connecté à une prise secteur

dotée d’une protection par mise à la terre.

16. La prise électrique ou la prise

IEC de tout appareil dénué de

bouton marche/arrêt doit rester

accessible enpermanence.

CARACTÉRISTIQUES TECHNIQUES ET APPARENCE

SUJETTES À MODIFICATIONS SANS PRÉAVIS.

PRÉCISION NON GARANTIE. BEHRINGER, KLARK

TEKNIK, MIDAS, BUGERA, ET TURBOSOUND FONT

PARTIE DU MUSIC GROUP MUSICGROUP.COM.

TOUTES LES MARQUES DÉPOSÉES SONT LA PROPRIÉTÉ

DE LEURS PROPRIÉTAIRES RESPECTIFS. LA SOCIÉTÉ

MUSICGROUP N’ACCEPTE AUCUNE RESPONSABILITÉ

DANS LES ÉVENTUELS DOMMAGES OU PERTES SUBIS

PAR UN TIERS EN SE BASANT EN ENTIER OU EN

PARTIE SUR LES DESCRIPTIONS, PHOTOGRAPHIES OU

DÉCLARATIONS CONTENUES DANS CE DOCUMENT.

LESCOULEURS ET CARACTÉRISTIQUES PEUVENT

VARIER LÉGÈREMENT DE CELLES DU PRODUIT.

LESPRODUITS MUSICGROUP NE SONT VENDUS

QUE PAR LE BIAIS DE REVENDEURS AGRÉÉS.

LESDISTRIBUTEURS ET LES REVENDEURS NE SONT

PAS AGENTS DE MUSICGROUP ET N’ONT ABSOLUMENT

AUCUNE AUTORITÉ POUR ENGAGER OU REPRÉSENTER

LA SOCIÉTÉ MUSICGROUP DE FAÇON IMPLICITE,

EXPLICITE OU INDIRECTE. CE MODE D’EMPLOI EST

PROTÉGÉ PAR DROITS D’AUTEURS. IL EST INTERDIT

DE TRANSMETTRE OU DE COPIER CE MODE D’EMPLOI

SOUS QUELLE FORME QUE CE SOIT, PAR QUEL MOYEN

QUE CE SOIT, ÉLECTRONIQUE OU MÉCANIQUE,

CEQUI COMPREND LES MOYENS DE PHOTOCOPIE ET

D’ENREGISTREMENT DE QUELLE FAÇON QUE CE SOIT,

QUEL QUE SOIT LE BUT, SANS LA PERMISSION ÉCRITE

EXPRESSE DE MUSICGROUPIPLTD.

Trident Chambers, Wickhams Cay, P.O. Box 146,

Road Town, Tortola, Iles Vierges Britanniques

Pour connaître les termes et conditions de

garantie applicables, ainsi que les informations

supplémentaires et détaillées sur la Garantie

Limitée de MUSIC Group, consultez le site Internet

www.music-group.com/warranty.

Quick Start Guide 5

Wichtige

Sicherhteitshinweise

HAFTUNGSAUSSCHLUSS

BESCHRÄNKTE GARANTIE

Vorsicht

Die mit dem Symbol markierten

Anschlüsse führen so viel Spannung,

dassdie Gefahr eines Stromschlags besteht.

Verwenden Sie nur hochwertige, professionelle

Lautsprecherkabel mit vorinstallierten 6,35 mm

MONO-Klinkensteckern oder Lautsprecherstecker

mit Drehverriegelung. Alle anderen Installationen

oder Modi kationen sollten nur von quali ziertem

Fachpersonal ausgeführt werden.

Achtung

Um eine Gefährdung durch Stromschlag

auszuschließen, darf die Geräteabdeckung

bzw. Geräterückwand nicht abgenommen werden.

ImInnern des Geräts be nden sich keine vom Benutzer

reparierbaren Teile. Reparaturarbeiten dürfen nur von

quali ziertem Personal ausgeführt werden.

Achtung

Um eine Gefährdung durch Feuer bzw.

Stromschlag auszuschließen, darf dieses

Gerät weder Regen oder Feuchtigkeit ausgesetzt werden

noch sollten Spritzwasser oder tropfende Flüssigkeiten

in das Gerät gelangen können. Stellen Sie keine mit

Flüssigkeit gefüllten Gegenstände, wie z. B. Vasen,

aufdasGerät.

Achtung

Die Service-Hinweise sind nur durch

quali ziertes Personal zu befolgen.

Umeine Gefährdung durch Stromschlag zu vermeiden,

führen Sie bitte keinerlei Reparaturen an dem Gerät

durch, die nicht in der Bedienungsanleitung beschrieben

sind. Reparaturen sind nur von quali ziertem

Fachpersonaldurchzuführen.

1. Lesen Sie diese Hinweise.

2. Bewahren Sie diese Hinweise auf.

3. Beachten Sie alle Warnhinweise.

4. Befolgen Sie alle Bedienungshinweise.

5. Betreiben Sie das Gerät nicht in der Nähe vonWasser.

6. Reinigen Sie das Gerät mit einem trockenen Tuch.

7. Blockieren Sie nicht die Belüftungsschlitze. Beachten

Sie beim Einbau des Gerätes die Herstellerhinweise.

8. Stellen Sie das Gerät nicht in der Nähe von

Wärmequellen auf. Solche Wärmequellen sind z. B.

Heizkörper, Herde oder andere Wärme erzeugende Geräte

(auch Verstärker).

9. Entfernen Sie in keinem Fall die

Sicherheitsvorrichtung von Zweipol- oder geerdeten

Steckern. Ein Zweipolstecker hat zwei unterschiedlich

breite Steckkontakte. Ein geerdeter Stecker hat zwei

Steckkontakte und einen dritten Erdungskontakt.

Derbreitere Steckkontakt oder der zusätzliche

Erdungskontakt dient Ihrer Sicherheit. Falls das

mitgelieferte Steckerformat nicht zu Ihrer Steckdose

passt, wenden Sie sich bitte an einen Elektriker, damit die

Steckdose entsprechend ausgetauscht wird.

10. Verlegen Sie das Netzkabel so, dass es vor

Tritten und scharfen Kanten geschützt ist und nicht

beschädigt werden kann. Achten Sie bitte insbesondere

im Bereich der Stecker, Verlängerungskabel und an

der Stelle, an der das Netzkabel das Gerät verlässt,

aufausreichendenSchutz.

11. Das Gerät muss jederzeit mit intaktem Schutzleiter

an das Stromnetz angeschlossen sein.

12. Sollte der Hauptnetzstecker oder eine

Gerätesteckdose die Funktionseinheit zum Abschalten

sein, muss diese immer zugänglich sein.

13. Verwenden Sie nur Zusatzgeräte/Zubehörteile,

dielaut Hersteller geeignet sind.

14. Verwenden

Sie nur Wagen,

Standvorrichtungen,

Stative, Halter oder Tische,

die vom Hersteller benannt

oder im Lieferumfang

des Geräts enthalten

sind. Falls Sie einen

Wagen benutzen, seien Sie vorsichtig beim Bewegen

der Wagen- Gerätkombination, umVerletzungen durch

Stolpern zuvermeiden.

15. Ziehen Sie den Netzstecker bei Gewitter oder wenn

Sie das Gerät längere Zeit nicht benutzen.

16. Lassen Sie alle Wartungsarbeiten nur von

quali ziertem Service-Personal ausführen. EineWartung

ist notwendig, wenn das Gerät in irgendeiner Weise

beschädigt wurde (z. B. Beschädigung des Netzkabels oder

Steckers), Gegenstände oder Flüssigkeit in das Geräteinnere

gelangt sind, das Gerät Regen oder Feuchtigkeit ausgesetzt

wurde, das Gerät nicht ordnungsgemäß funktioniert oder

auf den Boden gefallen ist.

17. Korrekte Entsorgung

dieses Produkts: Dieses Symbol

weist darauf hin, das Produkt

entsprechend der WEEE

Direktive (2002/96/EC) und der

jeweiligen nationalen Gesetze

nicht zusammen mit Ihren

Haushaltsabfällen zu entsorgen. DiesesProdukt sollte

bei einer autorisierten Sammelstelle für Recycling

elektrischer und elektronischer Geräte (EEE) abgegeben

werden. Wegen bedenklicher Substanzen, diegenerell

mit elektrischen und elektronischen Geräten in

Verbindung stehen, könnte eine unsachgemäße

Behandlung dieser Abfallart eine negative Auswirkung

auf Umwelt und Gesundheit haben. Gleichzeitig

gewährleistet Ihr Beitrag zur richtigen Entsorgung dieses

Produkts die e ektive Nutzung natürlicher Ressourcen.

Fürweitere Informationen zur Entsorgung Ihrer Geräte

bei einer Recycling-Stelle nehmen Sie bitte Kontakt zum

zuständigen städtischen Büro, Entsorgungsamt oder zu

Ihrem Haushaltsabfallentsorgerauf.

TECHNISCHE DATEN UND ERSCHEINUNGSBILD

KÖNNEN UNANGEKÜNDIGT GEÄNDERT WERDEN.

IRRTÜMER BLEIBEN VORBEHALTEN. BEHRINGER,

KLARK TEKNIK, MIDAS, BUGERA UND TURBOSOUND

SIND TEIL DER MUSIC GROUP MUSICGROUP.COM.

ALLEWARENZEICHEN SIND DAS EIGENTUM IHRER

JEWEILIGEN BESITZER. MUSICGROUP ÜBERNIMMT

KEINE HAFTUNG FÜR VERLUSTE, DIE PERSONEN

ENTSTEHEN, DIE SICH GANZ ODER TEILWEISE AUF

HIER ENTHALTENE BESCHREIBUNGEN, FOTOS ODER

AUSSAGEN VERLASSEN. ABGEBILDETE FARBEN UND

SPEZIFIKATIONEN KÖNNEN GERINGFÜGIG VOM

PRODUKT ABWEICHEN. MUSICGROUP PRODUKTE

WERDEN NUR ÜBER AUTORISIERTE FACHHÄNDLER

VERKAUFT. DIE VERTRIEBSPARTNER UND HÄNDLER

SIND KEINE VERTRETER VON MUSICGROUP UND

SIND NICHT BERECHTIGT, MUSICGROUP DURCH

AUSDRÜCKLICHE ODER STILLSCHWEIGENDE

HANDLUNGEN ODER REPRÄSENTANZEN ZU

VERPFLICHTEN. DIESE BEDIENUNGSANLEITUNG IST

URHEBERRECHTLICH GESCHÜTZT. KEIN TEIL DIESES

HANDBUCHS DARF IN IRGENDEINER FORM ODER

MIT IRGENDWELCHEN MITTELN ELEKTRONISCH

ODER MECHANISCH, INKLUSIVE FOTOKOPIE ODER

AUFNAHME, ZU IRGENDEINEM ZWECK OHNE

DIE SCHRIFTLICHE ZUSTIMMUNG DER FIRMA

MUSICGROUPIPLTD. VERVIELFÄLTIGT ODER

ÜBERTRAGEN WERDEN.

Trident Chambers, Wickhams Cay, P.O. Box 146,

Road Town, Tortola, British Virgin Islands

Die geltenden Garantiebedingungen und zusätzliche

Informationen bezüglich der von MUSIC Group

gewährten beschränkten Garantie  nden Sie online unter

www. music-group.com/warranty.

6 EURORACK PRO RX1202FX

Instruções de Segurança

Importantes

LEGAL RENUNCIANTE

GARANTIA LIMITADA

Aviso!

Terminais marcados com o símbolo

carregam corrente elétrica de magnitude

su ciente para constituir um risco de choque elétrico.

Use apenas cabos de alto-falantes de alta qualidade

com plugues TS de ¼" ou plugues com trava de torção

pré-instalados. Todas as outras instalações e modi cações

devem ser efetuadas por pessoasquali cadas.

Este símbolo, onde quer que o encontre,

alerta-o para a leitura das instruções de

manuseamento que acompanham o

equipamento. Por favor leia o manual de instruções.

Atenção

De forma a diminuir o risco de choque

eléctrico, não remover a cobertura

(ouasecção de trás). Não existem peças substituíveis por

parte do utilizador no seu interior. Para esse efeito recorrer

a um técnico quali cado.

Atenção

Para reduzir o risco de incêndios ou

choques eléctricos o aparelho não deve ser

exposto à chuva nem à humidade. Além disso, não deve

ser sujeito a salpicos, nem devem ser colocados em cima

do aparelho objectos contendo líquidos, tais como jarras.

Atenção

Estas instruções de operação devem ser

utilizadas, em exclusivo, por técnicos de

assistência quali cados. Para evitar choques eléctricos

não proceda a reparações ou intervenções, que não as

indicadas nas instruções de operação, salvo se possuir as

quali -cações necessárias. Para evitar choques eléctricos

não proceda a reparações ou intervenções, que não as

indicadas nas instruções de operação. Só o deverá fazer se

possuir as quali cações necessárias.

1. Leia estas instruções.

2. Guarde estas instruções.

3. Preste atenção a todos os avisos.

4. Siga todas as instruções.

5. Não utilize este dispositivo perto de água.

6. Limpe apenas com um pano seco.

7. Não obstrua as entradas de ventilação. Instale de

acordo com as instruções do fabricante.

8. Não instale perto de quaisquer fontes de calor tais

como radiadores, bocas de ar quente, fogões de sala

ou outros aparelhos (incluindo ampli cadores) que

produzam calor.

9. Não anule o objectivo de segurança das  chas

polarizadas ou do tipo de ligação à terra. Uma  cha

polarizada dispõe de duas palhetas sendo uma mais larga

do que a outra. Uma  cha do tipo ligação à terra dispõe

de duas palhetas e um terceiro dente de ligação à terra.

A palheta larga ou o terceiro dente são fornecidos para

sua segurança. Se a  cha fornecida não encaixar na sua

tomada, consulte um electricista para a substituição da

tomada obsoleta.

10. Proteja o cabo de alimentação de pisadelas ou

apertos, especialmente nas  chas, extensões, e no local

de saída da unidade. Certi que-se de que o cabo eléctrico

está protegido. Veri que particularmente nas  chas, nos

receptáculos e no ponto em que o cabo sai doaparelho.

