Behringer EURORACK UB1204-PRO User manual

Version 1.3 February 2006
Users Manual
EURORACK UB1204-PRO/UB1204FX-PRO

2
EURORACK UB1204-PRO/UB1204FX-PRO
This symbol, wherever it appears, alerts you to the
presence of uninsulated dangerous voltage inside
the enclosurevoltage that may be sufficient to
constitute a risk of shock.
This symbol, wherever it appears, alerts you to
important operating and maintenance instructions
in the accompanying literature. Please read the
manual.
IMPORTANT SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electric shock, do not remove
the top cover (or the rear section). No user
serviceable parts inside refer servicing to qualified
personnel.
WARNING: To reduce the risk of fire or electric shock, do not
expose this appliance to rain and moisture. The
apparatus shall not be exposed to dripping or
splashing and no objects filled with liquids, such
as vases, shall be placed on the apparatus.
DETAILED SAFETY INSTRUCTIONS:
1) Read these instructi ns.
2) Keep these instructi ns.
3) Heed all warnings.
4) F ll w all instructi ns.
5) D n t use this apparatus near water.
6) Clean nly with dry cl th.
7) D n t bl ck any ventilati n penings. Install in
acc rdance with the manufacturers instructi ns.
8) D n t install near any heat s urces such as radiat rs,
heat registers, st ves, r ther apparatus (including
amplifiers) that pr duce heat.
9) D n t defeat the safety purp se f the p larized r
gr unding-type plug. A p larized plug has tw blades
with ne wider than the ther. A gr unding type plug
has tw blades and a third gr unding pr ng. The wide
blade r the third pr ng are pr vided f r y ur safety. If
the pr vided plug d es n t fit int y ur utlet, c nsult
an electrician f r replacement f the bs lete utlet.
10) Pr tect the p wer c rd fr m being walked n r
pinched particularly at plugs, c nvenience receptacles,
and the p int where they exit fr m the apparatus.
11) Only use attachments/access ries specified by the
manufacturer.
12) Use nly with the cart, stand, trip d, bracket, r table
specified by the manufacturer, r s ld with the
apparatus. When a cart is used, use cauti n when m ving
the cart/apparatus c mbinati n t av id injury fr m
tip- ver.
13) Unplug this apparatus during lightning st rms r
when unused f r l ng peri ds f time.
14) Refer all servicing t qualified service pers nnel.
Servicing is required when the apparatus has been
damaged in any way, such as p wer supply c rd r plug
is damaged, liquid has been spilled r bjects have fallen
int the apparatus, the apparatus has been exp sed t
rain r m isture, d es n t perate n rmally, r has been
dr pped.
15) CAUTION - These service instructi ns are f r use by
qualified service pers nnel nly. T reduce the risk f
electric sh ck d n t perf rm any servicing ther than
that c ntained in the perati n instructi ns unless y u
are qualified t d s .

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EURORACK UB1204-PRO/UB1204FX-PRO
TABLE OF CONTENTS
1. INTRODUCTION ........................................................................................................ 4
1.1 General mixing console functions .................................................................................................................... 4
1.2 The users manual ........................................................................................................................................... 5
1.3 Before you get started ....................................................................................................................................... 5
1.3.1 Shipment ................................................................................................................................................ 5
1.3.2 nitial operation ....................................................................................................................................... 5
1.3.3 Online registration.................................................................................................................................. 5
2. CONTROL ELEMENTS AND CONNECTORS .......................................................... 5
2.1 Mono channels ................................................................................................................................................. 5
2.1.1 Microphone and line inputs ................................................................................................................... 5
2.1.2 Equalizer................................................................................................................................................. 5
2.1.3 Aux sends ............................................................................................................................................... 6
2.1.4 Routing switch, solo and channel fader ................................................................................................ 6
2.2 Stereo channels ................................................................................................................................................ 6
2.2.1 Channel inputs ....................................................................................................................................... 6
2.2.2 Equalizer stereo channels ..................................................................................................................... 7
2.2.3 Aux sends stereo channels ................................................................................................................... 7
2.2.4 Routing switch, solo and channel fader ................................................................................................ 7
2.3 Connector panel and main section .................................................................................................................. 7
