The Xenyx 2442FX mixing console covered in this report, previously tested and/or analyzed by yours truly, is the largest model in terms of input channels in the Xenyx series, which will probably get plenty of people talking.
The other mixers in this series are the small Xenyx 1622FX, the special Xenyx 1832FX, the Xenyx 2222FX and, finally, the 2442FX model we're looking at this time.
The Behringer Xenyx 2442FX turns out to be very well suited to countless purposes, but as always (at least for now), its main attraction is once again its price, because money really does matter. On that note, it's fair to say that the commercial policy German company Behringer has followed for some years now is starting to be clearly emulated by other manufacturers, more and more, fortunately for all of us. As far as I'm concerned, so much the better.
Xenyx 2442FX mixer
This mixing console is designed and equipped to mix (in principle) eight mono sources (channels 1 to 8) with an input level selectable between mic and line. To these we add two more channels (9/10 and 11/12) that could be described as mono/stereo, since on these the input level assignment options vary between mic and stereo line, while channels 13/14 and 15/16 are configured as stereo line level only, with a mono option. Also worth highlighting is the inclusion in this relatively new Xenyx 2442FX of four submasters assignable from each of its 16 input channels, which let us, for example, create three stereo subgroups (two from the submasters plus the master itself), with everything that implies for control over the mix, or rather mixes.
Given these brief observations, you can imagine how far you can go with this machine; but there's much more. I'll break it all down now.
Mic/line channels 1 to 8
These are mono. Each one allows a balanced connection for a microphone (on XLR) or a line-level signal source (on TRS). The first control after these input jacks is the familiar Trim, which we use to set the input gain (very important). Below it is a Low Cut switch, which lets us engage a low-frequency cut filter (High Pass Filter) tuned to -3 dB at 75 Hz with an 18 dB/oct slope; as you'll know, this is a very effective way to attenuate unwanted noise, although it's not applicable to every mic. A couple of very clear examples of this are the kick drum mic and the bass amp mic.
British EQ
Like the EQ controls on more substantial consoles, the tone or EQ controls on the Xenyx 2442FX have been implemented using the now-renowned British circuit design, which allows smooth action (sonically speaking) without serious phase shifts or other harmful artifacts that could create an unnatural sound, even with large tonal corrections.
On the first eight channels, we can apply tonal correction across the three typical bands, bass, treble and mid; the mids also offer continuous sweep over their center frequency. In other words, they're semi-parametric, since you can't adjust the filter's bandwidth or Q, which is fixed. That would be asking a lot, especially considering the quality/functionality ratio and, above all, the price at which this little machine is offered.
Aux sends
The Xenyx 2442FX has four aux sends. On sends 1 and 2, we have the always-welcome option of assigning them Pre or Post Fader (both at once), bearing in mind that they're also Post EQ, while sends 3 FX and 4 are always Post Fader. With the aux 3 FX knob, we set the amount of signal sent to the built-in internal effects processor, since this aux bus is internally routed to that processor, unless we break the path by using the stereo return inputs 3 (STEREO AUX RETURN 3) or its output jack (AUX SEND 3 FX), if we choose to use an external processor.
Pan, mute, solo, level
With the pan control, we create whatever stereo image we consider most appropriate, in principle as in any basic mix. However, since this console has four Submasters, the assignment or routing to the Master (the final mix), whether through the Submasters or directly to the Master, is shaped with the help of the Pan once we've decided which subgroup to send it to. As for Mute: it silences the channel on which we engage it, same as always. The Solo function lets us listen to or monitor one or several channels in isolation, on their own. If we press the Solo switch on any channel, the effect is, for practical purposes, the same as if we had engaged Mute on all the other channels, so the advantage of having a Solo function is obvious.
We set the level we need for each channel in the mix with the corresponding fader (slider). Personally, I always try to set all the channel faders at 0 dB or a little below (for example -6 dB), adjusting the mix level with the Trims. This approach may seem a little odd to you, but there's a reason for it: at that level we get an optimal signal-to-noise ratio. What's more, it's almost certain that we'll neither overload the channel with too much signal (as long as the level on the Submasters and/or Master isn't excessively low) nor find ourselves short of it. But above all, when the time comes to boost or cut one or several channels on the fader (a momentary correction), not only will the move be smooth, because of the range we're working in (remember that faders work on a logarithmic scale), but we'll also be able to return easily to the initial level without having to remember its position, since we always start at around 0 dB on every channel, and even on the Submasters and the Master.