11. O aparelho tem de estar sempre conectado à rede

eléctrica com o condutor de protecção intacto.

12. Se utilizar uma  cha de rede principal ou uma

tomada de aparelhos para desligar a unidade de

funcionamento, esta deve estar sempre acessível.

13. Utilize apenas ligações/acessórios especi cados

pelofabricante.

14. Utilize apenas com

o carrinho, estrutura,

tripé, suporte, ou mesa

especi cados pelo

fabricante ou vendidos

com o dispositivo.

Quandoutilizar um

carrinho, tenha cuidado ao

mover o conjunto carrinho/dispositivo para evitar danos

provocados pela terpidação.

15. Desligue este dispositivo durante as trovoadas

ou quando não for utilizado durante longos períodos

detempo.

16. Qualquer tipo de reparação deve ser sempre

efectuado por pessoal quali cado. É necessária uma

reparação sempre que a unidade tiver sido de alguma

forma dani cada, como por exemplo: no caso do cabo

de alimentação ou  cha se encontrarem dani cados;

naeventualidade de líquido ter sido derramado ou

objectos terem caído para dentro do dispositivo; no caso

da unidade ter estado exposta à chuva ou à humidade;

seesta não funcionar normalmente, ou se tiver caído.

17. Correcta eliminação deste

produto: este símbolo indica que

o produto não deve ser eliminado

juntamente com os resíduos

domésticos, segundo a Directiva

REEE (2002/96/CE) e a legislação

nacional. Este produto deverá

ser levado para um centro de recolha licenciado para a

reciclagem de resíduos de equipamentos eléctricos e

electrónicos (EEE). O tratamento incorrecto deste tipo

de resíduos pode ter um eventual impacto negativo

no ambiente e na saúde humana devido a substâncias

potencialmente perigosas que estão geralmente

associadas aos EEE. Ao mesmo tempo, a sua colaboração

para a eliminação correcta deste produto irá contribuir

para a utilização e ciente dos recursos naturais. Paramais

informação acerca dos locais onde poderá deixar o seu

equipamento usado para reciclagem, é favor contactar

os serviços municipais locais, a entidade de gestão de

resíduos ou os serviços de recolha de resíduosdomésticos.

ESPECIFICAÇÕES TÉCNICAS E APARÊNCIA ESTÃO

SUJEITAS A MUDANÇAS SEM AVISO PRÉVIO E NÃO HÁ

GARANTIA DE PRECISÃO . BEHRINGER, KLARKTEKNIK,

MIDAS, BUGERA, ETURBOSOUND FAZEM PARTE

DO MUSIC GROUP MUSICGROUP.COM. TODAS AS

MARCAS REGISTADAS SÃO PROPRIEDADE DOS SEUS

RESPECTIVOS PROPRIETÁRIOS. MUSICGROUP NÃO SE

RESPONSABILIZA POR QUALQUER PERDA QUE POSSA

TER SIDO SOFRIDA POR QUALQUER PESSOA QUE

ACREDITA TANTO COMPLETA QUANTO PARCIALMENTE

EM QUALQUER DESCRIÇÃO, FOTO OU AFIRMAÇÃO

AQUI CONTIDA. CORES E ESPECIFICAÇÕES PODEM

VARIAR UM POUCO DO PRODUTO. OSPRODUTOS

DA MUSICGROUP SÃO VENDIDOS ATRAVÉS

DE DISTRIBUIDORES AUTORIZADOS APENAS.

DISTRIBUIDORES E REVENDEDORES NÃO SÃO

AGENTES DA MUSICGROUP E NÃO TÊM AUTORIDADE

ALGUMA PARA OBRIGAR A MUSICGROUP A

QUALQUER TAREFA OU REPRESENTAÇÃO EXPRESSA

OU IMPLÍCITA. ESTEMANUAL TEM DIREITOS

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SER REPRODUZIDA OU TRANSMITIDA DE QUALQUER

FORMA OU MEIO, ELETRÔNICO OU MECÂNICO,

INCLUINDO FOTOCÓPIA E GRAVAÇÃO DE QUALQUER

TIPO, PARA QUALQUER INTENÇÃO, SEM A PERMISSÃO

ESCRITA EXPRESSA DE MUSICGROUPIPLTD.

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Road Town, Tortola, Ilhas Virgens Britânicas

Para obter os termos de garantia aplicáveis e condições e

informações adicionais a respeito da garantia limitada do

MUSIC group, favor veri car detalhes na íntegra através

do website www.music-group.com/warranty.

Quick Start Guide 7

8 EURORACK PRO RX1202FX

EURORACK PRO RX1202FX Controls

(4)

(7) (19) (17) (18)(10)(9)

(8) (23)(26)

(6)

(25)

(20)

(22)

(21)

(5) (24)

9 Quick Start Guide

(2)

(13) (14) (15) (16)

(27) (28) (29)

(3)

(1)

(11) (12)

10 EURORACK PRO RX1202FX

EURORACK PRO RX1202FX Controls

(EN) Controls

(1) MIC — Each mono input channel

oers a balanced microphone input via

the XLR connector and also features a

switchable +48 V phantom power supply

for condenser microphones.

(2) LINE IN — Each mono input also features

a balanced line input on a ¼" connector.

Unbalanced devices (mono connectors)

can also be connected to these inputs.

(3) The INSERT connector is input and output at

the same time. This allows you to insert external

signal processors (compressors, gate, etc.)

in the channel. The signal retrieval occurs after

the TRIM and is practically a diversion of the

signal. The input signal of the connected signal

processor is diverted, processed and led back to

the channel for further processing.

(4) Use the GAIN control to adjust the input gain.

This control should always be turned fully

counterclockwise whenever you connect or

disconnect a signal source to one of the inputs.

(5) HIGH/LOW — All mono input channels include

a 3-band equalizer. All bands provide boost

or cut of up to 15 dB. In the central position,

the equalizer is inactive.

The upper (HIGH) and the lower band

(LOW) 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 band are 12 kHz and

80Hz respectively.

(6) MON/FX — FX send buses (or AUX send

buses) enable you to extract signals from

one or more channels and collect these on a

bus. You can retrieve the signal at the send

connector to direct it to an external eects

device, for example. The AUX return input is

used as the return path. The send buses of the

RX1202FX are mono buses.

As the name suggests, the FX sends of the

EURORACK mixing consoles are intended to

drive eects devices (reverb, delay, etc.) and are

therefore congured post-fader. This means that

the mix between dry signal and eect remains

at the level determined by the channel’s aux

send, irrespective of the channel fader setting.

If this were not the case, the eects signal of the

channel would remain audible even when the

fader is lowered to zero.

In the RX1202FX, the FX send is routed directly

to the built-in eects processor. To make sure

that the eects processor receives an input

signal, you shouldn’t turn this control all the

way to the left (-∞).

The MON pat — as the name already implies—

is meant to be used as monitor signal path.

For this application, it is important that the

controller works as pre-fader, which means

it does not rely on the fader position. For this

reason the AUX send path is unsuitable for the

connection to eects devices. By using the

MON controller, you can produce a mono mix

of individual signals that can be routed over

the MON plug, located on the backside, to a

headphones amplier (e.g. MINIAMP AMP800)

or a power amplier for monitoring.

(7) The PAN control determines the position of

the channel signal within the stereo image.

This control features a constant-power

characteristic, which means the signal is always

maintained at a constant level, irrespective of

position in the stereo panorama.

(8) The CLIP LEDs of the mono channels illuminate

when the input signal is driven too high,

which could cause distortion. If this happens,

use the TRIM control to reduce the preamp level

until the LED does not light anymore.

(9) The CHANNEL FADER determines the level of

the channel signal in the Main Mix.

(10) The BAL(ANCE) control determines the levels

of left and right input signals relative to each

other before both signals are then routed to the

main stereo mix bus. If a channel is operated in

mono via the left line input, this control has the

same function as the PAN control used in the

mono channels.

(11) The MAIN OUT connectors are balanced and

laid out as XLR connectors. Here the summed

signal of the main mix has a level of 0 dBu.

(12) The CTRL OUT connectors are used for

controlling the summed signal (eects mix

and main mix) as well as for individual signals

over studio monitor speakers. By using the

PHONES/CONTROL ROOM controller in the

main section, you can control the level of

both outputs.

11 Quick Start Guide

(13) The CD/TAPE INs are used to bring an external

signal source (e.g. CD player, tape deck,

etc.) into the console. They can also be

used as a standard stereo line input, so the

output of a second EURORACK or BEHRINGER

ULTRALINK PRO MX882 can be connected.

Alternatively, the line or tape output of a hi-

amplier with source selection switch could

also be hooked up here, allowing you to easily

listen to additional sources (e.g. cassette

recorder, minidiskplayer, sound card etc.).

(14) CD/TAPE OUT — These connections are laid

out as RCA connectors and are wired parallel

to MAIN OUT. Connect the inputs of a computer

sound card or a recorder here. The output

signal level is set up using the highly accurate

MAIN MIX fader.

(15) AUX SENDS — The FX connector routes the

signal, which you have extracted from the

individual channels by using the FX controller;

the MON plug does the same to the signal

that has been extracted by using the MON

controller. Connect the input of an external

eects processor to the FX plug, with which

you want to modify the signal sum of the

FX bus. Then, route the eects signal back to

the mixer over the AUX RETURN connectors.

With the MON outputs, you can connect

an amplier/headphones amplier for the

musicians to monitor.

(16) AUX RETURN — You can connect the

outputs of an external eects device to

the AUX RETURN connectors. In this case,

the eects signal is routed directly to the

main mix bus and is then mixed with the “dry”

signal. It is also possible to route the eects

signal as mono by using the L connector.

(17) Use the MAIN MIX fader to adjust the volume

of the main out.

(18) PHONES — The connector is used

to connect a pair of headphones.

The volume level is changed with the

PHONES/CONTROL ROOM controller.

(19) Use the PHONES/CONTROL ROOM control

to adjust the signal level of the CTRL OUT and

PHONES outputs.

(20) FX SOLO — If you want to only listen to

the eects signal with your headphones or

monitor speakers, then press the FX SOLO

switch. The signal of the eects device can

then be heard individually; the main mix or

CD/tape signal is inaudible at the PHONES

and CTRL OUT outputs.

(21) CD/TAPE TO CTRL — Press the CD/TAPE

TO CTRL switch if you want to monitor the

CD/TAPE IN via the CTRL OUT and PHONES

outputs. A typical studio application of

this function is recording music into a

digital audio workstation (DAW) with

simultaneous reproduction.

(22) When the CD/TAPE TO MIX switch is pressed,

the CD/tape input is assigned to the main

mix providing an additional input for tape

machines, MIDI instruments or other signal

sources that do not require any processing.

(23) 100 FIRST-CLASS EFFECTS — The EURORACK

RX1202FX features a built-in digital stereo

eects processor. This eects processor oers

a large number of standard eects such

as Hall, Chorus, Flanger, Delay and various

combination eects. Using the FX control,

you can feed signals into the eects processor.

The integrated eects module has the

advantage of requiring no wiring. This way,

the danger of creating ground loops or uneven

signal levels is eliminated at the outset,

completely simplifying the handling.

(24) The SIG LED on the eects module shows

the presence of a signal whose level is high

enough. This LED should always be on.

However, make sure that the CLIP LED lights up

only sporadically. If it is lit constantly, you are

overdriving the eects processor, which leads

to unpleasant distortion. If this occurs, turn the

FX controls down somewhat.

(25) The PROGRAM control has two functions:

by turning the PROGRAM control, you dial

the number of an eect. The number of the

preset you just dialed up blinks in the display.

To conrm your selection, press the PROGRAM

control; the blinking stops.

(26) By using the FX TO MAIN controller, the eects

signal is sent to the main mix. No eects

signal is to be heard in the summed signal of

the mixer when the controller is positioned

entirely to the left. Choose this position if you

want to use an external eects device for the

FX output.

(27) FUSE HOLDER/IEC MAINS RECEPTACLE —

The mains connection is made via a cable with

an IEC mains connector and meets the required

safety standards. An appropriate mains cable

is supplied with the equipment. Blown fuses

must only be replaced by fuses of the same

type and rating.

(28) Use the POWER

switch to turn on the mixing

console. The POWER switch should always be

in the “O” position when you are about to

connect your unit to the mains.

(29) 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 conguration. In case of doubt,

contact the microphone manufacturer!

Check Out behringer.com for Full Manual

12 EURORACK PRO RX1202FX

EURORACK PRO RX1202FX Controles

(ES) Controles

(1) MIC — Cada canal mono le ofrece una

entrada de micrófono balanceada mediante

conector XLR, y alimentación fantasma

(+48 V) para micrófonos de condensador

(vea el panel trasero).

(2) LINE IN — Cada canal mono dispone de una

entrada de línea balanceada mediante conector

jack de 6,3 mm, a la cual se pueden conectar

también señales no balanceadas.

(3) INSERT — Los puntos de inserción son al

mismo tiempo entradas y salidas. Estos le

permiten conectar un procesador de señal

externo (compresor, puerta de ruido, etc.)

al canal correspon-diente. La señal se toma

después de la etapa de ganancia (TRIM) para

ser, prácticamente, desviada hacia el procesador

externo, y posteriormente retornar a la mesa de

mezclas en exactamente el mismo lugar.

(4) El control GAIN le permite ajustar la ganancia

de entrada del canal. Este control debe estar

girado completamente a la izquierda sie mpre

que conecte o desconecte una fuente de señal

a una de las entradas. La escala tiene dos

rangos de valores diferentes: el primer rango

(+10 a +60 dB) se reere a la entrada de

MIC(rófono), y muestra la amplicación de las

señales de micrófono. El segundo rango de

valores (+10 a -40 dB) se reere a la entrada de

línea e indica su sensibilidad.

(5) HIGH/LOW — Todos los canales mono

disponen de un ecualizador de 2 bandas.

Cada banda permite respectivamente un

aumento/disminución de 15 dB. En la posición

central el ecualizador es neutral.

