Behringer mx1804x Manual
Behringer mx1804x Manual
Behringer mx1804x Manual
ENGLISH
User’s Manual
Version 1.1 March 2001
®
EURORACK
www.behringer.com
SAFETY INSTRUCTIONS
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FOREWORD
Dear Customer,
Welcome to the team of EURORACK users and thank you very much for expressing your confidence in
BEHRINGER products by purchasing this unit.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
hard work delivered by our engineering team to reach a very ambitious goal: To produce a compact mixer,
which fully satisfies your and our expectations and delivers a superior sound quality, easy operation and
technical specifications. In addition to that the mixer is affordable for almost every musician. The task to
design the EURORACK certainly meant a great deal of responsibility, which we assumed by focusing on you,
the discerning user and musician. It also meant a lot of work and night shifts to accomplish this goal. But it
was fun, too. Developing a product usually brings a lot of people together, and what a great feeling it is when
everybody who participated in such a project can be proud of what we’ve achieved.
It is our philosophy to share our joy with you, because you are the most important member of the BEHRINGER
family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our
company and making it successful. In return, we guarantee you uncompromising quality (manufactured
under ISO9000 certified management system) as well as excellent technical and audio properties at an
extremely favorable price. All of this will enable you to fully unfold your creativity without being hampered by
budget constraints.
We are often asked how we can make it to produce such high-grade devices at such unbelievably low prices.
The answer is quite simple: it’s you, our customers! Many satisfied customers means large sales volumes
enabling us to get better conditions of purchase for components, etc. Isn’t it only fair to pass this benefit back
to you? Because we know that your success is our success, too!
I would like to thank the following people, whose help on “Project EURORACK MX1804X” has made it all
possible:
▲ The existing users of BEHRINGER equipment (whose comments and suggestions have made them the
most important members of the BEHRINGER design team),
▲ Thorsten (for this marvellous manual layout),
▲ Bernhard (Rammi) (whose technical ingenuity is unique),
▲ C.W. for the fine mechanics (key-phrase “Tooling modification”),
▲ and all the others, who have made very personal contributions.
Uli Behringer
MX1804X
Ultra low-noise 18-channel 4-bus mixer with integrated VIRTUALIZER multi-effects processor
EURORACK
s 6 mono input channels with balanced XLR and TRS connectors and inserts
s 24-bit stereo multi-effects processor with ultra-high resolution 24-bit AD/DA converters, for internal and
external use
s 32 original VIRTUALIZER presets including 16 different reverbs, delays, chorus, flanger, pitch shifter, speaker
simulation and various combinations
s Alt 3-4 bus routable to main mix and control room with insert, PFL and 60-mm master fader
s Ultra-musical 4-band EQ (stereo channels) and 3-band EQ with sweepable mid band (mono channels)
s 2 aux sends (aux 1 pre/post) per channel—for internal or external effects and monitoring
s Separate main mix, Alt 3-4, control room and headphones outputs
s State-of-the-art 4580 ICs and high-quality components for crystal-clear audio performance
s Extremely rugged construction ensures long life even under the most demanding conditions
TABLE OF CONTENTS
1. INTRODUCTION..................................................................................................................... 7
1.1 Concept .......................................................................................................................................... 7
1.1.1 Architecture .......................................................................................................................... 7
1.2 Before you begin ............................................................................................................................. 8
1.2.1 Metering ............................................................................................................................... 8
1.2.2 PSU (power supply unit) ....................................................................................................... 8
1.2.3 Warranty ............................................................................................................................... 8
1.2.4 Packing ................................................................................................................................ 8
1.2.4 Rack mounting the MX1804X ................................................................................................ 9
2. OPERATION ............................................................................................................................ 9
2.1 Mono input channel ......................................................................................................................... 9
2.1.1 Input level setting .................................................................................................................. 9
2.1.2 Equalizer .............................................................................................................................. 9
2.1.3 Aux sends ............................................................................................................................ 9
2.1.4 Routing, fading and muting .................................................................................................. 10
2.2 Stereo input channel ..................................................................................................................... 10
2.2.1 Input level ............................................................................................................................ 10
2.2.2 Equalizer ............................................................................................................................ 10
2.2.3 Aux sends .......................................................................................................................... 10
2.2.4 Routing ................................................................................................................................ 11
2.3 Inserting ......................................................................................................................................... 11
2.3.1 Mono channels .................................................................................................................... 11