Routing to Subgroups and/or Master
As I mentioned, the Xenyx 2442FX gives us the welcome option of sending the different signals to be mixed, from any of its channels, either directly to the Master or to the Master via any of its four Submasters. For this, there are three switches located just to the right of the fader on each channel, labeled 1-2, 3-4 and Main. The routing procedure would be to press one of the routing switches on each channel, for example 1-2 on channel 1, and then use the pan pot to send it either to subgroup 1 by turning the Pan fully left, or to subgroup 2 by turning it fully right; if we leave the pan control centered, we'll have that channel's signal on both Submasters 1 and 2. Naturally, we can also set the pan anywhere between the extremes to create the stereo image we want.
Having Submasters on a mixing console isn't absolutely essential. But bear in mind that what you really get by using them is a submix or subgrouping of channels (and ultimately of instruments or vocals), with the real advantage that brings, especially in live applications. One of the most common uses is assigning all the channels of a drum kit (which can be quite a few) to a pair of Submasters. This gives you overall level control for the kit with just two faders in the Submaster section, which are then sent to the main program level, or Master, for final processing and/or amplification; the same goes for the other instruments.
Submaster and Master section
Just above each of the subgroup faders, there are a couple of buttons whose job is to assign the corresponding Submaster's signal to the left side, the right side or both sides of the main mix, or Master. It's also possible not to route some or any of these subgroups to the main output, so we can send each Submaster's signal through its own output, completely independent of the other subgroups and the Master. This is highly significant in recording applications, since you'd have up to eight tracks (mixes) sent to the recording system (recorder) or three pairs of stereo outputs (not counting the aux outputs). For the same reason, in live applications this mixer would work very well for submixes and monitor control (for example: Master for sidefills, the stage's front reinforcement or support, and four independent monitor mixes, plus another pair, in principle, via the auxes). I'll also mention in passing that the first eight channels have TS jack connections for direct output (unbalanced, pre-EQ, post-mute and post-fader).
This section also includes the aux masters, the routing for cue/monitoring, the meters, Phantom Power (switch on the back)… and even a BNC connector (12 V, maximum current 500 mA) for the typical gooseneck lamp. And above all, the most noteworthy feature: the built-in effects processor.
24-bit/40 kHz digital multi-effects processor
Another of this mixer's strong suits is its built-in multi-effects processor, where it'll be rare not to find the effect you need at any given moment. It runs on a Delta Sigma A/D/A converter with 24-bit resolution and a sampling rate of no less than forty kilohertz. This DSP lets us choose from 100 different effects, such as plate and spring reverbs, chorus, rooms, flanger, phaser and more, and its last presets (80 to 99) offer a selection of combined effects. The quality of all these effects is very good for what's practically a freebie; no wonder, since we're talking about a 24/40.
Plus the UCA 200
As if that weren't enough, the Xenyx 2442FX comes with a UCA 200 unit, which is nothing more than an external USB interface; in other words, an external USB sound card with two input/output channels (it also has a headphone output), which gives this console communication to and from our PC, with the tremendous advantage that brings. The UCA200 has 16-bit resolution and can work at three different sampling rates: 32 kHz, 44.1 kHz or 48 kHz. In case anyone hasn't noticed, working at that last sampling rate gives us sound quality higher than a conventional CD, at least in terms of bandwidth. Its audio input/output connectors are Cinch (RCA).
Until next time
If you're interested in the world of audio, you should find some time to browse Behringer's website carefully, where you can (depending on the case) learn and/or confirm many things officially, that is, with genuine accuracy, and of course see its entire product line, which is large and growing all the time.
Because of everything I've just described, my recommendation for buying something like the Xenyx 2442FX is explicit. Nobody has to take my word as gospel; simply, if you don't believe it, you know what to do: compare it with other similar products and draw your own conclusion. Nobody should lose sight of the fact that this console is extremely versatile and very affordable. Until next time, friends.