El ltro utilizado, tanto para frecuencias altas

(HIGH) como bajas (LOW), es tipo shelving.

Este tipo de ltro aumenta o atenúa todas

las frecuencias por encima o por debajo de

la frecuencia de corte. Las frecuencias de

corte de las bandas alta y baja son 12 kHz y

80 Hz respectivamente.

(6) MON/FX — Los envíos de efectos (FX),

o envíos auxiliares, le permiten tomar la señal

de distintos canales y juntarlas en una misma

ruta (o bus). Esta señal puede ser enviada a

un procesador de efectos externo a través del

conector correspondiente. Para regresar la señal

a la mesa de mezclas, puede utilizar los retornos

auxiliares. Los envíos auxiliares de la RX1202FX

son mono.

El bus auxiliar, o de efectos, de la mesa de

mezclas EURORACK se encuentra dispuesto

“post-fader”, es decir, la señal del envío auxiliar

siempre se verá afectada por la posición del

fader de canal. Si no fuera este el caso, la señal

de efectos seguiría siendo audible aún cuando

el fader del canal correspondiente estuviera

completamente “cerrado”.

En su RX1202FX, el envío auxiliar FX también

está conectado directamente al procesador de

efectos interno. Para que éste reciba una señal,

el control FX correspondiente no deberá estar

completamente cerrado (-∞).

Los envíos de MON(itores), como su nombre

implica, se utilizan para monitorización.

Para este tipo de aplicaciones, es importante

que la señal se tome “pre-fader”, es decir,

que el nivel de éstos sea independiente de la

posición del fader de canal. Por esta misma

razón, este tipo de envíos no se recomienda para

procesadores de efectos externos. Los envíos

MON le permiten hacer una mezcla de los

distintos canales -independientemente de la

mezcla principal-, y enviarla a un distribuidor de

auriculares (como el MINIAMP AMP800), o a una

etapa de potencia, para monitorizar la señal.

(7) El control PAN(orama) determina la posición

de la señal del canal dentro del campo estéreo.

Este control es de potencia constante, es decir,

la señal presenta siempre un nivel constante

independientemente de su posición en

el campo estéreo.

(8) El LED de saturación CLIP se ilumina cuando el

nivel de la señal de entrada es muy alto. Si se

presenta el caso, disminuya la ganancia con el

regulador TRIM hasta que el LED se apague.

(9) FADER DE CANAL —El fader de canal

determina el nivel de la señal de ese canal en

la mezcla principal.

(10) El control de BAL(ance) determina la proporción

entre las señales izquierda y derecha antes

de que ambas sean dirigidas al bus principal.

Si utiliza un canal estéreo como mono, el control

BAL corresponde al control de PAN(orama) en

los canales mono.

(11) Los conectores de salida de la mezcla principal,

MAIN OUT, son XLR balanceados. El nivel de la

señal en estos conectores es de 0 dBu.

13 Quick Start Guide

(12) Las salidas CTRL OUT le permiten monitorizar

la suma de señales (efectos y mezcla

principal), así como las señales individuales,

a través de unos altavoces. Utilice el control

PHONES/CONTROL ROOM de la sección principal

para regular el nivel de estas salidas.

(13) Las entradas CD/TAPE IN sirven para

conectar fuentes de señal externas

(un DAT o reproductor de CD, por ejemplo)

a la mesa de mezclas. También pueden

utilizarse como entradas de línea estéreo

para conectar la señal de salida de un segundo

EURORACK o del ULTRALINK PRO MX882 de

BEHRINGER. Si conecta un amplicador hi-

con interruptor de selección de fuente a la

entrada CD/TAPE IN, podrá escoger fácilmente

entre las distintas fuentes (reproductor de cinta

o MD, tarjeta de sonido, etc.).

(14) CD/TAPE OUT — En estas salidas dispone de la

señal principal de manera paralela a las salidas

principales (MAIN OUT). Conecte estas salidas

a las entradas de su equipo de grabación.

El nivel de salida se regula mediante el fader

MAIN MIX.

(15) AUX SENDS

— Las señales enviadas a través

del control FX de los canales individuales

son dirigidas al conector del mismo nombre.

Del mismo modo, las señales enviadas

mediante el control MON son dirigidas al

conector MON. Conecte un procesador de

efectos a la salida FX para añadir efectos a la

mezcla principal. Para retornar la señal del

procesador de efectos a la mesa de mezclas,

utilice el conector AUX RETURN. En la salida

MON puede conectar un amplicador o

distribuidor de auriculares para proveer a los

músicos de una señal de monitorización.

(16) AUX RETURN — En las entradas AUX RETURN

puede conectar las entradas de un procesador

de efectos externo. La señal del procesador

externo es dirigida directamente al bus

principal (MAIN MIX) para ser sumada a la

señal “seca”. También puede retornar una señal

mono, utilizando solamente el conector L.

(17) El fader MAIN MIX le permite determinar el

nivel en las salidas principales (MAIN OUT).

(18) PHONES — Aquí puede conectar unos

auriculares para monitorización. Utilice el

control PHONES/CONTROL ROOM para regular

el nivel de éstos.

(19) El control PHONES/CONTROL ROOM regula el

nivel de las salidas CTRL OUT y PHONES.

(20) FX SOLO — Si desea escuchar exclusivamente

la señal con efectos a través de sus auriculares

o monitores, presione el botón FX SOLO.

Al hacerlo, sólo escuchará la señal proveniente

del procesador de efectos, las señales de

la mezcla principal y de CD/cinta ya no se

escucharán en las salidas PHONES y CTRL OUT.

(21) CD/TAPE TO CTRL — El pulsador CD/TAPE TO

CTRL le permite asignar la señal de la entrada

CD/TAPE IN a las salidas de monitorización

(CTRL OUT/PHONES). Una aplicación típica

de esta función en estudio es la grabación

y reproducción simultánea de música en un

software dedicado (Digital Audio Workstation)

(22) Si presiona el pulsador CD/TAPE TO MIX

asignará la señal de la entrada CD/TAPE IN

al bus principal, permitiéndole usar su mesa

de mezclas en conjunto con reproductores,

instrumentos MIDI u otras fuentes de señal

que no requieran procesamiento adicional.

(23) 100 FIRST-CLASS EFFECTS — La EURORACK

RX1202FX dispone de un procesador de efectos

digital integrado que le ofrece todos los efectos

estándar como reverb, chorus, anger, delay y

diversas combinaciones de efectos. Para enviar

señales al procesador interno utilice los

controles FX de los canales individuales.

El procesador de efectos interno tiene la

ventaja de que no debe ser cableado, por lo

que se elimina la posibilidad de zumbidos e

irregularidades en nivel, además de simplicar

su utilización.

(24) El LED SIG indica la presencia de señal con

nivel suciente en el procesador de efectos y,

por lo tanto, debe mantenerse continuamente

iluminado siempre que utilice el procesador.

Procure que el LED CLIP sólo se encienda

con picos de señal. Si llegara a iluminarse

constantemente, esto indica que el nivel de

la señal es demasiado alto y la señal pudiera

llegar a distorsionarse de manera audible.

Dado el caso, utilice el control FX del canal

correspondiente para reducir el nivel de la

señal enviada al procesador de efectos.

(25) El control PROGRAM se puede activar de dos

maneras distintas, dependiendo de su función:

al girarlo sirve para elegir un preset de efecto,

cuyo número se indica parpadeando en la

pantalla. Para conrmar el preset seleccionado,

pulse el control PROGRAM; el parpadeo cesará.

(26) El control FX TO MAIN permite añadir la señal

de efectos a la mezcla principal. Si este control

está girado completamente a la izquierda,

la señal de efectos no se envía al bus principal,

y por lo tanto, no se escuchará a través de la

mezcla principal. Asegúrese de que el control

esté en esta posición si no desea utilizar el

procesador de efectos interno.

(27) PORTAFUSIBLE / TOMA DE CORRIENTE —

La conexión a la red de corriente eléctrica

se realiza mediante el cable con conector

estándar incluido. Éste cumple con todas

las disposiciones de seguridad necesarias.

Si sustituye el fusible deberá hacerlo

indispensablemente por uno del mismo tipo.

(28) Con el interruptor POWER ON se enciende

la mesa de mezclas. Este interruptor debe

estar en la posición de apagado al conectar el

aparato a la red de corriente eléctrica.

(29)

Con el pulsador PHANTOM ON se activa la

alimentación fantasma para las entradas XLR

de los canales mono, la cual es necesaria para

los micrófonos de condensador. Al activar la

alimentación fantasma se ilumina el LED rojo

+48 V. También puede utilizar micrófonos

dinámicos si tienen un cableado balanceado.

En caso de duda, ¡póngase en contacto con el

fabricante del micrófono!

Si quiere acceder al manual de instrucciones

completo, vaya a la página web behringer.com

14 EURORACK PRO RX1202FX

EURORACK PRO RX1202FX Réglages

(FR) Réglages

(1) MIC (entrée micro)— Chaque canal mono

ore une entrée micro sur XLR symétrique

et dispose d’une alimentation fantôme

+48 V (commutateur PHANTOM du panneau

arrière) pour permettre l’utilisation de

micros électrostatiques.

(2) LINE IN (entrée ligne)— Les canaux mono

disposent aussi d’une entrée ligne sur jack.

Bien que symétrique, cette entrée accepte

également les connecteurs asymétriques

(jacks mono).

(3) L’e m ba s e INSERT fait oce d’entrée et de

sortie. Elle sert à intégrer des processeurs

externes (compresseur, gate, etc.) sur le trajet

du signal dans le canal du mixeur. Pour ce faire,

l’insert dérive le signal après la commande

TRIM, conduit le signal dérivé vers un processeur

externe où il est traité puis reconduit le signal

dans le canal où il peut à nouveau être traité.

(4) Le potentiomètre GAIN sert au réglage de

l’amplication d’entrée du canal. Placez ce

potentiomètre en butée gauche avant de

câbler ou de décâbler une source à l’une des

deux entrées.

(5) HIGH/LOW (aigus/graves)— Les canaux

mono disposent d’un égaliseur 2 bandes.

Chaque potentiomètre peut faire varier le

niveau de sa bande de fréquences de 15 dB

maximum. L’égaliseur est neutre lorsque ces

potentiomètres sont en position centrale.

Les correcteurs des bandes de fréquences

haute (HIGH) et basse (LOW) sont des ltres en

plateau. Ils traitent de façon égale toutes les

fréquences au-dessus (HIGH) ou au-dessous

(LOW) de leur fréquence de coupure xée à

12 kHz (HIGH) et 80 Hz (LOW).

(6) MON/FX (monitoring/eet)— Les départs

auxiliaires FX et MON permettent de

« dédoubler » le signal de chaque canal.

Les « doubles » des signaux sont dérivés

et rassemblés sur un bus. Les sorties Send

sont les départs auxiliaires. Les signaux

qu’elles délivrent peuvent être traités avec un

processeur d’eets externe. L’entrée AUX Return

sert quant à elle de retour auxiliaire. Les départs

auxiliaires Send du RX1202FX sont mono.

Le départ auxiliaire FX de l’EURORACK

est conçu pour alimenter des processeurs

d’eets externes. Ce départ est post-fader

an que le volume de l’eet appliqué à

chaque canal suive la position du fader du

canal. Autrement, l’eet resterait audible

même lorsque les faders des canaux sont

totalement fermés.

Sur le RX1202FX, le départ auxiliaire FX route

directement les signaux vers le multi-eet

intégré. Pour que ce dernier reçoive

eectivement un signal, la commande FX Send

ne doit pas être en buté gauche (-∞).

Le départ auxiliaire MON est quant à lui

pré-fader an que le volume du signal auxiliaire

soit indépendant de la position des faders des

canaux. Par conséquent, ce départ auxiliaire

n’est pas conçu pour l’ajout d’eets mais

plutôt pour les applications de monitoring.

Les potentiomètres MON des canaux permettent

de réaliser le mixage pour les retours musiciens

délivré par la sortie MON du panneau arrière.

Utilisez ce signal pour alimenter un ampli

casques (le MINIAMP AMP800 par exemple)

ou l’étage de puissance de vos retours de scène.

(7) On ajuste la position du signal de chaque canal

dans le champ stéréo grâce au potentiomètre

PAN. Cette commande possède une énergie

constante an que le signal garde un niveau

identique quelle que soit sa position dans

l’image stéréo.

(8) La LED de surcharge CLIP des canaux mono

s’allume lorsque le niveau du signal source est

trop élevé. Dans ce cas, réduisez simplement

la préamplication du canal à l’aide du

potentiomètre TRIM jusqu’à ce que la

LED s’éteigne.

(9) FADER DU CANAL — Utilisez le fader du canal

pour régler le volume du signal du canal au sein

du bus général Main Mix.

(10) Lorsqu’un canal est utilisé en stéréo,

le potentiomètre BAL(ANCE) détermine la

part relative des deux côtés stéréo du canal

avant que le signal soit routé sur le bus général

Main Mix. Quand un canal stéréo est utilisé en

mono (seule son entrée gauche est occupée),

la commande balance se comporte alors comme

le potentiomètre PAN des canaux mono.

(11) Les embases MAIN OUT sur XLR symétriques

délivrent le signal principal Main Mix avec un

niveau nominal de 0 dBu.

(12) La sortie CTRL OUT sert à l’écoute du mixage

global (retour d’eets plus bus Main Mix)

et des signaux individuels avec les moniteurs

du studio. Le potentiomètre PHONES/CONTROL

ROOM de la section principale Main règle le

volume de ces deux sorties.

15 Quick Start Guide

(13) Les connecteurs CD/TAPE IN sont conçus

pour une source externe (un lecteur CD ou

cassette par exemple). Cependant, on peut

aussi les utiliser comme entrée ligne stéréo

supplémentaire pour accueillir le signal d’une

autre console ou d’un ULTRALINK PRO MX882

BEHRINGER. Bien qu’on écoute généralement

le signal du Main Mix avec les moniteurs,

vous pouvez avoir besoin d’écouter une

bande témoin ou toute autre source externe.