2.3.2 Stereo channels ................................................................................................................... 11
2.3.3 Main mix .............................................................................................................................. 11
2.3.4 Alt 3-4 .................................................................................................................................. 11
2.4 Main section .................................................................................................................................. 11
2.4.1 Aux sends ........................................................................................................................... 11
2.4.2 Additional stereo line inputs ................................................................................................ 12
2.4.3 Metering ............................................................................................................................. 12
2.4.4 Channel mode ..................................................................................................................... 12
2.4.5 2-track input and output ...................................................................................................... 12
2.4.6 Monitor section ................................................................................................................... 13
2.4.7 Alt 3-4 output ...................................................................................................................... 13
2.4.8 Graphic equalizer ................................................................................................................ 13
2.4.9 Digital effects processor ...................................................................................................... 13
2.4.10 Talkback, communication with musicians in a studio .......................................................... 15
3. PRACTICE ............................................................................................................................. 15
3.1 Selecting inputs ............................................................................................................................ 15
3.2 Initializing channels for gain setting ............................................................................................... 15
3.3 Auditioning a signal and setting up a channels .............................................................................. 16
3.4 Desk normalization ....................................................................................................................... 16
3.5 Multitrack initialization .................................................................................................................. 16
3.6 Recording levels ............................................................................................................................ 16
3.7 Track sheet ................................................................................................................................... 16
4. APPLICATIONS ..................................................................................................................... 17
4.1 Live gig with simultaneous 2-track recording ................................................................................. 17
4.2 MIDI project studio ........................................................................................................................ 17
4.3 Patchbay ...................................................................................................................................... 18
4.3.1 Patchbay configuration ........................................................................................................ 18
4.3.2 Parallel ............................................................................................................................... 18
4.3.3 Half-normalled ..................................................................................................................... 19
4.3.4 Normalled ........................................................................................................................... 19
4.3.5 Open ................................................................................................................................... 19
4.3.6 Patchbay organization ........................................................................................................ 20
4.3.7 Looming problems .............................................................................................................. 21
4.4 Expanding ..................................................................................................................................... 21
6. INSTALLATION ..................................................................................................................... 23
6.1 Mains connection .......................................................................................................................... 23
6.2 Audio connections ........................................................................................................................ 23
7. SPECIFICATIONS ................................................................................................................. 25
8. MODIFICATIONS .................................................................................................................. 26
9. WARRANTY ........................................................................................................................... 27
1. INTRODUCTION
Congratulations. In purchasing our EURORACK MX1804X you have acquired a mixer whose small size belies
its incredible versatility and audio performance. Your EURORACK is built to the same outstanding quality as
our top-of-the range console, the BEHRINGER EURODESK MX9000.
One of the outstanding features of the MX1804X is its integrated, digital 24-bit effects processor. We developed
an extremely compact module that provides the highly acclaimed VIRTUALIZER sound using the same
algorithms, 24-bit AD/DA converters, a 24-bit DSP and 46 kHz sampling rate. This means that 32 presets with
first-class room simulations, delay and modulation effects are at your disposal. Moreover the MX1804X possesses
an additional Alt 3-4 bus, a 7-band graphic equalizer and a choice of routing options which facilitate the work
with your MX1804X.
Later we will see how adding the BEHRINGER ULTRALINK PRO MX882 to your system can inexpensively
expand the capacity and flexibility of you mixing power even further. First of all, however, we want to take you
on a guided tour of your new rack-mounted console—the BEHRINGER EURORACK MX1804X.
