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A Low Cut button eliminates the
frequencies where unwanted infrasonics
such as mic handling, P-pops or wind
noise occur.
FX1 and FX 2 dials add a blend of up to
two effects, and AUX 1 and AUX 2 dials
help create your monitor mix. Press the
PRE button to send a raw, EQ-free signal
to the monitors.
Near every mono channel’s fader
you’ll find a 1-2, 3-4 and MAIN button.
By engaging the MAIN button, the signal
is sent to the main mix. Or, if you engage
the 1-2 button, the channel becomes
part of a bus. Twist the PAN control all the
way to the left to assign it to Sub 1, or all
the way to the right for Sub 2. The same
principle applies to the 3-4 button.
A Mute button with accompanying
LED cuts the signal from the channel,
and a Clip LED helps you dial in a
distortion-free post-EQ signal. The Solo
button on individual channels routes the
subgroup signal to the solo bus or Pre-
Fader Listen—depending on whether the
signal has been included in a subgroup.
Instead of XLR inputs, stereo
channels 17-24 have left and right
balanced/unbalanced line level inputs.
Channels 17-20 feature the same
controls as the mono channels, but with
a four-band EQ that gives you control
of HIGH, HIGH MID, LOW MID and LOW.
This is especially useful for EQ’ing the
critical midrange frequency content
found in keyboard signals.
Stereo channels 21 through 24,
designed for signals that do not require
EQ, have a simplified interface consisting
of a Level, AUX 1 and AUX 2 dial. Can you
say laptop backing track feeds, drum
machines, tone modules, DJ mixers or
CD players?
Finally, all four sub-mix buses feature
an independent fader (naturally),
Solo switch with bright LED, and assign
buttons for routing them to Left or
Right stereo channels.
Packed with tasty details that make
your creative life easier.
• We solved the problem of what to do
when you want to play music during
breaks but don’t want to have to mute
every channel or turn down every
fader. Just push CD/Tape STANDBY
button to A) mute all mixer channels
and B) solo just your CD/Tape source.
We didn’t just give you a MONO
output for subwoofers. We gave it a
built-in variable low pass crossover,
saving you money on outboard gear.
• We added a footswitch jack that you
can use to control either internal or
external effects.
• We gave you a complete Phones and
Control Room assignment matrix so
you can send mains, buses, CD/Tape or
auxes out at the touch of a button.
• We added a routing button to Talkback
so you can talk directly to either a
monitor mix or the house mix for
public announcements.
• We made the 9-band equalizer
assignable to either AUX 1 or the
main mix.
Take On The World
Not every town on the planet uses
the same voltage common in yours.
Unfortunately, this sometimes doesn’t
occur to jet-setting sound technicians
until they’re 5,000 miles from home.
With the SX2442FX, this is never an issue.
The internal autorange power supply can
run on anything from 100 to 240 V with
noise-free audio, top-quality transient
response and low power consumption.
Buy it now. Teach your great grandkids
how to run it.
BEHRINGER mixers last and last. We use
top quality parts such as long-wear faders,
sealed rotary controls and premium circuit
boards. We have 20 years of experience
figuring out how to compensate for clumsy
load-ins, spilled drinks, crazed guitarists
and millions of road miles. The result is a
mixer you can count on day after day and
night after night.
EFFECTS
PARALLEL EFFECTS:
Cathedral (01-02)
Very dense and long reverberation of a
large cathedral
Plate (03-04)
Simulates early plate reverb
Concert (05-06)
Simulates a small theater or large concert hall
Stage (07-08)
Very dense reverb, especially for
live applications
Room (09-10)
Simulates room’s wall reverb. This particular
room has two windows and yellow wallpaper
Studio (11-12)
Adds spaciousness to the sound
Small Hall (13-14)
Simulates hallway reverberation
Ambience (15-16)
Simulates the reverb of a middle-sized room
without late reflections
Early Reflections (17)
Dense reverb with pronounced early reflections
Spring Reverb (19-20)
Simulates spring reverb
Gated Reverb (21-22)
Reverb that’s synthetically cut off
Reverse Reverb (23-24)
Reverb that slowly gets louder
Chorus (25-30)
Slight detuning of the original signal
Flanger (31-35)
A delayed signal is added to the original
signal, causing a phase shift
Phaser (36-39)
Another phase-shift effect
Rotary Speaker (40-42)
Simulation of a rotating electronic organ speaker
Delay (43-52)
Delay of the input signal with repetitions
Chorus & Reverb (53-54)
Combination of chorus and reverb
Flanger & Reverb (55-56)
Flanger combined with reverb
Phaser & Reverb (57-58)
Phaser combined with reverb
Rotary Speaker &
Rotary Speaker effect combined with Reverb
Reverb (59-60)
Delay & Reverb (61-63)
Delay combined with Reverb
Delay & Chorus (64-67)
Widens the signals and produces
repetition effects
Delay & Flanger (68-70)
Similar to Delay & Chorus, but with audible
up/downward modulation
INSERT EFFECTS:
Compressor (71-73)
Soft or loud passages are raised or lowered in
level respectively
Expander (74-76)
Noise and hum is reduced in level
Gate (77-78)
A gate opens for a specific period of time to make
a specific signal pass, then closes abruptly
Ultramizer (79-80)
Compression through automatic adaptation of
compression parameters
Ultrabass (81-82)
Combines sub-harmonics processor, bass
exciter, and limiter
Panner (83-85)
The signal “wanders” between the sides of the
stereo basis
Exciter (86-88)
Adds synthetic harmonics to the signal,
resulting in increased presence and “loudness”
Auto Filter (89-91)
Level-dependent boost of a specific frequency
band, similar to auto-wah or electric guitars
Tube Distortion (92-93)
Simulates the tube distortion of classic guitar
amplifiers
Guitar Amp (94-97)
Guitar amp simulation
Vinylizer (98)
Adds the clicks and noise of old vinyl records
Test Tone (99)
1-kHz test tone. Virtually indistinguishable
from some genres of techno.
Continued on next page
EURODESK
SX2442