En raccordant l’entrée CD/TAPE IN à la sortie

préampli d’un ampli hi- doté d’un sélecteur

de source, vous disposez d’un moyen très

simple pour écouter diérentes sources

supplémentaires (cassette, MD, carte son, etc.).

(14) CD/TAPE OUT (sortie CD/Tape)— Cette sortie

sur cinch/RCA est câblée en parallèle avec la

sortie générale MAIN OUT. Raccordez-y les

entrées de votre carte son ou de votre

enregistreur et réglez le niveau de sortie avec

le fader MAIN MIX.

(15) AUX SENDS (départs auxiliaires)— Les départs

auxiliaires FX et MON sont des sorties qui

délivrent un « double » des signaux des canaux

dont vous avez ouvert les potentiomètres FX

et MON. Câblez le départ d’eet FX à l’entrée

d’un processeur externe pour que ce dernier

traite l’ensemble des signaux du bus FX.

Pour ramener le signal d’eet dans la console,

câblez les sorties du processeur au retour

auxiliaire AUX RETURN du mixeur. Vous pouvez

utiliser le départ auxiliaire MON pour alimenter

un système de diusion ou un casque servant

de retour aux musiciens.

(16) AUX RETURN

(retour auxiliaire) —

Reliez l’entrée du retour auxiliaire stéréo

AUX RETURN à la sortie du processeur d’eets

externe. Dans ce cas, le signal d’eet est routé

directement vers le bus principal Main Mix où

il est mélangé aux signaux bruts. Si la sortie

de l’eet externe est mono, reliez-la à l’entrée

gauche L du retour auxiliaire.

(17) Utilisez le fader MAIN MIX pour

régler le volume du signal de la sortie

générale Main Out.

(18) PHONES (casque) — Utilisez cette sortie pour

alimenter un casque audio. Réglez le volume

sonore du casque avec le potentiomètre

PHONES/CONTROL ROOM.

(19) Le potentiomètre PHONES/CONTROL ROOM

détermine le volume du signal des sorties

CTRL OUT et PHONES (casque).

(20) FX SOLO — Appuyez sur la touche

FX SOLO pour écouter isolément le signal

d’eet avec un casque ou les moniteurs du

studio. Vous entendez alors uniquement

le signal délivré par le processeur d’eets,

les signaux Main Mix et CD/Tape étant

supprimés des sorties PHONES (casque)

et CTRL OUT (Control Room).

(21) CD/TAPE TO CTRL — Appuyez sur la

touche CD/TAPE TO CTRL pour router le

signal de l’entrée CD/Tape sur la sortie de

monitoring (CTRL OUT/PHONES). L’une des

applications courantes de cette fonction est

l’enregistrement d’un signal dans un système

de MAO tout en bénéciant d’un retour pour

entendre les pistes lues par le séquenceur

de l’ordinateur

(22) Lorsque la touche CD/TAPE TO MIX est

enfoncée, l’entrée CD/Tape est assignée au

bus général Main Mix et sert ainsi d’entrée

supplémentaire pour un enregistrement

témoin, des instruments MIDI ou toute

autre source ne nécessitant pas de

traitement particulier.

(23) 100 FIRST-CLASS EFFECTS —

L’EURORACK RX1202FX possède un multi-eet

numérique intégré qui ore de nombreux

eets classiques tels que reverb, chorus,

anger, delay et diverses combinaisons

d’eets. Ouvrez le potentiomètre FX des

canaux pour alimenter le multi-eet avec les

signaux individuels. Le multi-eet intégré

présente l’avantage de ne pas devoir être câblé,

ce qui supprime les éventuels problèmes de

boucle de masse et de niveaux inadaptés.

(24) La LED SIG du multi-eet indique la présence

d’un signal de niveau susant. Faites en

sorte qu’elle reste constamment allumée

tant qu’un signal alimente le multi-eet et

surveillez la LED CLIP qui ne doit s’allumer

que sur les crêtes du signal. Lorsque la LED

CLIP reste durablement ou constamment

allumée, le niveau du signal est trop élevé

pour le multi-eet qui génère alors des

distorsions désagréables. Si tel est le cas,

« fermez » partiellement les potentiomètres

FX des canaux.

(25) L’encodeur PROGRAM possède deux fonctions.

Tournez l’encodeur pour sélectionner une

preset d’eet. Le numéro de la preset s’ache

alors en clignotant. Appuyez sur l’encodeur

pour valider votre sélection. Sur l’acheur,

le numéro de la preset arrête de clignoter pour

indiquer que l’eet choisi a été chargé.

(26) Le potentiomètre FX TO MAIN route le signal

du multi-eet vers le bus principal Main Mix.

Lorsque FX TO MAIN est en butée gauche,

le signal d’eet est absent du bus Main Mix.

Choisissez cette position si vous utilisez un

processeur d’eets externe alimenté par le

départ auxiliaire FX.

(27) PORTE-FUSIBLE / EMBASE IEC — On eectue

la liaison avec la tension secteur via l’embase

IEC standard et le cordon d’alimentation

fourni. Ils sont conformes aux normes de

sécurité en vigueur. Utilisez impérativement

un fusible de même type si vous remplacez le

fusible d’origine.

(28) Le commutateur POWER allume le

mixeur. Vériez bien qu’il est en position

« Arrêt » avant de raccorder le mixeur à la

tension secteur.

(29) Le commutateur PHANTOM active

ou désactive l’alimentation fantôme.

Indispensable au fonctionnement des micros

électrostatiques, l’alimentation fantôme est

présente uniquement dans les entrées XLR des

canaux mono. La LED rouge +48 V s’allume

pour vous signaler que l’alimentation fantôme

est active. L’utilisation de micros dynamiques

reste généralement possible alors que

l’alimentation fantôme est activée, à condition

toutefois d’utiliser des liaisons symétriques.

En cas de doutes, consultez la documentation

de vos micros !

Consultez le site behringer.com pour

télécharger le mode d’emploi complet

16 EURORACK PRO RX1202FX

EURORACK PRO RX1202FX Regler

(DE) Regler

(1) MIC — Jeder Monoeingangskanal bietet Ihnen

einen symmetrischen Mikrofon eingang über die

XLR-Buchse, an dem auf Knopfdruck auch eine

+48 V Phantomspeisung für den Betrieb von

Kondensator mikrofonen zur Verfügung steht.

(2) LINE IN — Jeder Monoeingang verfügt auch

über einen symmetrischen Line-Eingang,

der als 6,3-mm Klinkenbuchse ausgeführt

ist. Diese Eingänge können auch mit

unsymmetrisch beschalteten Steckern

(Monoklinke) belegt werden.

(3) Die INSERT-Buchse ist zugleich

Ein- und Ausgang. Hier können Sie externe

Signalprozessoren (Kompressor, Gate, etc.)

in den Kanal einschleifen. Der Signalabgri

ndet hinter dem TRIM statt und ist praktisch

eine Signalumleitung. Das Eingangssignal

wird in den angeschlossenen Signalprozessor

umgeleitet, bearbeitet und wieder in den Kanal

zur weiteren Bearbeitung zurückgeführt.

(4) Mit dem GAIN-Poti stellen Sie die

Eingangsverstärkung ein. Wann immer Sie eine

Signalquelle an einen der Eingänge anschließen

oder davon trennen, sollte dieser Regler auf

Linksanschlag stehen.

(5) HIGH/LOW — Alle Monoeingangskanäle

verfügen über eine 2-bandige Klangregelung.

Die Bänder erlauben jeweils eine maximale

Anhebung/Absenkung um 15 dB, in der

Mittenstellung ist der Equalizer neutral.

Das obere (HIGH) und das untere Band (LOW)

sind Shelving-Filter, die alle Frequenzen

oberhalb bzw. unterhalb ihrer Grenz-frequenz

anheben oder absenken. Die Grenzfrequenzen

des oberen und des unteren Bands liegen bei

12 kHz und 80 Hz.

(6) MON/FX — FX Send-Wege (oder AUX

Send-Wege) bieten Ihnen die Möglichkeit,

aus einem oder mehreren Kanälen Signale

auszukoppeln und auf einer Schiene (Bus)

zu sammeln. An einer Send-Buchse können Sie

das Signal abgreifen und z. B. einem externen

Eektgerät zuspielen. Als Rückspielweg dient

der AUX Return-Eingang. Die Send-Wege sind

im RX1202FX als Monowege ausgeführt.

Der FX-Weg der EURORACK-Mischpulte ist –

schon von der Bezeichnung her ersichtlich

– für den Anschluss von Eektgeräten

vorgesehen und post-Fader geschaltet. D. h.,

dass sich die Eektlautstärke in einem Kanal

nach der Position des Kanal-Faders richtet.

Wäre dies nicht der Fall, bliebe das Eektsignal

des Kanals auch dann hörbar, wenn der

Kanal-Fader komplett „zugezogen“ wird.

Beim RX1202FX ist der FX-Send gleichzeitig der

direkte Weg zum eingebauten Eektprozessor.

Damit der Eektprozessor ein Eingangssignal

erhält, darf dieser Regler also nicht vollständig

auf Linksanschlag (-∞) gedreht sein.

Der MON-Weg ist - der Name impliziert es

bereits- zur Verwendung als Monitorweg

gedacht. Für diese Anwendung ist es wichtig,

dass der Regler pre-Fader, also unabhängig

von der Fader-Position arbeitet. Daher

eignet sich dieser Aux Send-Weg nicht

für den Anschluss von Eektgeräten. Sie

können mit Hilfe der MON-Regler in jedem

Kanal eine Monomischung der Einzelsignale

erstellen und diese über die MON-Buchse

auf der Rückseite einem Kopfhörerverstärker

(z. B. MINIAMP AMP800) oder einer Endstufe zur

Monitorbeschallung zuführen.

(7) Mit dem PAN-Regler wird die Position des

Kanalsignals innerhalb des Stereofeldes

festgelegt. Dieses Bauteil bietet

eine Constant-Power-Charakteristik,

d. h. das Signal weist unabhängig von der

Positionierung im Stereopanorama immer

einen gleich-bleibenden Pegel auf.

(8) Die CLIP-LEDs der Monokanäle leuchten auf,

wenn das Eingangs signal zu hoch ausgesteuert

ist. Senken Sie in diesem Fall die Vorverstärkung

mit dem TRIM-Regler ab, bis die LED erlischt.

(9) KANAL-FADER — Der Kanal-Fader bestimmt

den Pegel des Kanalsignals im Main Mix.

(10) Der (BAL)ANCE-Regler bestimmt den relativen

Anteil zwischen dem linken und rechten

Eingangssignal, bevor beide Signale auf den

linken bzw. rechten Main Mix-Bus geleitet

werden. Wird ein Kanal über den linken

Line-Eingang mono betrieben, so hat dieser

Regler die gleiche Funktion wie die PAN-Regler

der Monokanäle.

17 Quick Start Guide

(11) Die MAIN OUT-Buchsen sind symmetrisch

beschaltet und sind als XLR-Buchsen

ausgeführt. Hier liegt das Main

MixSummensignal mit einem Pegel

von 0 dBu an.

(12) Die CTRL OUT-Buchsen dienen zur Kontrolle

der Summen signale (Eektmix und

Main Mix) sowie der Einzelsignale über

Studio-Abhörmonitore. Über den

PHONES/CONTROL ROOM-Regler in der

Main-Sektion bestimmen Sie den Pegel

beider Ausgänge.

(13) Die CD/TAPE IN-Buchsen dienen zum

Anschluss einer externen Signalquelle

(z. B. CD-Player, Tape Deck usw.). Sie können

sie auch als Stereo-Line-Eingang nutzen,

an den auch die Ausgänge eines zweiten

EURORACK oder des BEHRINGER ULTRALINK PRO

MX882 angeschlossen werden können. Wenn

Sie den Tape Input mit einem HiFi-Verstärker

mit Quellen wahl schalter verbinden, können

Sie auf einfachste Weise zusätzliche Quellen

abhören (z. B. Kassettenrekorder, MD-Player,

Soundkarte usw.).

(14) CD/TAPE OUT

— Diese Anschlüsse sind

als Cinch-Buchsen ausgeführt und parallel

zum MAIN OUT verdrahtet. Schließen Sie

hier die Eingänge einer Computer-Soundkarte

oder eines Aufnahmegerätes an.

Der Ausgangspegel wird über den

hochpräzisen MAIN MIX-Fader eingestellt.

(15) AUX SENDS — Die FX-Buchse führt das

Signal, das Sie aus den einzelnen Kanälen

mittels der FX-Regler ausgekoppelt haben,

die MON-Buchse dementsprechend das

Signal, das über die MON-Regler ausgekoppelt

wurde. Schließen Sie an die FX-Buchse

den Eingang eines externen Eektgeräts

an, mit dem Sie das Summensignal der

FX-Sammelschiene bearbeiten wollen.

Das Eektsignal führen Sie dann über die

AUX RETURN-Buchsen wieder in das Mischpult

zurück. An den MON-Ausgang können Sie

einen Verstärker/Kopfhörerverstärker für eine

Monitorbeschallung für Musiker anschließen.

(16) AUX RETURN — An die AUX RETURN-Buchsen

können Sie die Ausgänge eines externen

Eektgerätes anschließen. Das Eektsignal

geht in diesem Fall direkt auf den Main

Mix-Bus und wird dann mit dem „trockenen“

Signal gemischt. Sie können das Eektsignal

auch mono zurückführen, indem Sie die

L-Buchse verwenden.

(17) Mit dem MAIN MIX-Fader können Sie die

Lautstärke des Main Outs einstellen.

(18) PHONES — Die Buchse dient zum Anschluss

eines Kopfhörers. Der Lautstärkepegel

wird über den PHONES/CONTROL

ROOM-Regler eingestellt.

(19) Über den PHONES/CONTROL ROOM-Regler

bestimmen Sie den Pegel der CTRL OUT- und

PHONES-Ausgänge.