We recommend that you experiment with your EURORACK away from the pressures of a recording session or
live concert, in order to get a feel for it. It is a musical instrument. Learn to play it well.
Most specialist subjects are not really all that difficult provided you understand the language used, and the
vocabulary of mixing is pretty straightforward. Nevertheless it is as well to be clear about what certain terms
mean. A “slot” in a recorder will always be referred to as a track, while that in a mixer will invariably be a
channel. We will attempt to be as unambiguous as possible with terms, since much confusion can arise from
sloppy definitions.
On an extra sheet you will find drawings showing the front and rear panel of your EURORACK respectively.
Always use this extra sheet, while studying the manual.
All functions will be numbered consistently throughout the manual, whether they be in the text or on an
illustration. Note that some functions are exactly the same for both mono and stereo channels (e.g. the aux
sends). In this case only the mono channel´s functions are numbered.
1.1 Concept
The configuration of the MX1804X is “18 into 4 (2+2) into 2”. There are six mono channels, four stereo channels
and two additional stereo line inputs (aux and FX return). In addition there is a 2-track input routable to the main
mix. Every channel is always routed to the main mix unless the ALT 3-4 switch is pushed. In this case the
signal is sent to the Alt 3-4 bus instead. Alt 3-4 may be blended with the main mix at the control room output
via a switch. In addition to that the Alt 3-4 signal can be integrated in the main mix when you press the
ALT 3-4 TO MIX switch .
1.1.1 Architecture
Mono input channels
The channels 1 to 4 are mono, with a choice of balanced microphone or line inputs. The vintage-style high-
current discrete microphone preamps are of the same incredible quality as those found on the acclaimed
BEHRINGER EURODESK MX9000, while a large external power supply ensures low noise and superior transient
response at all times. Due to the inserts the mono channels offer a similar functionality as “big” consoles. The
insert points double up as direct outputs when wired to a normalized pair of in/out sockets on a standard
patchbay (see chapter 4.3 “Patchbay”).
Stereo input channels
A further 8 line inputs on the MX1804X are configured as 4 balanced stereo input channels. These are ideal for
multitrack tape returns, or for accepting outputs from MIDI and other electronic instruments.
Channel outputs
A high-quality true-logarithmic 60-mm fader feeds the main mix or Alt 3-4 bus via the channel pan.
Aux/FX sends
There are two aux send buses on the MX1804X. The second one is called FX send and leads to the internal
multi-effects processor. But you can also use the FX send for external effects devices.
1. INTRODUCTION 7
1.2.1 Metering
The channels 1 to 6 have peak LEDs, while the L and R outputs have 12 segment bargraph meters. The
L/R meters double up as mono PFL or stereo solo meters.
The meters should average around 0 dB during loud passages. If they read persistently higher, or are peaking
above +10 dB, reduce either the main L/R faders and/or channel faders, or (as a last resort) channel input gain.
Maybe it’s time to do a round of PFL metering.
1.2.3 Warranty
Please take the time to have the warranty card filled out completely by your specialized dealer, and return it
within 14 days after the date of purchase, so as to be entitled to benefit from our extended warranty. You may
also use our online registration option available on the Internet at www.behringer.com. You will find the serial
number of your MX1804X on the rear panel.
1.2.4 Packing
Your BEHRINGER EURORACK was carefully packed in the factory and the packaging was designed to
protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging
and its contents for any signs of physical damage, which may have occurred in 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.
Shipping claims must be made by the consignee.
8 1. INTRODUCTION
+ Be sure that there is enough space around the unit for cooling and please do not place the
MX1804X on high temperature devices such as power amplifiers etc. to avoid overheating.
+ When switched on, parts of the desk and the power supply unit will become very warm, which
is normal during operation.
2. OPERATION
2.1.2 Equalizer
All mono input channels are fitted with three-band EQ and the above mentioned switchable low-cut filter for
eliminating unwanted subsonics. All three bands have up to 15 dB of cut and boost, with a centre detent for off.
The upper and lower shelving controls have their frequencies fixed at 12 kHz and 80 Hz respectively.
