EURORACK UB1002FX/UB1202FX

If you wish to use multi-way loudspeaker systems without an integrated crossover, you have to use an active crossover and several power amplifiers. 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 amplifier, and they divide the frequency range into several segments that are first amplified in the amplifiers 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.

CD/TAPE INPUT

The CD/TAPE INPUTs 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-fi amplifier 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.).

TAPE OUTPUT

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.

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 is turned on. Phantom power is required to operate condenser microphones and is activated using the +48 V switch located above the +48 V LED.

+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 SETTING:

To correctly set the gains of the channels, first set the LEVEL controls of the input channels to their center positions. Then use the TRIM controls to increase the input amplification until signal peaks show 0 dB on the level meter.

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-LED’s 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/CONTROL ROOM

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

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.

CD/TAPE TO CTRL

Press the CD/TAPE TO CTRL switch if you want to monitor the CD/tape input via the CTRL ROOM 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).

+If you are recording a signal via the TAPE OUTPUT and wish to listen to this simultaneously via the CD/TAPE INPUT, do not use the CD/TAPE TO MIX switch. Doing this would create a feedback loop, since the signal would be routed, via the main mix, back to tape via the TAPE OUTPUT. To monitor the CD/TAPE INPUT, use the CD/TAPE TO CTRL switch to assign the tape signal to the monitor(s) or headphones. This will avoid the tape signal being routed to the TAPE OUTPUT.

FX TO CONTROL

If you want to monitor only the effects signal in your headphones or monitor speaker(s), press the FX TO CTRL switch. Now the signal of the effects processor can be monitored alone, and the main mix and/or CD/tape signal is no longer present on the phone and control room outputs.

2. CONTROL ELEMENTS AND CONNECTORS

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Behringer UB1002FX, UB1202FX manual Main section
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UB1202FX, UB1002FX specifications

Behringer is well-known for producing budget-friendly yet powerful audio equipment, and their UB1002FX and UB1202FX mixers are prime examples of this commitment. Both models cater to musicians, podcasters, and sound engineers looking for compact solutions without compromising on sound quality.

The Behringer UB1002FX is a versatile 10-input mixer equipped with built-in effects. It features two low-noise, high-headroom mic preamps augmenting the audio quality for vocal and instrumental applications. With three-band EQ on each channel, users can sculpt their sound easily, while a 24-bit digital FX processor offers 100 studio-grade effects, including reverb, delay, and chorus, allowing for creative sound experimentation.

This mixer is designed with practical connectivity in mind. It includes stereo inputs, a dedicated tape input and output, as well as auxiliary sends per channel, ideal for routing to external effects devices or monitors. The UB1002FX also boasts a headphone output with a separate level control, providing a useful monitoring option during live performances or recording sessions.

The UB1202FX is a step up, offering 12 inputs and additional features that enhance its functionality. Like the UB1002FX, it features low-noise mic preamps and three-band EQ, but it also includes an advanced four-channel stereo input capability that allows for diverse input sources.

One of the standout features of the UB1202FX is its built-in DSP effects processor, which offers a rich palette of effects meant to cater to a variety of musical styles and applications. The total number of effects onboard allows for a greater scope of creative possibilities during both live performances and studio sessions.

Both mixers are designed with rugged construction, making them reliable even under demanding conditions and frequent use. The user-friendly layout ensures that navigating through channels and effects is intuitive, making it suitable for beginners and experienced engineers alike.

In terms of connectivity, both models feature balanced XLR outputs, enabling professional-grade connections to PA systems or recording interfaces. The compact size of the UB1002FX and UB1202FX makes them ideal for mobile setups or smaller venues, providing portability alongside robust performance.

Overall, the Behringer UB1002FX and UB1202FX mixers offer exceptional value for their price, with features and sound quality that present a compelling option for anyone in need of a reliable audio mixing solution.
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