(20) FX SOLO — Wenn Sie auf Ihrem Kopfhörer

bzw. auf den Monitorlaut sprechern nur das

Eektsignal abhören wollen, dann drücken

Sie den FX SOLO-Schalter. Das Signal des

Eektgeräts kann nun alleine abgehört

werden, das Main Mix- bzw. CD/Tape-Signal

ist an den PHONES- und CTRL OUT-Ausgängen

nicht mehr hörbar.

(21) CD/TAPE TO CTRL — Drücken Sie den CD/TAPE

TO CTRL-Schalter, um den CD/TAPE-IN auch

auf den Monitor ausgang (CTRL OUT/PHONES)

zu legen. Eine typische Studioanwendung

dieser Funktion ist die Aufnahme von Musik

in eine Digital Audio Workstation (DAW) bei

gleichzeitiger Wiedergabe.

(22) Wenn der CD/TAPE TO MIX-Schalter gedrückt

ist, wird der CD/Tape-Eingang auf den

Main Mix geschaltet und dient somit als

zusätzlicher Eingang für Bandeinspielungen,

MIDI-Instrumente oder sonstige Signalquellen,

die keiner weiteren Bearbeitung bedürfen.

(23) 100 FIRST-CLASS EFFECTS — Das EURORACK

RX1202FX verfügt über einen eingebauten

digitalen Stereoeektprozessor.

Dieser Eektprozessor bietet Ihnen eine

Fülle von Standardeekten wie z. B.

Hall, Chorus, Flanger, Delay und diverse

Kombinationseekte. Über die FX-Regler in

den Kanälen können Sie den Eektprozessor

mit Signalen speisen. Das integrierte

Eektmodul hat den Vorteil, dass es nicht

verkabelt werden muss. Damit wird die Gefahr

von Brummschleifen oder ungleichen Pegeln

von vornherein ausgeschlossen und so die

Handhabung wesentlich vereinfacht.

(24) Die SIG LED am Eektmodul zeigt ein

anliegendes Signal mit ausreichend hohem

Pegel an. Sie sollte stets aueuchten.

Achten Sie jedoch darauf, dass die CLIP LED

nur bei Pegelspitzen aueuchtet. Leuchtet sie

konstant, übersteuern Sie den Eektprozessor

und es kommt zu unangenehmen

Verzerrungen. Sollte dies der Fall sein,

regeln Sie die FX-Regler in den Kanälen

etwas zurück.

(25) Der PROGRAM

-Regler besitzt zwei

Funktionen: durch Drehen des PROGRAM-

Reglers wählen Sie eine Eektnummer an.

Das Display zeigt blinkend die Nummer des

gerade eingestellten Presets an. Um das

ausgewählte Preset zu bestätigen, drücken Sie

den PROGRAM-Regler; das Blinken hört auf.

(26) Mit dem FX TO MAIN-Regler wird das

Eektsignal in den Main Mix eingespeist.

Steht der Regler auf Linksanschlag, ist kein

Eektsignal im Summensignal des Mischpults

zu hören. Wählen Sie diese Stellung, wenn Sie

ein externes Eektgerät am FX-Ausgang

verwenden wollen.

(27) SICHERUNGSHALTER /

IEC-KALTGERÄTEBUCHSE —

Die Netzverbindung erfolgt über eine

IEC-Kaltgerätebuchse. Sie entspricht den

erforderlichen Sicherheitsbestimmungen.

Ein passendes Netzkabel gehört zum

Lieferumfang. Beim Ersetzen der Sicherung

sollten Sie unbedingt den gleichen

Typ verwenden.

(28)

Mit dem POWER-Schalter nehmen Sie das

Mischpult in Betrieb. Der POWER-Schalter sollte

sich in der Stellung „Aus“ benden, wenn Sie

die Verbindung zum Stromnetz herstellen.

(29) Mit dem PHANTOM-Schalter aktivieren Sie

die Phantomspeisung für die XLR-Buchsen

der Monokanäle, die für den Betrieb von

Kondensatormikrofonen erforderlich ist.

Die rote +48 V-LED leuchtet, wenn die

Phantomspeisung eingeschaltet ist. Der Einsatz

von dynamischen Mikrofonen ist in der Regel

weiterhin möglich, sofern sie symmetrisch

beschaltet sind. Wenden Sie sich im Zweifel

an den Hersteller des Mikrofons!

Das komplette Handbuch finden Sie unter

behringer.com

18 EURORACK PRO RX1202FX

EURORACK PRO RX1202FX Controles

(PT) Controles

(1) MIC — Cada canal de entrada mono

oferece-lhe uma entrada de microfone simétrica

através da tomada XLR, na qual ao premir um

botão (interruptor PHANTOM na parte de trás)

terá disponível também uma alimentação

fantasma (+48 Volt) para o funcionamento de

microfones de condensador.

(2) LINE IN — Cada entrada mono dispõe também

de uma entrada Line simétrica concebida como

tomada jack de 6,3-mm. Estas entradas também

podem ser ocupadas com chas com ligação

assimétrica (jack mono).

(3) A tomada INSERT é, simultaneamente,

uma entrada e uma saída. Aqui, pode

recticar processadores de sinal externos

(compressor, gate, etc.) para o canal. A recolha

do sinal ocorre atrás do TRIM e é, praticamente,

um desvio do sinal. O sinal de entrada é

conduzido para o processador de sinais

conectado, processado e reenviado de volta

para o canal, para continuar o processamento.

(4) Com o potenciómetro GAIN poderá regular

a amplicação de entrada. Sempre que ligar

ou separar uma fonte de sinais a/de uma

das entradas, este regulador deverá estar

posicionado no limitador esquerdo.

(5) HIGH/LOW — Todos os canais de entrada

mono dispõem de uma denição de

som de 2 bandas. As bandas permitem,

respectivamente, um aumento/redução

máximo em 15 dB, o equalizador é neutro

na posição central.

A banda superior (HIGH) e a banda inferior

(LOW) são ltros shelving que aumentam ou

diminuem todas as frequências acima ou abaixo

da sua frequência limite. As frequências limite

das bandas superior e inferior situam-se em

12 kHz e 80 Hz.

(6) MON/FX — As vias FX Send (ou vias AUX Send)

oferecem-lhe a possibilidade de separar sinais

de um ou mais canais e reuni-los numa barra

colectora (bus). Na tomada Send, pode recolher

o sinal e, p.ex., enviá-lo para um aparelho

de efeitos externo. A entrada AUX Return é

utilizada como via de retorno. As vias Send estão

disponíveis no RX1202FX como vias mono.

Como a designação indica, o canal FX das

mesas de mistura EURORACK está previsto para

conectar aparelhos de efeitos e post-Fader.

Isto signica, que o volume do efeito num

canal se regula pela posição do fader de

canal. Caso contrário, o sinal de efeitos do

canal permaneceria audível mesmo que

o fader estivesse completamente rodado

para a esquerda.

No modelo RX1202FX o FX-Send constitui

também a via directa para o processador de

efeitos integrado. Para que o processador

de efeitos receba um sinal de entrada,

este regulador não deve estar completamente

regulado para o limitador esquerdo (-∞).

A via MON - tal como o nome indica - foi

concebida para ser utilizada como via

de monitorização. Para esta aplicação,

é importante que o botão pre-fader trabalhe

independentemente da posição do fader. É por

isso que esta via Aux Send não é adequada para

a ligação de aparelhos de efeitos. Recorrendo ao

botão MON em cada canal, pode elaborar

uma mistura mono dos vários sinais e enviá-la

para um amplicador de auscultadores

(p.ex., o MINIAMP AMP800) ou para uma fase

nal de som de monitorização através da

tomada MON na parte posterior.

(7) Com o regulador PAN é denida a posição

do sinal do canal dentro do campo estéreo.

Este componente proporciona uma

característica Constant-Power, ou seja,

o sinal apresenta sempre um nível constante,

independentemente do posicionamento no

panorama estéreo.

(8) Os LEDs de CLIP dos canais mono acendem se

o sinal de entrada apresentar uma modulação

demasiado elevada. Neste caso, reduza a

pré-amplicação com o regulador TRIM até

o LED apagar.

(9) FADER DE CANAL — O fader de canal dene o

nível de sinal do canal no Main Mix.

(10) Quando um canal é operado em estéreo,

o regulador de BAL(ANÇO) determina a

percentagem relativa entre o sinal de entrada

esquerdo e o sinal de entrada direito antes de

os dois sinais serem conduzidos para o bus de

mistura principal esquerdo ou direito. Se um

canal for operado mono através da entrada Line

esquerda, então este regulador terá a mesma

função dos reguladores PAN dos canais mono.

19 Quick Start Guide

(11) As tomadas MAIN OUT estão conectadas

simetricamente e apresentam-se como

tomadas XLR. Aqui, o sinal compostodo

Main Mix apresenta-se com um nível de 0 dBu.

(12) As tomadas CTRL OUT servem para controlar

os sinais compostos (mistura de efeitos e

Main Mix) e os sinais isolados, através de

monitores de escuta de estúdio. Com o botão

PHONES/CONTROL ROOM na secção Main,

determina-se o nível das duas saídas.

(13) As tomadas CD/TAPE IN destinam-se à

ligação de uma fonte de sinais externa

(por ex. leitor de CD, deck de cassetes, etc.).

Também as poderá utilizar como entrada Line

estéreo, à qual também pode ser ligado um

sinal de saída de um segundo EURORACK ou

do ULTRALINK PRO MX882 da BEHRINGER.

Mesmo que se queira, por norma, controlar o

sinal da mistura principal, existem excepções,

por ex. reprodução de 2 pistas (ou qualquer

outra fonte externa). Se ligar o CD/TAPE IN

com um amplicador HiFi com selector da

fonte, poderá controlar fontes adicionais da

forma mais simples (por exemplo gravador de

cassetes, leitor MD, placa de som, etc.).

(14) CD/TAPE OUT — Estas ligações estão

conguradas como saídas Cinch e estão ligadas

em paralelo à saída MAIN OUT. Deve ligar

aqui as entradas de uma placa de som de

computador ou de um gravador. O nível de

saída é ajustado através de um Fader MAIN MIX

de alta precisão.

(15) AUX SENDS — A tomada FX passa o sinal

que separou dos diversos canais com o botão

FX e, correspondentemente, a tomada MON

passa o sinal que separou com o botão MON.

Ligue a tomada FX à entrada do aparelho de

efeitos externo com que quer processar o sinal

composto da barra colectora FX. O sinal de

efeito é então conduzido de novo para a mesa

de mistura através das tomadas AUX RETURN.

Pode ligar um amplicador/amplicador de

auscultadores à saída MON, para obter som de

monitorização para os músicos.

(16) AUX RETURN — Pode ligar as saídas de

um aparelho de efeitos externo às tomadas

AUX RETURN. Neste caso, o sinal de efeito

vai directamente para o bus de Main Mix

e é, então, misturado com o sinal “seco”.

Também pode reconduzir o efeito de sinal

em mono, utilizando a tomada L.

(17) O fader MAIN MIX permite-lhe ajustar o

volume da saída Main.

(18) PHONES — Esta tomada serve para

conectar uns auscultadores. O nível do

volume de som é ajustado através do botão

PHONES/CONTROL ROOM.

(19) O regulador PHONES/CONTROL ROOM

permite-lhe determinar o nível das saídas

CTRL OUT e PHONES.

(20) FX SOLO — Se desejar ouvir apenas o sinal

de efeito nos seus auscultadores ou nos

altifalantes de monitorização, então prima o

interruptor FX SOLO. É agora possível escutar

apenas o sinal do aparelho de efeitos, o sinal

do Main Mix ou de CD/Tape deixa de ser audível

nas saídas PHONES e CTRL OUT.

(21) CD/TAPE TO CTRL — Prima o interruptor

CD/TAPE TO CTRL para colocar também

a entrada CD/Tape na saída de monitor

(CTRL OUT/PHONES). A gravação de música

numa estação de trabalho de áudio digital

(Digital Audio Workstation) com reprodução

em simultâneo é uma das aplicações típicas

desta função.

(22) Quando o interruptor CD/TAPE TO MIX se

encontra premido, a entrada CD/Tape é

comutada para o Main Mix, actuando assim

como entrada adicional para a inserção de

bandas, instrumentos MIDI ou quaisquer

outras fontes de sinais, que não requeiram

processamento posterior.

(23) 100 EFEITOS DE PRIMEIRA CATEGORIA —

A mesa de mistura EURORACK RX1202FX está

equipada com um processador estéreo digital.

Este processador de efeitos oferece uma vasta

gama de efeitos standard, tais como, Hall,

Chorus, Flanger, Delay e muitos outros efeitos

combinados. Os reguladores FX nos canais

permitem aduzir sinais ao processador de

efeitos. O módulo de efeitos integrado tem a

vantagem de não necessitar de ser conectado

por cabos. Deste modo, são excluídos logo

à partida, possíveis faixas de ruído ou níveis

desiguais, o que facilita substancialmente

a sua utilização.

(24) O LED SIG no módulo de efeitos indica o sinal

existente com um nível sucientemente

alto. Este LED deve estar sempre aceso.

No entanto, preste atenção ao LED CLIP que

só deve acender em picos de nível. Se estiver

continuamente aceso, o processador de efeitos

está sobremodulado, resultando daí distorções

desagradáveis. Se for esse o caso, baixe

ligeiramente os reguladores FX nos canais.

(25) O regulador PROGRAMA tem duas funções:

ao girar o regulador PROGRAMA selecciona

um número de efeitos. O display indica um

número a piscar que corresponde ao Preset

acabado de seleccionar. Para conrmar o Preset

seleccionado, prima o regulador PROGRAMA e

o número deixa de piscar.

(26) Com o botão FX TO MAIN, o sinal de efeito

alimenta o Main Mix. Se se girou o botão

totalmente para a esquerda, não se ouve

qualquer sinal de efeito no sinal composto

da mesa de mistura. Escolha esta posição

se desejar utilizar um aparelho de efeitos

externo na saída FX.

(27) SUPORTE DO DISPOSITIVO DE SEGURANÇA/

TOMADA PARA LIGAÇÕES A FRIO IEC —

A ligação à rede é efectuada por meio de uma

tomada de ligação a frio IEC. A ligação à rede

está em conformidade com as disposições

em matéria de segurança. No material a

fornecer está incluído um cabo de alimentaçã

adequado. Quando proceder à substituição do

fusível, utilize impreterivelmente um fusível do

mesmo modelo.