On the MX1804X, the midrange control is semi-parametric with a peaking response, Q fixed at 1 octave,
sweepable from 100 Hz to 8 kHz .
2. OPERATION 9
adjusted, any reverb send from that channel follows the fader. Otherwise, when the fader is pulled down, the
reverb from that channel would still be audible. For cueing purposes, aux sends will usually be set pre-fader,
i.e. independent of the channel fader and mute.
Most reverbs etc. sum internally the left and right inputs. The very few that don’t may be driven in true stereo by
using 2 aux sends.
There is +15 dB of gain on every aux send. Such a high boost is usually only appropriate where the channel
fader is set around -15 dB or lower. Here, an almost exclusively wet signal will be heard. In most consoles,
such a wet mix required the use of a pre-setting for the channel aux send, losing fader control. With the
EURORACK you can have a virtually wet mix with fader control.
2.2.2 Equalizer
The stereo input channels are fitted with four-band EQ.
The upper , high midrange , low midrange and lower shelving controls have their frequencies
fixed at 12 kHz, 3 kHz, 500 Hz and 80 Hz respectively.
All bands have up to 15 dB of cut and boost, with a centre detent for off.
A stereo equalizer is generally preferable to using two mono equalizers when EQ-ing a stereo signal, as often
discrepancies between left and right settings can occur.
10 2. OPERATION
2.2.4 Routing
The only difference here from the mono channel described is in the implementation of the balance control .
When a channel is run in stereo, this control functions as a balance control, determining the relative balance of
the left and right channel signals being sent to the left and right main mix buses (or Alt 3-4). For example, with
the balance control turned fully clockwise, only the right portion of the channel’s stereo signal will be routed to
the main mix.
Balance also determines the relative amount of left and right channel signals being sent to buses 3 and 4
respectively when switch MUTE/ALT 3-4 is engaged.
When you push the PFL/SOLO button the PFL/solo control LED will light up.
2.3 Inserting
Insert points are useful for adding dynamic processing or equalization to a channel or the mix. Unlike reverbs
etc., which are usually added to the dry signal, dynamic processing is normally applied across an entire
signal. Here an aux send would be inappropriate. Instead the signal is intercepted somewhere along the
channel, fed through the dynamics processor and/or EQ, then returned to the console at the same point where
it left. The insert point is normalized, i.e. the signal is only interrupted when a jack is plugged into it (see
chapter 4.3 “Patchbay”).
2. OPERATION 11
2.4.3 Metering
Main mix/solo/PFL level is displayed on a pair of highly-accurate 12 segment bargraph peak meters . Four
additional LEDs indicate power on , +48 V phantom power present , and whether the mono pre-fader-
listen bus or the stereo solo bus is engaged.
12 2. OPERATION
Although the 2-track output is primarily designed for recording, it can also be used as a PA feed, or as a send
to the input of your sampler. Depressing on the rear panel will lower the level at the XLR connectors by
20 dB.
2. OPERATION 13
Cathedral: Reverb program that generates long and dense reverberation, much like the natural reverb ambience
found in churches or cathedrals. Particularly suitable for solo instruments and voices.
Plate: The sound of early reverb plates. A classic reverb program for drums and solo voices.
Hall: Simulation of a small, highly reverberating hall. Use short reverb times (Small Hall) to process drum
instruments or medium reverb times (Medium Hall) to enhance wind instruments.
Room: You can clearly hear the walls of this room as they are reflecting the sound. A useful program for reverb
that isn’t directly noticable (rap, hip hop vocals) or to make dry recordings of instruments sound natural again.
Very all-round effect.
Studio: Middle to large rooms. Creates a natural and multipurpose sound.
Concert: You can choose between a small theater (Medium Concert) or large concert hall (Large Concert).
Stage: Wonderful reverb, for example, to provide keyboard pads or acoustic guitars with width and depth.
Designed for live applications and mixdown.
Vocal: Rich and dense reverb with middle reverb times giving solo voices their finishing touch.