2.3.1 Aux sends 1 and 2.................................................................................................................................. 7
2.3.2 Aux send connectors 1 and 2 ................................................................................................................ 7
2.3.3 Stereo aux return connectors ................................................................................................................. 7
2.3.4 Stereo aux return .................................................................................................................................... 8
2.3.5 Tape input / tape output .......................................................................................................................... 8
2.3.6 Level meter and monitoring ................................................................................................................... 8
2.3.7 Alt 3-4 and main mix fader ..................................................................................................................... 9
2.4 Rear view of UB1204FX-PRO/UB1204-PRO .................................................................................................... 9
2.4.1 Main mix outputs, Alt 3-4 outputs and control room outputs .................................................................9
2.4.2 Voltage supply, phantom power and fuse ............................................................................................ 10
3. DIGITAL EFFECTS PROCESSOR .......................................................................... 10
4. INSTALLATION ........................................................................................................ 11
4.1 Rack mounting ................................................................................................................................................ 11
4.2 Cable connections .......................................................................................................................................... 11
4.2.1 Audio connections................................................................................................................................ 11
5. SPECIFICATIONS .................................................................................................... 12
6. WARRANTY ............................................................................................................. 13

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EURORACK UB1204-PRO/UB1204FX-PRO
1. INTRODUCTION
Congratulations! In purchasing the BEHRINGER EURORACK
you have acquired a mixer whose small size belies its incredible
versatility and audio performance.
The BEHRINGER EURORACK mixing console offers you
premium-quality microphone preamplifiers with optional phantom
power supply, balanced line inputs and the ability to connect
external effects devices. Because of its extensive and carefully
thought-out routing possibilities, your EURORACK lends itself
equally to both live and studio use.
IMP INVISIBLE MIC PREAMP
The microphone channels are fitted with BEHRINGERs brand
new high-end IMP INVISIBLE MIC PREAMPs that boast the
following features:
s130 dB dynamic range for an incredible amount of headroom,
sa bandwidth ranging from below 10 Hz to over 200 kHz for
crystal-clear reproduction of even the finest nuances,
sthe extremely low-noise and distortionless circuitry gua-
rantees absolutely natural and transparent signal repro-
duction,
sthey are perfectly matched to every conceivable micro-
phone with up to 60 dB gain and +48 volt phantom power
supply and
sThey enable full utilisation of the greatly extended dynamic
range of your 24-bit/192 kHz HD recorder, thereby main-
taining optimal audio quality.
Additionally, your UB mixing console has an effects processor
with 24-bit A/D and D/A converters included, which gives you
100 presets producing first-class reverb, delay and modulation
effects plus numerous multi-effects in excellent audio quality.
The mixing consoles of the PRO series feature a state of the
art, integrated switch-mode power supply. One of the great
advantages is that (compared to conventional circuits) a switch-
mode power supply adapts to mains voltages between 100 and
240 volts automatically. Furthermore, due to its much greater
efficiency, it consumes much less energy than a conventional
power supply unit.
CAUTION!
+We sh uld like t draw y ur attenti n t the fact that
extreme v lumes may damage y ur hearing and/ r
y ur headph nes r l udspeakers. Turn the MAIN
MIX faders and ph nes c ntr l in the main secti n
fully d wn bef re y u switch n the unit. Always be
careful t set the appr priate v lume.
1.1 General mixing console functions
A mixing console fulfils three main functions:
sSignal pr cessing: Preamplification, level adjustment,
mixing of effects, frequency equalization.
sSignal distributi n: Summing of signals to the aux sends
for effects processing and monitor mix, distribution to one
or several recording tracks, power amp(s), control room
and 2-track outputs.
sMix: Setting the volume level, frequency distribution and
positioning of the individual signals in the stereo field, level
control of the total mix to match the recording devices/
crossover/power amplifier(s). All other mixer functions can
be included in this main function.
The interface of BEHRINGER mixing consoles is optimized for
these tasks enabling you to easily keep track of the signal path.
1. INTRODUCTION
Dear Customer,
Im sure youre one of
those people who have
devoted themselves body
and soul to your chosen
area and no doubt this has
transformed you into an
expert in your field!
Well, for over 30 years,
my passion has been
music and electronics.
This not only led me to
establish BEHRINGER,
but also enabled me to
convey and share my
enthusiasm with my
employees.