(28) A mesa de mistura é colocada em

funcionamento através do interruptor POWER.

O interruptor POWER deverá encontrar-se

na posição “Desligado”, sempre que ligar o

aparelho à corrente eléctrica.

(29) Com o interruptor PHANTOM poderá activar

a alimentação fantasma para as tomadas XLR

dos canais mono, a qual é necessária para o

funcionamento de microfones de condensador.

O LED vermelho +48 V acende quando a

alimentação fantasma está ligada. Por norma,

a utilização de microfones dinâmicos é possível,

desde que possuam ligação simétrica. Em caso

de dúvida contacte o fabricante do microfone!

Verifique o site behringer.com para obter o

manual completo “Full Manual”

20 EURORACK PRO RX1202FX

Specications

Mono Inputs

MIC (IMP Invisible Mic Preamp)

Type XLR, electr. balanced

Mic E.I.N. (20 Hz – 20 kHz)

@ 0 Ω source resistance -132 dB / -134 dB A-weighted

@ 50 Ω source resistance -130 dB / -132 dB A-weighted

@ 150 Ω source resistance -128 dB / -130 dB A-weighted

Frequency response <10 Hz – 200 kHz

Gain range +10 to +60 dB

Max. input level +12 dBu @ +10 dB gain

Impedance approx. 2.6 kΩ balanced

Signal-to-noise ratio -110 dB / -112 dB A-weighted

Distortion (THD+N) 0.003%, A-weighted

Line In

Type ¼" TRS connector, electronically balanced

Impedance

approx. 20 kΩ balanced

approx. 10 kΩ unbalanced

Gain range -10 dB to +40 dB

Max. input level +22 dBu @ 0 dB gain

Stereo Inputs

Type ¼" TRS connector, electronically balanced

Impedance

approx. 20 kΩ balanced

approx. 10 kΩ unbalanced

Max. input level +22 dBu

Insert

Type

¼" TRS connector

(Tip=Send, Ring=Return)

Auxiliary Inputs

CD/TAPE IN

Type RCA connectors, unbalanced

Impedance approx. 20 kΩ

Max. input level +22 dBu

Aux Return

Type ¼" TRS connector, balanced

Impedance

approx. 20 kΩ balanced

approx. 10 kΩ unbalanced

Max. input level +22 dBu

Outputs

AUX SENDS (FX)

Type ¼" TRS connector, impedance balanced

Impedance

approx. 240 Ω balanced

approx. 120 Ω unbalanced

Max. output level +22 dBu

Aux Sends (MON)

Type ¼" TRS connector, impedance balanced

Impedance

approx. 240 Ω balanced

approx. 120 Ω unbalanced

Max. output level +22 dBu

Main Out

Type XLR connectors, balanced

Impedance

approx. 240 Ω balanced

approx. 120 Ω unbalanced

Max. output level +28 dBu balanced / +22 dBu unbalanced

Ctrl Out

Type ¼" TRS connector, impedance balanced

Impedance

approx. 240 Ω balanced

approx. 120 Ω unbalanced

Max. output level +22 dBu

CD/Tape Out

Type RCA connectors, unbalanced

Impedance approx. 1 kΩ

Max. output level +22 dBu

Phones

Type ¼" TRS connector

Max. output level +19 dBu / 150 Ω (316 mW)

Low 100 Hz / ±15 dB

High 12 kHz / ±15 dB

Main Mix System Data

Noise

Main mix @ -∞, Channel fader -∞ -98 dB / -101 dB A-weighted

Main mix @ 0 dB, Channel fader -∞ -85 dB / -88 dB A-weighted

Main mix @ 0 dB,

Channel fader @ 0 dB

-77 dB / -80 dB A-weighted

Fade Attenuation (Crosstalk Attenuation)

Main fader closed 90 dB

Channel fader closed 90 dB

Frequency Response

Microphone Input to Main Out

<20 Hz – 105 kHz +1 dB / -1 dB

<10 Hz – 170 kHz +3 dB / -3 dB

Eects Section

Converter 24-bit Sigma-Delta

Frequency rate 40 kHz

Presets 100

Power Supply

Power consumption 18 W

Voltage 100 – 240 V~, 50/60 Hz

Fuse 100 – 240 V~: T 1.6 A H 250 V

Mains connection IEC (power) cable

Dimensions/Weight

Dimensions (H x W x D)

approx. 5 ⁄ x 19 x 5 ⁄"

approx. 133 x 482 x 150 mm

Weight (net) approx. 6.6 lbs / 3 kg

Quick Start Guide 21

Especicaciones técnicas

Entradas Mono

MIC (IMP Invisible Mic Preamp)

Tipo XLR, balanceado electrónicamente

Mic E.I.N. (20 Hz - 20 kHz)

@ 0 Ω resistencia/fuente -132 dB / -134 dB ponderado A

@ 50 Ω resistencia/fuente -130 dB / -132 dB ponderado A

@ 150 Ω resistencia/fuente -128 dB / -130 dB ponderado A

Respuesta en frecuencia <10 Hz - 200 kHz

Rango de amplicación +10 dB a +60 dB

Nivel de entrada máx. +12 dBu @ +10 dB de ganancia

Impedancia aprox. 2,6 kΩ balanceada

Relación señal a ruido -110 dB / -112 dB ponderado A

Distorsión (THD+N) 0,003%, ponderado A

Line In (Entradas de Línea)

Tipo

jack estéreo de 6,3 mm,

balanceado electrónicamente

Impedancia

aprox. 20 kΩ balanceada

aprox. 10 kΩ no balanceada

Rango de amplicación -10 dB a +40 dB

Nivel de entrada máx. +22 dBu @ 0 dB de ganancia

Entradas Estéreo

Tipo

jack estéreo de 6,3 mm,

balanceado electrónicamente

Impedancia

aprox. 20 kΩ balanceada,

aprox. 10 kΩ no balanceada

Nivel de entrada máx. +22 dBu

Insert

Tipo

jack estéreo de 6,3 mm

(punta=Send, anillo=Return)

Entradas Auxiliares

CD/TAPE IN

Tipo RCA, no balanceado

Impedancia aprox. 20 kΩ

Nivel de entrada máx. +22 dBu

Aux Return

Tipo jack estéreo de 6,3 mm, balanceado

Impedancia

aprox. 20 kΩ balanceada,

aprox. 10 kΩ no balanceada

Nivel de entrada máx. +22 dBu

Salidas

AUX SENDS (FX)

Tipo

jack estéreo de 6,3 mm,

impedancia balanceada

Impedancia

aprox. 240 Ω balanceada,

aprox. 120 Ω no balanceada

Nivel de salida máx. +22 dBu

Aux Sends (MON)

Tipo

jack estéreo de 6,3 mm,

impedancia balanceada

Impedancia

aprox. 240 Ω balanceada,

aprox. 120 Ω no balanceada

Nivel de salida máx. +22 dBu

Main Out

Tipo XLR, balanceado

Impedancia

aprox. 240 Ω balanceada,

aprox. 120 Ω no balanceada

Nivel de salida máx.

+28 dBu balanceada

+22 dBu no balanceada

Ctrl Out

Tipo

jack estéreo de 6,3 mm,

impedancia balanceada

Impedancia

aprox. 240 Ω balanceada,

aprox. 120 Ω no balanceada

Nivel de salida máx. +22 dBu

CD/Tape Out

Tipo RCA, no balanceado

Impedancia aprox. 1 kΩ

Nivel de salida máx. +22 dBu

Phones

Tipo jack estéreo de 6,3 mm

Nivel de salida máx. +19 dBu / 150 Ω (316 mW)

Low (graves) 100 Hz / ±15 dB

High (agudos) 12 kHz / ±15 dB

Datos De Sistema, Main Mix

Ruido

Main Mix @ -∞, Fader de canal -∞ -98 dB / -101 dB ponderado A

Main Mix @ 0 dB, Fader de canal -∞ -85 dB / -88 dB ponderado A

Main Mix @ 0 dB,

Fader de canal @ 0 dB

-77 dB / -80 dB ponderado A

Atenuación de Diafonía

Fader principal cerrado 90 dB

Fader de canal cerrado 90 dB

Respuesta en Frecuencia

Entrada de Micrófono a Salida Principal

<20 Hz - 105 kHz +1 dB / -1 dB

<10 Hz - 170 kHz +3 dB / -3 dB

Sección de Efectos

Convertidor Sigma-Delta de 24 bits

Frecuencia de muestreo 40 kHz

Presets 100

Suministro de Corriente

Consumo de potencia 18 W

Tensión de red 100 - 240 V~, 50/60 Hz

Fusible 100 - 240 V~: T 1,6 A H 250 V

Conexión de red conector IEC estándar

Dimensiones y Peso

Dimensiones (alt. x anch. x prof.) aprox. 133 x 482 x 150 mm

Peso (neto) aprox. 3 kg

22 EURORACK PRO RX1202FX

Caractéristiques techniques

Entrees Mono

MIC (Entrée avec Préampli Micro « Invisible » IMP)

Type XLR, symétrie électronique

Mic E.I.N. (de 20 Hz à 20 kHz)

@ 0 Ω résistance source -132 dB / -134 dB A pondéré

@ 50 Ω résistance source -130 dB / -132 dB A pondéré

@ 150 Ω résistance source -128 dB / -130 dB A pondéré

Bande passante <10 Hz - 200 kHz

Plage d’amplication De +10 dB à +60 dB

Niveau de sortie max. +12 dBu @ +10 dB de gain

Impédance Env. 2,6 kΩ symétrique

Rapport signal/bruit -110 dB / -112 dB A pondéré

Distorsion (THD+N) 0,003%, A pondéré

Line In (Entrée Ligne)

Type

Jacks stéréo de 6,3 mm,

symétrie électronique

Impédance Env. 20 kΩ symétrique, 10 kΩ asymétrique

Plage d’amplication De -10 dB à +40 dB

Niveau de sortie max. +22 dBu @ 0 dB de gain

Entrees Stereo

Type

Jacks stéréo de 6,3 mm,

symétrie électronique

Impédance Env. 20 kΩ symétrique, 10 kΩ asymétrique

Niveau d’entrée max. +22 dBu

Inserts

Type

Jacks stéréo de 6,3 mm

(pointe=départ, bague=retour)

Entrees Supplementaires

CD/TAPE IN

Type Cinch/RCA, asymétriques

Impédance Env. 20 kΩ

Niveau d’entrée max. +22 dBu

Aux Return (Retour Auxiliaire)

Type Jacks stéréo de 6,3 mm, symétriques

Impédance Env. 20 kΩ symétrique, 10 kΩ asymétrique

Niveau d’entrée max. +22 dBu

Sorties

AUX SENDS (FX)

Type

Jack stéréo de 6,3 mm,

impédance symétrique

Impédance Env. 240 Ω symétrique, 120 Ω asymétrique

Niveau de sortie max. +22 dBu

Aux Send (MON)

Type

Jack stéréo de 6,3 mm,

impédance symétrique

Impédance Env. 240 Ω symétrique, 120 Ω asymétrique

Niveau de sortie max. +22 dBu

Main Out (Sortie Principale)

Type XLR, symétriques

Impédance Env. 240 Ω symétrique, 120 Ω asymétrique

Niveau de sortie max.

+28 dBu symétrique,

+22 dBu asymétrique

Ctrl Out (Sortie D’écoute)

Type

Jacks stéréo de 6,3 mm,

impédance symétrique

Impédance Env. 240 Ω symétrique, 120 Ω asymétrique

Niveau de sortie max. +22 dBu

CD/Tape Out

Type Cinch/RCA, asymétriques

Impédance Env. 1 kΩ

Niveau de sortie max. +22 dBu

Phones (Sortie Casque)

Type Jack stéréo de 6,3 mm

Niveau de sortie max. +19 dBu / 150 Ω (316 mW)

EQ (Égaliseur)

Low 100 Hz / ±15 dB

High 12 kHz / ±15 dB

Caracteristiques du Main Mix

Niveau de Bruit

Fader Main Mix @ -∞,

Fader du canal @ -∞

98 dB / -101 dB A pondéré

Fader Main Mix @ 0 dB,

Fader du canal @ -∞

-85 dB / -88 dB A pondéré

Fader Main Mix @ 0 dB,

Fader du canal @ 0 dB

-77 dB / -80 dB A pondéré

Amortissement de Diaphonie

Fader Main @ -∞ 90 dB

Fader du canal @ -∞ 90 dB

Bande Passante

Entrée Micro sur Sortie Main

<20 Hz - 105 kHz +1 dB / -1 dB

<10 Hz - 170 kHz +3 dB / -3 dB

Section D’eet

Convertisseurs Sigma-Delta 24 bits

Fréq. d’échantillonnage 40 kHz

Presets 100

Alimentation Électrique

Consommation d’énergie 18 W

Tension secteur 100 - 240 V~, 50/60 Hz

Fusible 100 - 240 V~: T 1,6 A H 250 V

Liaison secteur Embase IEC standard

Dimensions et Poids

Dimensions (H x L x P) Env. 133 x 482 x 150 mm

Poids (net) Env. 3 kg

Quick Start Guide 23

Technische Daten

Monoeingänge

MIC (IMP Invisible Mic Preamp)

Typ XLR, elektr. symmetriert

Mic E.I.N. (20 Hz - 20 kHz)