Percussion: This dense reverb is characterized by pronounced early reflections which make it very suitable for
dynamic signals (drums, percussion, slap bass, etc.).
Delay: Here, the input signal is delayed with several feedbacks.
Echo: Much like the delay effect, echo repeats the input signal with decaying intensity. However, here the
echoes lose brilliance with each repetition, which simulates the trendy “vintage” effect produced by tape echo
units that were widely used in the pre-digital era.
Gated Reverb: Phil Collins’ song “In the air tonight” made this effect famous: a reverb is cut off abruptly after
a certain time.
Flanger: An LFO constantly modulates the effect signal’s pitch by a few cents up and down. Flanger effects
are primarily used for guitars, but there are also lots of other useful applications: voices, cymbals, bass,
remixes, etc.
Chorus: Though similar to the flanger, chorus uses a delay function instead of feedback. Combined with the
pitch shifting feature, the delay produces a very pleasant detune effect. Chorus effects are used so often and in
14 2. OPERATION
such a variety of applications that any recommendation would mean a limitation of their use.
Pitch Shifter: This effect transposes the input signal to create harmonies or simply to widen the sound of a
single voice. The pitch shifter effect can also be used to produce a cartoon character type voice effect.
Delay & Reverb: Probably the most popular combination used for vocals, solo guitars, etc. This program uses
a bright room reverb which can be used for a variety of applications.
Chorus & Reverb: This algorithm combines the popular chorus effect with the reverb effect.
Flanger & Reverb: In this program the flanger is combined with the reverb effect.
Radio speaker: This effect simulates a radio speaker. As a result you can manipulate the sound of your
music.
Distortion: A clearly up-to-date program for lo-fi effects applied to vocals or drum loops, combined with a delay.
As a little extra the distortion circuit also includes an LFO-controlled notch filter which audibly wanders back
and forth with maximum distortion.
3. PRACTICE
3. PRACTICE 15
3. PRACTICE 17
4. APPLICATIONS
Output Application
Alt 3-4 Drum Submix
Aux Send 1 Headphones (pre-fader)
FX Send int. Effect (post-fader)
Main Mix Recording DAT
Control Room out Poweramp. (FOH mix)
4. APPLICATIONS 17
By a benign twist of fate, this is usually exactly want you (and they) want.
In p u t A p p lic a tio n
R e c o rd in g ( m u ltitr a c k ) A lt 3 - 4
A ux Send 1 e xt. E ffe c t
F X S en d in t. E ffe c t
M a in M ix R e c o rd in g ( D A T)
C o n tro l R o o m o ut M o n ito r S p e a k e r
4.3 Patchbay
A patchbay allows to patch the audio signals of most components in your studio from a central point and send
them to other units, which makes your entire cabling better structured and is indispensable for professional
work. If you want to use your studio as effectively as possible then it is preferable to use a complete patchbay
wiring scheme, but even less sophisticated patchbay solutions will benefit smaller studio configurations.
4.3.2 Parallel
In this mode, all terminals of one module are interconnected. This configuration doesn’t make sense at first glance
18 4. APPLICATIONS
but is used to split up and send one audio signal (e.g. Aux Send) to several destinations (e.g. effects devices).
4.3.3 Half-normalled
In this configuration, the contacts of the two jacks on the rear are interconnected. When you insert a plug into the
upper front jack, the signal routed through the rear path is not interrupted. Only when the lower front jack is used
will the rear panel route be split up, so that the two upper and the two lower phone jacks are connected to one
another. This configuration is called “input break” and is used mainly for insert paths. So you can easily patch the
signal from a mixing console channel at the Patchbay without interrupting the signal flow in the channel.
4.3.4 Normalled
Here, and in contrast to the “half-normalled” setup, the signal route of the rear phone jacks is interrupted when
you insert a plug both into the upper and lower front jacks.
4.3.5 Open
This mode is used to connect devices such as sound modules or CD players having no inputs of their own. This
saves space, as you can route the left and right outputs to one module (left - top; right - bottom) or patch two
devices to one module (top and bottom). Effects devices and 2-tracks can be configured this way, so the inputs
and outputs are positioned on top of each other.