During all the years Ive
been involved with studio
technology and end users,
Ihave developed a feel for the things that really count, such as
sound quality, reliability and ease of use. Whats more, I have always
had the desire to push the boundaries of technical possibilities to the
extreme.
It was precisely this motivation that prompted me to start work
on a new series of mixing consoles. Since our EURORACKs had
already set new standards world-wide, I knew the development
objectives behind the products bearing my initials had to be
especially ambitious.
Thus, the concept and design of the new UB mixing consoles
bear my signature. The design work, the entire circuit diagram
and PCB development, and even the mechanical concepts are
my own work. I carefully selected each individual component
with the aim of pushing the mixing consoles analog and digital
technologies to their limits.
My vision was to enable you, the user, to give free rein to your
true potential and creativity. The result is incredibly powerful mixing
consoles that offer intuitive operation. They cannot fail to impress
with their extremely flexible routing possibilities plus fantastic wealth
of functions. Innovative technologies, such as the completely new
IMP Invisible Mic Preamps, guarantee optimum sound quality.
And extraordinarily high-quality components provide unrivalled
reliability, even under extreme loads.
Your new UB mixing console is of high quality yet is simple to
use youll soon appreciate that I, both personally and in my
capacity as musician and sound engineer, put you, the end user,
first and that these products were only possible because of the
passion and the attention to detail that went into them.
Thank you for the confidence you have placed in us by
purchasing the UB mixing console. I should also like to thank all
those who, with their personal commitment and passion, have
helped me realize this impressive series of mixing consoles.
Kindest regards,
Uli Behringer
FOREWORD

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EURORACK UB1204-PRO/UB1204FX-PRO
1.2 The users manual
The users manual is designed to give you both an overview of
the controls, as well as detailed information on how to use them.
In order to help you understand the links between the controls,
we have arranged them in groups according to their function. If
you need to know more about specific issues, please visit our
website at http://www.behringer.com, where youll find
explanations of e.g. effects and dynamics applications.
+The bl ck diagram supplied with the mixing c ns le
gives y u an verview f the c nnecti ns between
the inputs and utputs, as well as the ass ciated
switches and c ntr ls.
For the moment, just try and trace the signal path from the
microphone input to the aux send 1 connector. Dont be put off
by the huge range of possibilities its easier than you think! If you
look at the overview of the controls at the same time, youll be
able to quickly familiarize yourself with your mixing console and
youll soon be making the most of all its many possibilities.
1.3 Before you get started
1.3.1 Shipment
Your mixing console was carefully packed in the factory to
guarantee safe transport. Nevertheless, we recommend that
you carefully examine the packaging and its contents for any
signs of physical damage, which may have occurred during
transit.
+If the unit is damaged, please d NOT return it t us,
but n tify y ur dealer and the shipping c mpany
immediately, therwise claims f r damage r
replacement may n t be granted.
1.3.2 Initial operation
Be sure that there is enough space around the unit for cooling
purposes and to avoid over-heating please do not place your
mixing console on high-temperature devices such as radiators
or power amps. The console is connected to the mains via the
supplied cable. The console meets the required safety standards.
Blown fuses must only be replaced by fuses of the same type
and rating.
+Please n te that all units must be pr perly
gr unded. F r y ur wn safety, y u sh uld never
rem ve any gr und c nnect rs fr m electrical
devices r p wer cables, r render them in-
perative.
+Please ensure that nly qualified pe ple install and
perate the mixing c ns le. During installati n and
perati n, the user must have sufficient electrical
c ntact t earth, therwise electr static discharges
might affect the perati n f the unit.
1.3.3 Online registration
Please do remember to register your new BEHRINGER
equipment right after your purchase by visiting
www.behringer.com (alternatively www.behringer.de) and
kindly read the terms and conditions of our warranty carefully.
Should your BEHRINGER product malfunction, our goal is to
have it repaired as quickly as possible. To arrange for warranty
service, please contact the retailer from whom the equipment
was purchased. Should your BEHRINGER dealer not be located
in your vicinity, you may directly contact one of our subsidiaries.
Corresponding contact information is included in the original
equipment packaging (Global Contact Information/European
Contact Information). Should your country not be listed, please
contact the distributor nearest you. A list of distributors can be
found in the support area of our website (www.behringer.com).
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
Thank you for your cooperation!