@ 0 Ω Quellwiderstand -132 dB / -134 dB A-gewichtet

@ 50 Ω Quellwiderstand -130 dB / -132 dB A-gewichtet

@ 150 Ω Quellwiderstand -128 dB / -130 dB A-gewichtet

Frequenzgang <10 Hz - 200 kHz

Verstärkungsbereich +10 dB bis +60 dB

Max. Eingangspegel +12 dBu @ +10 dB Gain

Impedanz ca. 2,6 kΩ symmetrisch

Rauschabstand -110 dB / -112 dB A-gewichtet

Verzerrungen (THD+N) 0,003%, A-gewichtet

Line In

Typ

6,3-mm-Stereoklinke,

elektronisch symmetriert

Impedanz

ca. 20 kΩ symmetrisch

ca. 10 kΩ unsymmetrisch

Verstärkungsbereich -10 dB bis +40 dB

Max. Eingangspegel +22 dBu @ 0 dB Gain

Stereoeingänge

Typ

6,3-mm-Stereoklinke,

elektronisch symmetriert

Impedanz

ca. 20 kΩ symmetrisch,

ca. 10 kΩ unsymmetrisch

Max. Eingangspegel +22 dBu

Insert

Typ

6,3-mm-Stereoklinke

(Spitze=Send, Ring=Return)

Auxiliary-Eingänge

CD/TAPE IN

Typ Cinch-Buchsen, unsymmetrisch

Impedanz ca. 20 kΩ

Max. Eingangspegel +22 dBu

Aux Return

Typ 6,3-mm-Stereoklinke, symmetrisch

Impedanz

ca. 20 kΩ symmetrisch,

ca. 10 kΩ unsymmetrisch

Max. Eingangspegel +22 dBu

Ausgänge

AUX SENDS (FX)

Typ

6,3-mm-Stereoklinke,

impedanz-symmetrisch

Impedanz

ca. 240 Ω symmetrisch,

ca. 120 Ω unsymmetrisch

Max. Ausgangspegel +22 dBu

Aux Sends (MON)

Typ

6,3-mm-Stereoklinke,

impedanz-symmetrisch

Impedanz

ca. 240 Ω symmetrisch,

ca. 120 Ω unsymmetrisch

Max. Ausgangspegel +22 dBu

Main Out

Typ XLR-Anschlüsse, symmetrisch

Impedanz

ca. 240 Ω symmetrisch,

ca. 120 Ω unsymmetrisch

Max. Ausgangspegel

+28 dBu symmetrisch

+22 dBu unsymmetrisch

Ctrl Out

Typ

6,3-mm-Stereoklinke,

impedanz-symmetrisch

Impedanz

ca. 240 Ω symmetrisch,

ca. 120 Ω unsymmetrisch

Max. Ausgangspegel +22 dBu

Cd/Tape Out

Typ Cinch-Buchsen, unsymmetrisch

Impedanz ca. 1 kΩ

Max. Ausgangspegel +22 dBu

Phones

Typ

6,3-mm-Stereoklinke,

stereo unsymmetrisch

Max. Ausgangspegel +19 dBu / 150 Ω (316 mW)

Low 100 Hz / ±15 dB

High 12 kHz / ±15 dB

Main Mix-Systemdaten

Rauschen

Main Mix @ -∞, Kanal-Fader -∞ -98 dB / -101 dB A-gewichtet

Main Mix @ 0 dB, Kanal-Fader -∞ -85 dB / -88 dB A-gewichtet

Main Mix @ 0 dB,

Kanal-Fader @ 0 dB

-77 dB / -80 dB A-gewichtet

Ausblenddämpfung (Übersprechdämpfung)

Main-Fader geschlossen 90 dB

Kanal-Fader geschlossen 90 dB

Frequenzgang

Mikrofoneingang zu Main Out

<20 Hz - 105 kHz +1 dB / -1 dB

<10 Hz - 170 kHz +3 dB / -3 dB

Eekt-Sektion

Wandler 24-Bit Sigma-Delta

Abtastrate 40 kHz

Presets 100

Stromversorgung

Netzspannung 100 - 240 V~, 50/60 Hz

Leistungsaufnahme 18 W

Sicherung 100 - 240 V~:T 1,6 A H 250 V

Netzverbindung IEC-Kaltgerätekabel

Abmessungen und Gewichte

Maße (H x B x T) ca. 133 x 482 x 150 mm

Gewicht (netto) ca. 3 kg

24 EURORACK PRO RX1202FX

Dados técnicos

Entradas Mono

MIC (IMP Invisible Mic Preamp)

Tipo XLR, electr. simétricas

Mic E.I.N. (20 Hz - 20 kHz)

@ 0 Ω de resistência interna -132 dB / -134 dB ponderada em A

@ 50 Ω de resistência interna -130 dB / -132 dB ponderada em A

@ 150 Ω de resistência interna -128 dB / -130 dB ponderada em A

Amplitude de frequências <10 Hz - 200 kHz

Margem de amplicação +10 dB a +60 dB

Nível máx. de entrada +12 dBu @ +10 dB Gain

Impedância ca. 2,6 kΩ simétrica

Relação sinal/ruído -110 dB / -112 dB ponderada em A

Distorções 0,003%, ponderadas em A

Line In

Tipo

Jaque estéreo de 6,3 mm,

electronicamente simétrico

Impedância ca. 20 kΩ simétrica, 10 kΩ assimétrica

Margem de amplicação -10 dB a +40 dB

Nível máx. de entrada +22 dBu @ 0 dB Gain

Entradas Estéreo

Tipo

Jaque estéreo de 6,3 mm,

electronicamente simétrico

Impedância ca. 20 kΩ simétrica, 10 kΩ assimétrica

Nível máx. de entrada +22 dBu

Insert

Tipo

Jaque estéreo de 6,3 mm

(Topo=Envio, Anel=Retorno)

Entradas Auxiliary

CD/TAPE IN

Tipo Tomadas Cinch, assim.

Impedância ca. 20 kΩ

Nível máx. de entrada +22 dBu

Aux Return

Tipo Jaque estéreo de 6,3 mm, sim.

Impedância ca. 20 kΩ simétrica, 10 kΩ assimétrica

Nível máx. de entrada +22 dBu

Saídas

AUX SENDS (FX)

Tipo

Jaque estéreo de 6,3 mm,

impedância simétrica

Impedância ca. 240 Ω simétrica, 120 Ω assimétrica

Nível máx. de saída +22 dBu

Aux Sends (MON)

Tipo

Jaque estéreo de 6,3 mm,

impedância simétrica

Impedância ca. 240 Ω simétrica, 120 Ω assimétrica

Nível máx. de saída +22 dBu

Main Out

Tipo Ligações XLR, simétricas

Impedância ca. 240 Ω simétrica, 120 Ω assimétrica

Nível máx. de saída +28 dBu simétrica, +22 dBu assimétrica

Ctrl Out

Tipo

Jaque estéreo de 6,3 mm,

impedância simétrica

Impedância ca. 240 Ω simétrica, 120 Ω assimétrica

Nível máx. de saída +22 dBu

CD/Tape Out

Tipo Tomadas Cinch, assim.

Impedância ca. 1 kΩ

Nível máx. de saída +22 dBu

Phones

Tipo Jaque estéreo de 6,3 mm,

Nível máx. de saída +19 dBu / 150 Ω (316 mW)

Graves 100 Hz / ±15 dB

Agudos 12 kHz / ±15 dB

Dados Do Sistema Main Mix

Ruído

Main Mix @ -∞, Fader de canal ∞ -98 dB / -101 dB ponderado em A

Main Mix @ 0 dB, Fader de canal ∞ -85 dB / -88 dB ponderado em A

Main Mix @ 0 dB,

Fader de canal @ 0 dB

-77 dB / -80 dB ponderado em A

Atenuação (Diafonia)

Fader de Main fechado 90 dB

Fader de canal fechado 90 dB

Amplitude de Frequências

Entrada do Microfone para Main Out

<20 Hz - 105 kHz +1 dB / -1 dB

<10 Hz - 170 kHz +3 dB / -3 dB

Secção de Efeitos

Transformadores De 24 bit Multibit Sigma-Delta

Taxa de exploração 40 kHz

Presets 100

Alimentação

Consumo de energia 18 W

Tensão da rede 100 a 240 V~, 50/60 Hz

Fusível 100 - 240 V~: T 1,6 A H 250 V

Ligação à corrente Cabo IEC para aparelhos frios

Dimensões e Pesos

Dimensões (A x L x P) ca. 133 x 482 x 150 mm

Peso (líquido) ca. 3 kg

Quick Start Guide 25

Other important information

1. Register online. Please register your new

MUSIC Group equipment right after you purchase it by

visiting behringer. com. Registering your purchase using

our simple online form helps us to process your repair

claims more quickly and eciently. Also, read the terms

and conditions of our warranty, ifapplicable.

2. Malfunction. Should your MUSICGroup

Authorized Reseller not be located in your vicinity, you

may contact the MUSIC Group Authorized Fulller for

your country listed under “Support” at behringer. com.

Shouldyour country not be listed, please check if your

problem can be dealt with by our “OnlineSupport” which

may also be found under “Support” at behringer. com.

Alternatively, please submit an online warranty claim at

behringer. com BEFORE returning theproduct.

3. Power Connections. Before plugging the

unit into a power socket, please make sure you are using

the correct mains voltage for your particular model.

Faultyfuses must be replaced with fuses of the same

typeand rating without exception.

1. Registro online. Le recomendamos que

registre su nuevo aparato MUSIC Group justo después de

su compra accediendo a la página web behringer. com.

Elregistro de su compra a través de nuestro sencillo

sistema online nos ayudará a resolver cualquier

incidencia que se presente a la mayor brevedad posible.

Además,aproveche para leer los términos y condiciones de

nuestra garantía, si es aplicable en sucaso.

2. Averías. En el caso de que no exista un distribuidor

MUSIC Group en las inmediaciones, puede ponerse en

contacto con el distribuidor MUSIC Group de su país,

queencontrará dentro del apartado “Support” de nuestra

página web behringer. com. En caso de que su país no

aparezca en ese listado, acceda a la sección “Online Support”

(quetambiénencontrará dentro del apartado “Support” de

nuestra páginaweb) y compruebe si su problema aparece

descrito y solucionado allí. De forma alternativa, envíenos a

través de la página web una solicitud online de soporte en

periodo de garantía ANTES de devolvernos el aparato.

3. Conexiones de corriente. Antes de enchufar

este aparato a una salida de corriente, asegúrese de que dicha

salida sea del voltaje adecuado para su modelo concreto.

En caso de que deba sustituir un fusible quemado, deberá

hacerlo por otro de idénticas especicaciones, sinexcepción.

1. Enregistrez-vous en ligne. Prenez le

temps d’enregistrer votre produit MUSIC Group aussi vite

que possible sur le site Internet behringer. com. Le fait

d’enregistrer le produit en ligne nous permet de gérer

les réparations plus rapidement et plus ecacement.

Prenezégalement le temps de lire les termes et conditions

de notre garantie.

2. Dysfonctionnement. Si vous n’avez pas de

revendeur MUSIC Group près de chez vous, contactez le

distributeur MUSIC Group de votre pays: consultez la liste

des distributeurs de votre pays dans la page “Support” de

notre site Internet behringer. com. Si votre pays n’est pas

dans la liste, essayez de résoudre votre problème avec

notre “aideen ligne” que vous trouverez également dans

la section “Support” du site behringer. com. Vous pouvez

également nous faire parvenir directement votre demande

de réparation sous garantie par Internet sur le site

behringer. com AVANT de nous renvoyer le produit.

3. Raccordement au secteur. Avant de relier

cet équipement au secteur, assurez-vous que la tension

secteur de votre région soit compatible avec l’appareil.

Veillez à remplacer les fusibles uniquement par des

modèles exactement de même taille et de même valeur

électrique — sans aucune exception.

1. Online registrieren. Bitte registrieren Sie Ihr

neues MUSIC Group-Gerät direkt nach dem Kauf auf der

Website behringer. com. Wenn Sie Ihren Kauf mit unserem

einfachen online Formular registrieren, können wir Ihre

Reparaturansprüche schneller und ezienter bearbeiten.

Lesen Sie bitte auch unsere Garantiebedingungen,

fallszutreend.

2. Funktionsfehler. Sollte sich kein MUSICGroup

Händler in Ihrer Nähe benden, können Sie den

MUSICGroup Vertrieb Ihres Landes kontaktieren,

derauf behringer. com unter „Support“ aufgeführt ist.

Sollte Ihr Land nicht aufgelistet sein, prüfen Sie bitte,

ob Ihr Problem von unserem „Online Support“ gelöst

werden kann, den Sie ebenfalls auf behringer. com unter

„Support“ nden. Alternativ reichen Sie bitte Ihren

Garantieanspruch online auf behringer. com ein, BEVOR Sie

das Produktzurücksenden.

3. Stromanschluss. Bevor Sie das Gerät an

eine Netzsteckdose anschließen, prüfen Sie bitte, obSie

die korrekte Netzspannung für Ihr spezielles Modell

verwenden. Fehlerhafte Sicherungen müssen ausnahmslos

durch Sicherungen des gleichen Typs und Nennwerts

ersetztwerden.

1. Registre-se online. Por favor, registre seu

novo equipamento MUSIC Group logo após a compra

visitando o site behringer. com Registrar sua compra

usando nosso simples formulário online nos ajuda a

processar seus pedidos de reparos com maior rapidez e

eciência. Além disso, leia nossos termos e condições de

garantia, caso seja necessário.

2. Funcionamento Defeituoso.

Casoseufornecedor MUSIC Group não esteja localizado

nas proximidades, você pode contatar um distribuidor

MUSIC Group para o seu país listado abaixo de “Suporte”

embehringer. com. Se seu país não estiver na lista,

favorchecar se seu problema pode ser resolvido com o

nosso “Suporte Online” que também pode ser achado

abaixo de “Suporte”em behringer. com. Alternativamente,

favor enviar uma solicitação de garantia online em

behringer. com ANTES da devolução do produto.

3. Ligações. Antes de ligar a unidade à tomada,

assegure-se de que está a utilizar a voltagem correcta para

o modelo em questão. Os fusíveis com defeito terão de

ser substituídos, sem qualquer excepção, por fusíveis do

mesmo tipo e corrente nominal.

Important information

Aspectos importantes

Informations importantes

Weitere wichtige

Informationen

Outras Informações

Importantes

26 EURORACK PRO RX1202FX

FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

Responsible Party Name: MUSIC Group Services US Inc.