Basically, the inputs are routed to the bottom and the outputs to the top rear-wall connectors. Avoid routing
digital signals over a patchbay as the pulse signal used for the transmission of such signals causes heavy
interference in analog signals. Additionally, normal patchbays change the impedance of the digital cable route,
which causes interference in the digital path. Use the BEHRINGER ULTRAMATCH SRC2000 specifically
designed for this and other digital signal-related functions.
Microphone inputs operate at a level several orders of magnitude lower than line levels (+4 dBu or -10 dBV).
Therefore, they should never be routed via a patchbay. In any case, patching in a field with 48 VDC (phantom power)
flying about is to be avoided at all costs. It is best to plug mics directly into the mixing console or via special XLR-type
wall boxes connected to the mic inputs of the console by good-quality balanced multicore cables (2-cond. + shield).
4. APPLICATIONS 19
In the first eight modules of patchbay 1 the subgroup outputs are directly connected to the corresponding
multitrack inputs. In addition to that it is also possible to record the signals coming from a subgroup on a
different track of the multitrack. To save space and provide a clearly structured configuration, the direct outputs
are connected both to the top and bottom jacks. Modules 17 & 18 are the stereo master output, which is half-
normalled and thus allows for recording both to the DAT recorder and the tape deck, simply by patching it
accordingly. Modules 19 & 20 (tape deck) are open, because it does not make sense connecting the inputs
and outputs of the tape deck. 21 & 22 are normalled and route the DAT recorder outputs to the
2-track inputs of the mixing console. So it always is possible to control the recorded data on the 2-track from
the mixing console. The CD player and the HiFi system are connected to modules 23 & 24, which are open,
because they only serve as a source.
In patchbay 2 the first 16 modules are normalled (1 through 8 IN could also be used to connect the
corresponding monitor inputs—if the console has a separate monitor section). MIDI devices such as samplers,
expanders, keyboards, etc. are usually set up in every corner of the room. To make the cabling better structured
we route these units to modules 9 through 16. This allows further workmanship of the MIDI devices at the
mixing console. Modules 17 through 20 are normalled and have the FX inputs and the aux sends connected, 21
through 24 are also normalled and are patched to the two stereo aux returns with the FX outputs.
20 4. APPLICATIONS
In patchbay 3 , modules 1 through 16 are for the channel insert. These modules are half-normalled, so that
you have an additional route for the channel signals. The same applies to the insert paths of the subgroups and
the master output. The headphones amp is connected to 23 & 24, which are normalled and connected to the
control room outputs of the mixing console. Of course, you can also use pre-fader aux paths for the headphones
mix.
Patchbay 4 manages the dynamics and frequency-processing devices in an open configuration (modules 1
through 16). Multigates and Compressors should be used here, in particular. Modules 17 through 24 are used
to provide a “parallel split”, i.e. two modules are patched to each other on the rear with one patch cord, so that
you can split up a signal applied on the front panel to several destinations. These modules have a parallel
configuration.
It should be noted that patchbays should be placed one below the other in such a way that the patch cords
won’t hang all over the patchbays. In our example you don’t have to span great distances, for instance, to patch
the dynamics and EQ’s to the insert paths.
4.4 Expanding
When the EURORACK is your main mixer, you may find that you run out of inputs as your system expands.
It is possible to expand your mixing system by combining two or more mixers.
Adding extra line inputs to your EURORACK
A small line mixer (such as the BEHRINGER ULTRALINK PRO MX882 channel mixer/splitter/signal router)
can inexpensively add extra line inputs to your console. With the ULTRALINK PRO, any stereo, line-level input
on your EURORACK can become a stereo line input plus a further 6 pan-able mono line inputs. Great for
adding tape monitor returns etc.
Linking two EURORACKs
Simply take the main mix output of one, and feed it into a suitable stereo line input of the second.
