The family XENYX mixer from Behringer has no less than 13 members, from small models 502 up to 2442FX. The majority of passive XENYX mixer is now designated 'FX', indicating that they incorporate onboard effects section. The XENYX 2442FX as the name suggests, provides a total of 24 inputs, up to 10 of the mono microphone input / line, within four to two designs, all contained in a compact case with a 418 x 438mm weight of just less than 6kg.
I immediately liked the general appearance and compact size; quiet but effective color scheme and layout of the main panel is neat and logical. Most of the input and output connectors on the top panel, which does not make them easy to see and reconfigure from the operator position, and no additional sockets on the rear panel
XENYX 2442FX. Everything seemed to be just where I expected to be, and there is enough space to operate all functions without problems.
The trip down the track mono
Mono channels (1-8) about as simple as you can get. At the top of the board is balanced XLR mic input with (global) phantom power is available, followed by a TRS jack, which is the input line; The second jack socket is tip = send, ring = return insert point, for the tapping of the signal channels if required external processor, and the signal is sent (and back) after the first preamp stage. In many compact mixers, especially those with a built-in effects, insert jack is a useful place from which to get the output directly, by inserting a half jack; I am pleased to say that the XENYX 2442FX is equipped with a direct out right for mono channels, and this can be found on the rear panel, along with some useful connection point.
Under the socket is slim rotary control, which adjusts the input sensitivity of the channel to match any source connected to it, and always-useful low cut 18dB button to switch on / octave filters, which attenuate frequencies below 75Hz. In common usage, this will be a key component to reduce unwanted low frequency of the input signal and consequently plays a major role in obtaining clean mix - I tend to use it on almost everything except kick drum and bass, and it is often useful for they, too!
In only one of these mono channels, three-band EQ, sweep center of the design, as it is based on equity used in the UK tables designed success, which is reckoned to have a character that is very musical. Whatever it is described as, works well and sounds good, and every band seems to have a subtlety about it; I find it easy to get the sound I wanted and there are a lot of control (± 15dB) available. Low and high shelving bands circuit, which kicked at 80Hz and 12kHz, respectively, and the band can be centered in the middle of anywhere between 100Hz and 8kHz. I spent some time playing my favorite CDs through the table and listened to on headphones to get to grips with the performance of EQ, and the more I play around more I like this EQ - it's pretty smooth and I like the way the three bands operating in their own domain without affecting everything else, even at extreme settings.
The 2442FX has four auxiliary sends per channel, two of which can be switched to operate pre-fader or post-fader (switching is per channel, but the switch affects both Aux 1 and Aux 2 together), and the remaining two are always post-fader . Aux 3 also labeled 'FX' as it is configured to feed the internal effects section should you wish. These four aux sends are post-EQ, ie. EQ settings applied to the aux outputs from each channel, and for live sound work I prefer this, because if the resource needs of EQ applied to front-of-house signal (eg. you need to drop a few mid-tonk out of the vocals) then you may not want in a good monitor.
Routing channel output options are provided by a combination of bus and control the output switches pan. As the 2442FX is a true four-bus mixer, you might want a group of, say, all the drum mics single bus so that the entire kit can be turned up or down (usually down ...) with a single fader, without affecting the balance of the individual mics in that group. For example, to send a channel for the sub-group 1, you select the '1-2' button and turn the control pan hard left; hard right settings will send a signal to the group 2. Of course, it can be set anywhere in between if you use subgroups 1 and 2 as a stereo subgroup. The same thing applies when using subgroups 3 and 4, and if the 'LR' is pressed, the output channel is sent directly to the main bus stereo output - and you can, of course, use them all at the same time if you like, which would be useful if you need to feed over a PA system.
In each channel there is a Solo button, which can be used to monitor and to control the level, and there are actual Mute button (hooray!) The mute all outputs of channels (including auxes) and displays a warning when the yellow LED is active. I just use a few small table formats from other manufacturers which have 'channels on the' switch instead of 'dumb on' switch, and although basically perform the same function I prefer to have a traditional mute button, as is the case here. Last but by no means least is the clip LEDs, which warned of excessive signal levels after the EQ section.
Nice pair
The remaining channels (9-16) has a stereo input, but the first two (9/10 and 11/12) also has a mono microphone input and a low cut filter, extending up to the mic capability useful 2442FX 10 if you don 't need all channels stereo - and for most of the band's performance I would rather have a mic input of anything. Channels 13/14 and 15/16 only has a line input jack, which normalled so anything that is connected to the left input (with not plugged to the right) will be applied as a mono signal is the same on both sides of the channel. All channel stereo from 9 to over four-band, still not swept mid EQ version, with low and high-middle centered on 500Hz and 3kHz. After another session with CD and headphones I liked the sound of it too. There is an additional stereo inputs on balanced RCA phono connectors for CD, cassette or similar, the only jump to the main output but can be separately monitored in the headphones.
Part of the master
The main section contains all the main, sub and an additional bus send control, and re-aux. Fourth subgroup faders each have a pair of buttons, which send their output to the left and right (or both) the main bus routing, and the main mix outputs are controlled by a single fader stereo rather than separate ones for the left and right. The master aux output is rotary control, each equipped with a Solo button for monitoring, and Aux 3 are internally connected to the built-in effects unit unless the jack is inserted into the Aux 3 socket back. It's in the master section we find an additional eight inputs that justify '2442' model number, in the form of left and right inputs to four re-aux, all of which can be transferred to the main output, although they can not be highlight - they are all given directly to the left , right or, if you connect the jack to the left socket only, well, with the exception of Aux 3 back, which does not have the option of direct mono. If you really need Aux 3 appears in both the left and right outputs, you can reassign through subgroups.