Address: 18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,

USA

Phone/Fax No.: Phone: +1 425 672 0816

Fax: +1 425 673 7647

EURORACK PRO RX1202FX

complies with the FCC rules as mentioned in the followingparagraph:

This equipment has been tested and found to comply with the limits for a ClassB

digital device, pursuant to part 15 of the FCC Rules. These limits are designed

to provide reasonable protection against harmful interference in a residential

installation. This equipment generates, uses and can radiate radio frequency

energy and, if not installed and used in accordance with the instructions, may cause

harmful interference to radio communications. However, there is no guarantee that

interference will not occur in a particular installation. If this equipment does cause

harmful interference to radio or television reception, which can be determined

by turning the equipment o and on, the user is encouraged to try to correct the

interference by one or more of the followingmeasures:

t Reorient or relocate the receiving antenna

t Increase the separation between the equipment and receiver

t Connect the equipment into an outlet on a circuit dierent from that to which the

receiver is connected

t Consult the dealer or an experienced radio/TV technician forhelp

This device complies with Part 15 of the FCC rules. Operation is subject to the

following two conditions:

(1) this device may not cause harmful interference, and

(2) this device must accept any interference received, including interference that may

cause undesired operation.

Important information:

Changes or modications to the equipment not expressly approved by MUSIC Group

can void the user’s authority to use the equipment.

EURORACK PRO RX1202FX

Quick Start Guide 27

We Hear You

Technical Specications

EURORACK PRO RX1202FX

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preampliers, British EQ's and Multi-FX Processor

EURORACK PRO RX1202FX Technical Specifications

EURORACK PRO RX1202FX

Premium 12-Input Mic/Line Rack Mixer with XENYX Mic Preampliers,

British EQ's and Multi-FX Processor

Premium ultra-low noise, high headroom analog 3U rack mount mixer

8 state-of-the-art XENYX Mic Preamps comparable to stand-alone boutique preamps

Neo-classic “British” 2-band EQs for warm and musical sound

Studio-grade FX processor with 100 awesome presets including reverb, chorus, anger, delay, pitch shifter and various multi-eects

Switchable +48 V phantom power for condenser microphones

4 additional balanced high-headroom line inputs

CD/Tape inputs assignable to Main mix or Control Room/Phones outputs

2 Aux sends per channel: 1 pre fader for monitoring applications, 1 post fader for internal FX or as external send

Separate Control Room, Phones and stereo CD/tape outputs

Balanced Main mix outputs with gold-plated XLR connectors

Long-wearing 60-mm logarithmic-taper faders and sealed rotary controls

“Planet Earth” switching power supply for maximum exibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving

High-quality components and exceptionally rugged construction ensure long life

Conceived and designed by BEHRINGER Germany

Specications

Mono Inputs

MIC (IMP Invisible Mic Preamp)

Type XLR, electr. balanced

Mic E.I.N. (20 Hz – 20 kHz)

@ 0  source resistance -132 dB / -134 dB A-weighted

@ 50  source resistance -130 dB / -132 dB A-weighted

@ 150  source resistance -128 dB / -130 dB A-weighted

Frequency response <10 Hz – 200 kHz

Gain range +10 to +60 dB

Max. input level +12 dBu @ +10 dB gain

Impedance approx. 2.6 k balanced

Signal-to-noise ratio -110 dB / -112 dB A-weighted

Distortion (THD+N) 0.003%, A-weighted

Line In

Type ¼" TRS connector, electronically balanced

Impedance approx. 20 k balanced

approx. 10 k unbalanced

Gain range -10 dB to +40 dB

Max. input level +22 dBu @ 0 dB gain

Stereo Inputs

Type ¼” TRS connector, electronically balanced

Impedance approx. 20 k balanced

approx. 10 k unbalanced

Max. input level +22 dBu

Insert

Type ¼" TRS connector (Tip=Send, Ring=Return)

Auxiliary Inputs

CD/TAPE IN

Type RCA connectors, unbalanced

Impedance approx. 20 k

Max. input level +22 dBu

Aux Return

Type ¼” TRS connector, balanced

Impedance approx. 20 k balanced

approx. 10 k unbalanced

Max. input level +22 dBu

3 EURORACK PRO RX1202FX Technical Specifications

BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those

listed or illustrated.

TECHNICAL SPECIFICATIONS AND APPEARANCE ARE SUBJECT TO CHANGE WITHOUT NOTICE. THE INFORMATION CONTAINED HEREIN IS CORRECT AT THE TIME OF PRINTING. 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. MUSIC GROUP PRODUCTS ARE SOLD THROUGH AUTHORIZED FULLFILLERS AND RESELLERS ONLY. FULLFILLERS AND RESELLERS ARE NOT AGENTS OF MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY TO BIND

MUSIC GROUP BY ANY EXPRESS OR IMPLIED UNDERTAKING OR REPRESENTATION. THIS MANUAL IS COPYRIGHTED. NO PART OF THIS MANUAL MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,

INCLUDING PHOTOCOPYING AND RECORDING OF ANY KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS WRITTEN PERMISSION OF MUSIC GROUP IP LTD. ALL RIGHTS RESERVED. © 2011 MUSIC GROUP IP LTD. TRIDENT CHAMBERS, WICKHAMS CAY,

P.O. BOX 146, ROAD TOWN, TORTOLA, BRITISH VIRGIN ISLANDS

Outputs

Aux Sends (FX)

Type ¼" TRS connector, impedancebalanced

Impedance approx. 240  balanced

approx. 120  unbalanced

Max. output level +22 dBu

Aux Sends (MON)

Type ¼" TRS connector, impedance balanced

Impedance approx. 240  balanced

approx. 120  unbalanced

Max. output level +22 dBu

Main Out

Type XLR connectors, balanced

Impedance approx. 240  balanced

approx. 120  unbalanced

Max. output level +28 dBu balanced

+22 dBu unbalanced

CTRL Out

Type ¼" TRS connector, impedance balanced

Impedance approx. 240  balanced

approx. 120  unbalanced

Max. output level +22 dBu

CD/TAPE Out

Type RCA connectors, unbalanced

Impedance approx. 1 k

Max. output level +22 dBu

Phones

Type ¼" TRS connector

Max. output level +19 dBu / 150  (316 mW)

Low 100 Hz / ±15 dB

High 12 kHz/ ±15 dB

Main Mix System Data

Noise

Main mix @ -∞,Channel fader -∞ -98 dB / -101 dB A-weighted

Main mix @ 0 dB,Channel fader -∞ -85 dB / -88 dB A-weighted

Main mix @ 0 dB, -77 dB / -80 dB A-weighted

Channel fader @ 0 dB

Fade Attenuation

(Crosstalk Attenuation)

Main fader closed 90 dB

Channel fader closed 90 dB

Frequency Response

Microphone Input to Main Out

<20 Hz – 105 kHz +1 dB / -1 dB

<10 Hz – 170 kHz +3 dB / -3 dB

Eects Section

Converter 24-bit Sigma-Delta

Frequency rate 40 kHz

Presets 100

Power Supply

Power consumption 18 W

Voltage 100 – 240 V~, 50/60 Hz

Fuse 100 – 240 V~: T 1.6 A H 250 V

Mains connection IEC (power) cable

Dimensions/Weight

Dimensions (H x W x D) approx. 5 ⁄ x 19x 5 ⁄"

approx. 133 x 482 x 150 mm

Weight (net) approx. 6.4 lbs / 2.9 kg

Measuring conditions:

1:20 Hz – 20 kHz; measured at main output.Channels1 – 8 gain @ unity; EQ flat; all channels on mainmix; channels 1/3/5/7

leftmost, channels 2/4/6/8 rightmost.Reference = +6 dBu.2:1 kHz relative to 0 dBu; 20 Hz – 20 kHz; line input; mainoutput;

gain @ unity.

Product Information Document

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preampli ers, British EQ's and

Multi-FX Processor

Rackmount Mixers

Sonically Superior

Mic Preamps

Our legendary, high headroom XENYX

mic preamps have been praised by audio

engineers all over the world. These state-of-

the-art mic pres represent a major step in the

evolution of audio technology – and they can

easily hold their own, even when compared to

the most expensive stand-alone mic preamps.

XENYX preamps o er a staggering 130 dB of

dynamic range, with a bandwidth that extends

from below 10 Hz to well above 200 kHz.

Armed with these outstanding mic preamps,

the RX1202FX provides such transparent,

crystal-clear performance you just might

think someone upgraded your mics while you

weren’t looking.

The rack-mountable, 12-Input

RX1202FX mixer enables you to

e ortlessly achieve premium-

quality sound, thanks to 8 onboard

studio-grade XENYX Mic Preamps,

2 stereo Line Inputs and ultra-musical

“British” channel EQs. Add to this

our 24-Bit Multi-FX processor with

100 awesome presets including

studio-class reverbs, delays, pitch

shifter and various multi-e ects –

and the RX1202FX becomes an incredibly-versatile mixer for your live

performances. Ideally suited for musicians, houses of worship and a wide

variety of business applications, the incredible RX1202FX is also perfect for

sub-mixing keyboards, drums or multiple vocal mics – and is an absolute

“must-have” for monitoring your multitrack recording projects!

Premium ultra-low noise,

high headroom analog 3U

rack mount mixer

8 state-of-the-art XENYX Mic

Preamps comparable to stand-alone

boutique preamps

Neo-classic “British” 2-band EQs for

warm and musical sound

Studio-grade FX processor with 100

awesome presets including reverb,

chorus,  anger, delay, pitch shifter

and various multi-e ects

Switchable +48 V phantom power

for condenser microphones

4 additional balanced

high-headroom line inputs

CD/Tape inputs assignable to

Main mix or Control Room/

Phones outputs

2 Aux sends per channel: 1 pre

fader for monitoring applications,

1 post fader for internal FX or as

external send

Separate Control Room, Phones and

stereo CD/tape outputs

Balanced Main mix outputs with

gold-plated XLR connectors

Long-wearing 60-mm

logarithmic-taper faders and

sealed rotary controls

2 of 6

Product Information Document

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preampli ers, British EQ's and

Multi-FX Processor

Rackmount Mixers

*Warranty details can be found at music-group.com.

“Planet Earth” switching power

supply for maximum  exibility

(100 - 240 V~), noise-free audio,

superior transient response plus

low power consumption for

energy saving

3-Year Warranty Program*

Conceived and designed by

BEHRINGER Germany

Sublimely Musical British EQ

The British consoles of the 1960s and ‘70s

changed the sound of rock and roll – without

them the British Invasion might not have

happened. Those legendary mixing desks

soon became the envy of engineers and

producers all over the world. The channel EQ

on our RX1202FX mixer is based on that very

same circuitry, allowing you to imbue signals

with incredible warmth and detailed musical

character. Even when applied generously,

these equalizers exhibit sweet forgiveness and

superb audio quality.

E ective FX

Every RX1202FX mixer features our 24-Bit

Multi-FX processor, with 100 awesome presets

including reverb, chorus,  anger, delay, pitch

shifter and various multi-e ects. Complete

with highly-accurate Signal and Clip LEDs,

these e ects are instantly available at your

 ngertips via the Program selector control.

3 of 6

3 o

f 6

Product Information Document

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preampli ers, British EQ's and

Multi-FX Processor

Rackmount Mixers

Taking Control

Smooth 60 mm faders and intuitive rotary dials make it quick and simple to create a great mix.

The Main Mix fader adjusts the volume of the Main Output signal, while the dual 4-segment LED

ladder display gives a visual con rmation of the signal level. The Phones jack features a dedicated

Phones/Control Room dial for adjusting the volume. Push CD/Tape To Mix to add backing tracks

from an mp3 or CD player, or the CD/Tape To Ctrl to isolate a click or scratch track in the headphones

during recording.

Panel Discussion

On the RX1202FX’s rear panel, the Left and Right Main Out XLR connections can be used to feed

the mix to a recording device or PA system. For live performances, keep pre-recorded music cued

up for between-set breaks by connecting a CD or mp3 player via the stereo 2-Track In jacks. If the

band wants a recording of their performance, you can send the signal to a recording device via the

2-Track Out jacks. Use the Mon Aux Send to send the monitor bus signal to your  oor monitors in a

live performance, or to a headphone amp in a recording session. When it’s time for playback of the

recorded material, just send the signal to your studio monitors via the Ctrl Out jack.

Amazing Performance and Value

No matter what your audio mixing needs, the RX1202FX provides the performance and features that

can take your talent to the next level, at a price sure to amaze you. Professional sound quality, our

legendary XENYX mic preamps, British EQs, 24-Bit Multi-FX Processor and USB connectivity make

EURORACK PRO RX1202FX ideal for both your live gigs and recording. Try one out at your authorized

BEHRINGER dealer – or place your order online today!

4 of 6

Product Information Document

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preampli ers, British EQ's and

Multi-FX Processor

Rackmount Mixers

You Are Covered

We always strive to provide the best possible Customer Experience. Our products are made in our

own MUSIC Group factory using state-of-the-art automation, enhanced production work ows and

quality assurance labs with the most sophisticated test equipment available in the world. As a result,

we have one of the lowest product failure rates in the industry, and we con dently back it up with a

generous 3-Year Warranty program.

5 of 6

Product Information Document

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preampli ers, British EQ's and

Multi-FX Processor

Rackmount Mixers

For service, support or more information contact the BEHRINGER location nearest you:

Europe

MUSIC Group Services UK

Tel: +44 156 273 2290

Email: [email protected]

USA/Canada

MUSIC Group Services NV Inc.

Tel: +1 702 800 8290

Email: [email protected]

Japan

MUSIC Group Services JP K.K.

Tel: +81 3 6231 0454

Email: [email protected]

MUSIC Group accepts no liability for any loss which may be su ered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein.

Technical speci cations, appearances and other information are subject to change without notice. All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK,

LAB GRUPPEN, LAKE, TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON, BEHRINGER, BUGERA and DDA are trademarks or registered trademarks of MUSIC Group IP Ltd.

Product Information Document

Premium 12-Input Mic/Line Rack Mixer with

XENYX Mic Preampli ers, British EQ's and

Multi-FX Processor

Rackmount Mixers