Linking the EURORACK to a master console
Feed any or all of the main mix, Alt 3-4 and aux outputs from your EURORACK into separate channels of the
master console. The aux outputs should be routed only to individual aux send buses on the master console.
Now the aux sends from the EURORACK can access effects currently used by the master console.
The EURORACK outputs are essentially submixes of several channels of sound, and are therefore likely to be
considerably higher than the typical source signals (coming from microphones, MIDI instruments or tape) seen
by the remaining channels of the master console or the 2nd EURORACK.
4. APPLICATIONS 21
5. TECHNICAL BACKGROUND
5.1 Mixing
5.1.1 Equalization
Few people buying a mixer will need to be told how an equalizer works. But how to get the best out of it? Well,
that’s another story.
In the beginning EQ was an instrument for removing unwanted frequencies, or compensating for imperfect
microphone response curves, or bumps in a studio’s acoustic. It was a corrective device. Tamla Motown turned
that notion upside down in the sixties with the novel idea that you try to find for each instrument a characteristic
frequency not shared by the other instruments in the mix. Then you whack up its gain. This makes individual
voices punch through a mix in a slightly unnatural but exciting way.
In general corrective EQ usually involves broadband (slope) contouring, together with narrowband notching of
unwanted resonances. The narrower the notch or “Q”, the less the total signal will be affected.
Finding bad resonances is made easier by first frequency sweeping in BOOST mode.
“Motown” EQ is achieved by applying boost in a fairly broadband way. The broader the band, the more musical but
less instrument-specific the effect. Applying boost over a narrow bandwidth will sound “honky”. For sounds which
require drastic corrective EQ, it is advisable to have a couple of channels of fully comprehensive Parametric Equalization
in your rack. (You can always bounce tracks though the outboard EQ, freeing up the unit for the next task).
Check out the BEHRINGER ULTRA-CURVE PRO DSP8024, a superlative digital stereo equalizer and much,
much more. Or our ULTRA-Q PRO PEQ2200 5-band constant-Q state-variable analog EQ.
For “advanced equalization”, EQ might be applied to a signal as follows: First, trim the LF and HF shelves to
achieve the required slope or “loudness”. Now use a parametric EQ band to boost the most significant frequency
for each instrument or tape track. Over all channels, if two or more of these frequencies coincide, then you
might have to settle for second best in some cases, if you want to achieve optimum separation in the mix.
Really nasty frequencies will need notching out.
A good vocal signal can be enhanced by applying a significant boost in the 12 kHz region or higher, above the
nasty sibilance region. This is especially effective if you’ve got a de-esser patched post-EQ.
+ Use the low-cut to tighten up channels in a mix: maybe remove it only for the bass, kick drum,
toms, tablas, didgeridoo and other deliberate subsonics (when recording classical music ignore
this advice).
With the LF set to boost, and the low-cut switch activated, you have pretty much got a peak response rather
than shelving at the bottom. Good for tight but deep bass.
Remember EQ contouring can be done with cut as well as with boost. Cutting away the top and bottom, then
pushing up the gain is equivalent to mid range boost! EQ is not a one way street!
Always re set a channel’s input gain (or external devices’ output level) after altering the amount of desk EQ cut
or boost applied.
22 5. TECHNICAL BACKGROUND
Analog multitrack tape should be driven quite hard, since its dynamic range (without noise reduction) is likely
to be 20 to 30 dB worse than other elements in the recording chain. Try to record bright. You can always mix
back duller. Brightening up an off-tape signal will bring up the level of tape noise. With digital tape or hard disk
you have plenty of dynamic range, and treble pre-emphasis is not often necessary. Just don’t let the signal
distort!
When mixing or recording, keep the channel fader levels around or below 0 dB. If you do find the faders
creeping up or down, apply a suitable offset over all channel faders, and try to control your bad habit in future!
6. INSTALLATION
Your BEHRINGER EURORACK MX1804X was carefully packed in the factory and the packaging was designed
to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging
and its contents for any signs of physical damage, which may have occurred in 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.