The main part contains an integrated digital effects processors, which are internally connected using 3 Aux bus, so no cables are required. I really appreciate this feature as it reduces setup time and make things simple and easy, and certainly no chance to make a wrong connection! The Aux 3 acts as a master control input level control for effects processors, and Aux 3 return control determines the amount of wet signal is mixed back into the main mix. Selecting the effect program is simply a matter of rotating rotary switch to the program number you want to appear on the LED screen, and then press the same button to load it. This is the setting that makes sense, because it means that until the button is pressed, confirm that you want to change the program, the current program continues without interruption.
There are one hundred preset, 00-99, grouped into 10 banks of 10 with each bank that is dedicated to the same effect. For example, 00-09 is room reverb effects ranging from Small Hall to the Church, and 40-49 are the initial reflection of rearly Reflection 1 to Ghost Ambience, and so on. Two latter groups 80-99 double effect, including things like Short Delay and Reverb Flanger + Soft Fourth on Interval + Medium length. Preset does not have adjustable parameters, but with this many to choose from it's very unlikely that something did not fit in there somewhere, and I found everything I tried was good for the task. Group title printed on the panel just above the selector buttons and display screen, but the individual presets are not displayed, so you also need the appropriate page of manual (also downloadable) or, as I do, you end up knowing two or three favorite settings you anyway. The information is printed on the white panel on gray, and not easy to read in low light, but I love the clear blue LED display.
The
XENYX 2442FX provides control room and headphone monitoring flexible, and monitor sources can be selected as the main mix, sub-groups and subgroups 1/2 3/4. In general, anything that is selected as CR / mobile sources are also pushing the main output meter, which is nice, clear vertical ladder 12-LED. Mode Switch only under CR / phone control level lets you choose what to monitor - in Solo mode, the normal function of the solo at the active site, which allows monitoring of each channel stereo, group or re-aux who have a spouse each button is pressed, and the PFL mode level Set the level of pre-fader channel signal is displayed on the meter output is left alone, so that the control input can be adjusted with a good trim. I like the fact that two headphone sockets are provided, and a headphone amp seems to have plenty of power for live monitoring.
Making connections
Despite all the channel input connection on the top panel, the output and return are behind. The main mix signal is available on a balanced XLR and jack output, and has a pair of insert points as well, which can be used to connect external equipment, such as compressors, who would you want to patch on before the main fader. The main mix also appears in the form of an unbalanced on CD / Tape Out sockets on the top, which is a useful point to take footage of, although this will be influenced by the position of the main fader mix. Next to the main out is the output of the left and right control room, which carries the same signal as the headphone output and unbalanced. There are eight subgroups balanced outputs on the rear panel as well, although they are wired in parallel pairs (1 and 5, 2 and 6, etc.) and therefore can be connected to the analog input of an eight-track recorder without using cables 'Y'. Channels 1 through 8 have balanced direct output socket, and it should be noted that they eat from the point just after the channel fader, so that they are influenced by all the control channels including a mute button - very handy to record individual tracks studio.
Glance down feature set for
2442FX manufacturer revealed the words 'USB / audio interface', but there is no USB port anywhere in the mixer. There is, however, a small white cardboard box packed with 2442FX (and that would be easy to miss, so do not be in a big rush to throw away the box and packing material) which contains units
Behringer UCA200 USB audio interface. This little device has a pair of RCA inputs and outputs, and a
USB cable to stay connected to the computer.
No switches or other controls (it's like a simplified version of the Behringer UCA202), and to use it all you do is plug - it's powered by the USB port so there is not even a battery or PSU. Let's be clear - XENYX 2442FZ not have a built-in USB port, but it comes with an external interface is that you can, of course, use with other devices - and it is this flexibility that I really rather like, because you can connect to each input or output without being limited by fixed route designed into the mixer. There is a free, easy to use software called Audacity that can be downloaded from the website Behringer (no packet multitrack recorder / editor as well), which I installed on a PC and used without difficulty. In fact I was so taken with the UCA200 that I have since bought
UCA202 version, which is available alone (I do not think you can get from the UCA200 without mixer).
Practical and polite
I found the
XENYX 2442FX is very easy to use. It seems well built and nicely finished, and very light and
compact to move around, although if I had one I would transport it in a hard case to avoid possible damage to the rotary control, which is not nutted directly to the metal front panel. Speaking about the case, 2442FX is equipped with a pair of strip rackmount, so put it in the right travel case would be an easy option. I like the feel of the smooth faders and rotary control center detent on, and everything worked as expected with no surprises. The strength of blue LEDs and very bright but, as it is located just above the meter output and just below the control monitor / aux return, I have to keep putting my finger on it so I could see the surrounding area - a small square stick masking tape on it makes it just about true. I enjoyed the time I spent playing around with the 2442FX, and take the exit on the job is a pleasure - I have not covered all the fine detail here, so it's worth a trip to Behringer's website to check out all the numbers. This neat little table not covered in bells and whistles, but good price, flexible, easy, doing very well and just got on with the job - I kind of mixer.