2. CONTROL ELEMENTS AND
CONNECTORS
This chapter describes the various control elements of your
mixing console. All controls, switches and connectors will be
discussed in detail.
2.1 Mono channels
2.1.1 Microphone and line inputs
Fig. 2.1: Connectors and controls of mic/line inputs
MIC
Each mono input channel offers a balanced microphone input
via the XLR connector and also features a switchable +48 V
phantom power supply for condenser microphones.
+Please mute y ur playback system bef re y u
activate the phant m p wer supply t prevent
switch- n thumps being directed t y ur l ud-
speakers. Please als n te the instructi ns in
chapter 2.4.2 V ltage supply, phant m p wer and
fuse.
LINE IN
Each mono input also features a balanced line input on a 1/4"
connector. Unbalanced devices (mono jacks) can also be
connected to these inputs.
+Please remember that y u can nly use either the
micr ph ne r the line input f a channel at any
ne time. Y u can never use b th simultane usly!
LO CUT
The mono channels of the mixing consoles have a high-slope
LO CUT filter for eliminating unwanted, low-frequency signal
components (75 Hz, 18 dB/octave).
GAIN
Use the GAI control to adjust the input gain. This control
should always be turned fully counterclockwise whenever you
connect or disconnect a signal source to one of the inputs.
2.1.2 Equalizer
All mono input channels include a 3-band equalizer. All bands
provide boost or cut of up to 15 dB. In the central position, the
equalizer is inactive.
2. CONTROL ELE ENTS AND CONNECTORS

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EURORACK UB1204-PRO/UB1204FX-PRO
Fig. 2.2: The equalizer of the input channels
The upper (HI) and the lower band (LO) are shelving filters that
increase or decrease all frequencies above or below their cut-off
frequency. The cut-off frequencies of the upper and lower band
are 12 kHz and 80Hz respectively. The mid band is configured as
a peak filter with a center frequency of 2.5 kHz.
2.1.3 Aux sends
Fig. 2.3: The AUX SE D controls in the channel strips
Aux sends take signals via a control from one or more channels
and sum these signals to a so-called bus. This bus signal is sent
to an aux send connector and then routed, for example, to an
active monitor speaker or an external effects device. The return
from an external effect can then be brought back into the console
via the aux return connectors.
For situations which require effects processing, the aux sends
are usually switched post-fader so that the effects volume in a
channel corresponds to the position of the channel fader. If this
were not the case, the effects signal of the channel would
remain audible even when the fader is turned to zero. When
setting up a monitor mix, the aux sends are generally switched
to pre-fader i.e. they operate independently of the position of
the channel fader.
Both aux sends are mono, are sourced after the equalizer and
offer up to +15 dB gain.
+If y u press the MUTE/ALT 3-4 switch, aux send 1 is
muted, pr vided that it is switched p st-
fader. H wever, this d es n t affect the aux send 2
f the UB1204FX-PRO.
AUX 1 (MON)
In the UB1204FX-PRO, aux send 1 can be switched pre-fader
and is thus particularly suitable for setting up monitor mixes. In
the UB1204-PRO, the first aux send is labeled MO and is
permanently switched pre-fader.
PRE
When the PRE switch is pressed, aux send 1 is sourced pre-
fader.
AUX 2 (FX)
The aux send labeled FX is for sending to effects devices and
is thus set up to be post-fader.
In the UB1204FX-PRO, the FX send is routed directly to the
built-in effects processor.
+If y u wish t use the internal effects pr cess r,
the STEREO AUX RETURN 2 c nnect rs sh uld n t
be in use.
+UB1204FX-PRO: y u can als c nnect an external
effects pr cess r t aux send 2, h wever the
internal effects m dule will be muted.
2.1.4 outing switch, solo and channel fader
Fig. 2.4: Panorama and routing controls
PA N
The PA control determines the position of the channel signal
within the stereo image. This control features a constant-power
characteristic, which means the signal is always maintained at a
constant level, irrespective of position in the stereo panorama.
MUTE/ALT 3-4
You can use the MUTE/ALT 3-4 switch to divert the channel
from the main mix bus to the Alt 3-4 bus. This mutes the channel
from the main mix.
MUTE LED
The MUTE LED indicates that the relevant channel is diverted
to the submix (Alt 3-4 bus).