Shipping claims must be made by the consignee.
6. INSTALLATION 23
24 6. INSTALLATION
7. 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.
7. SPECIFICATIONS 25
8. MODIFICATIONS
The following modifications require you to do some soldering. Attempt only if you are experienced in using an
iron on PCBs. Otherwise, refer to qualified personnel.
+ After modification the BEHRINGER warranty becomes discretionary.
Links should not be threaded into holes on the PCB. They should be soldered to the tinned areas around the
holes, and bowed slightly upwards in between.
Mono channels: Aux send 2 > pre-fader
Mono channel Aux sends 2 are post-fader. If you want to convert them, carry out the modification described
below to each mono channel you want to be altered. The right PCB area is indicated by a yellow printing (see
figures below).
1) Switch desk off and disconnect it from the mains supply!
2) Cut the “post” track.
3) Add in a “pre” link.
Repeat for all mono channels you want to be modified.
AUX AUX
PRE PRE
Add a ´pre´ link
JPn JPn
Before After
26 8. MODIFICATIONS
9. WARRANTY
2. If the warranty claim proves to be justified, the product will be 6. If an inspection of the product by BEHRINGER shows that the
returned to the user freight prepaid. defect in question is not covered by the warranty, the inspection
costs are payable by the customer.
3. Warranty claims other than those indicated above are expressly
excluded. 7. Products which do not meet the terms of this warranty will be
repaired exclusively at the buyer’s expense. BEHRINGER will
§ 3 RETURN AUTHORIZATION NUMBER inform the buyer of any such circumstance. If the buyer fails to
1. To obtain warranty service, the buyer (or his authorized dealer) submit a written repair order within 6 weeks after notification,
must call BEHRINGER (see enclosed list) during normal business BEHRINGER will return the unit C.O.D. with a separate invoice
hours BEFORE returning the product. All inquiries must be for freight and packing. Such costs will also be invoiced
accompanied by a description of the problem. BEHRINGER will separately when the buyer has sent in a written repair order.
then issue a return authorization number. § 5 WARRANTY TRANSFERABILITY
2. Subsequently, the product must be returned in its original This warranty is extended exclusively to the original buyer
shipping carton, together with the return authorization number to (customer of retail dealer) and is not transferable to anyone
the address indicated by BEHRINGER. who may subsequently purchase this product. No other person
3. Shipments without freight prepaid will not be accepted. (retail dealer, etc.) shall be entitled to give any warranty promise
on behalf of BEHRINGER.
§ 4 WARRANTY REGULATIONS
§ 6 CLAIM FOR DAMAGES
1. Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealer’s invoice. Failure of BEHRINGER to provide proper warranty service shall
Any product deemed eligible for repair or replacement by not entitle the buyer to claim (consequential) damages. In no
BEHRINGER under the terms of this warranty will be repaired or event shall the liability of BEHRINGER exceed the invoiced value
replaced within 30 days of receipt of the product at BEHRINGER. of the product.
2. If the product needs to be modified or adapted in order to § 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW
comply with applicable technical or safety standards on a national 1. This warranty does not exclude or limit the buyer’s statutory
or local level, in any country which is not the country for which rights provided by national law, in particular, any such rights
the product was originally developed and manufactured, this against the seller that arise from a legally effective purchase
modification/adaptation shall not be considered a defect in contract.
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was 2. The warranty regulations mentioned herein are applicable
carried out properly or not. Under the terms of this warranty, unless they constitute an infringement of national warranty law.
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
The information contained in this manual is subject to change without notice. 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 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER, EURORACK, VIRTUALIZER, FEEDBACK DESTROYER,
ULTRA-CURVE und ULTRA-Q are a registered trademarks. ALL RIGHTS RESERVED.
© 2001 BEHRINGER Spezielle Studiotechnik GmbH.
BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide II, Germany
Tel. +49 (0) 21 54 / 92 06-0, Fax +49 (0) 21 54 / 92 06-30
9. WARRANTY 27