PEAK LED
The PEAK LED lights up when the input signal is driven too
high. In this case, turn down the GAIN control and, if necessary,
check the setting of the channel EQ.
SOLO
The SOLO switch (UB1204FX-PRO only) is used to route the
channel signal to the solo bus (Solo In Place) or to the PFL bus
(Pre Fader Listen). This enables you to monitor a channel signal
without affecting the main output signal. The signal you hear is
sourced either before (PFL, mono) or after (solo, stereo) both
the pan control and the channel fader (see chapter 2.3.6 Level
meters and monitoring).
The channel fader determines the level of the channel signal in
the main mix (or submix).
2.2 Stereo channels
2.2.1 Channel inputs
Fig. 2.5: Stereo channel inputs and LEVEL switch
Each stereo channel has two balanced line level inputs on 1/4"
connectors for left and right channels. If only the connector
marked L is used, the channel operates in mono. Stereo
channels are designed to handle typical line level signals.
Both inputs can also be used with unbalanced jacks.
2. CONTROL ELE ENTS AND CONNECTORS

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EURORACK UB1204-PRO/UB1204FX-PRO
LEVEL
For level matching, the stereo inputs feature a LEVEL switch which
selects between +4 dBu and -10 dBV. At -10dBV (home-recording
level), the input is more sensitive than at +4 dBu (studio level).
2.2.2 Equalizer stereo channels
The equalizer of the stereo channels is, of course, stereo. The
filter characteristics and crossover frequencies are the same
as those of the mono channels. A stereo equalizer is always
preferable to two mono equalizers if frequency correction of a
stereo signal is needed. There is often a discrepancy between
the settings of the left and the right channels when using separate
equalizers.
2.2.3 Aux sends stereo channels
In principle, the aux sends of the stereo channels function in
just the same way as those of the mono channels. As aux send
paths are always mono, the signal on a stereo channel is first
summed to mono before it reaches the aux bus.
2.2.4 outing switch, solo and channel fader
BAL
The function of the BAL(ANCE) control corresponds to the
PAN control in the mono channels.
The balance control determines the relative proportion between
the left and right input signals before both signals are routed to
the main stereo mix bus.
The MUTE/ALT 3-4 switch, the MUTE-LED, the PEAK-LED, the
SOLO switch and the channel fader function in the same way
as the mono channels.
2.3 Connector panel and main section
Whereas it was useful to trace the signal flow from top to
bottom in order to gain an understanding of the channel strips,
we now look at the mixing console from left to right. The signals
are, so to speak, collected from the same point on each of the
channel strips and then routed to the main section all together.
2.3.1 Aux sends 1 and 2
Fig. 2.6: AUX SE D controls of the main section
A channel signal is routed to aux send bus 1 if the AUX 1
control is turned up on the corresponding channel.
AUX SEND 1 (MON)
The AUX SEND control MO acts as master control for aux
send 1 and determines the level of the summed signal. In the
UB1204FX-PRO, the MON control is called AUX SEND 1.
AUX SEND 2 (FX)
Similarly, the FX control (AUX SEND 2) determines the level for
aux send 2.
SOLO
You can use the SOLO switch (UB1204FX-PRO only) to
separately monitor the aux sends via the CONTROL ROOM/
PHONES outputs and check these with the level meters.
+If y u want t m nit r the signal f just ne AUX
bus, n ne f the ther SOLO SWITCHES sh uld be
pressed and the MODE switch must be in the SOLO
p siti n (n t pressed d wn).
2.3.2 Aux send connectors 1 and 2
Fig. 2.7: Aux send connectors
AUX SEND 1
If you use aux send 1 pre-fader, you would usually connect
the AUX SE D 1 connector to monitors via a power amp (or an
active monitor system). If you use aux send 1 post-fader, proceed
as described under aux send 2.
AUX SEND 2
The AUX SE D 2 connector outputs the signal you picked up
from the individual channels using the FX control. You can connect
this to the input of an effects device in order to process the FX
bus signal. Once an effects mix is created, the processed signal
can then be routed from the effects device output back into the
STEREO AUX RETURN connectors.
2.3.3 Stereo aux return connectors
Fig. 2.8: Stereo aux return connectors
STEREO AUX RETURN 1
The STEREO AUX RETUR 1 connectors generally serve as
the return path for the effects mix generated using the post-
fader aux send. This is where you connect the output signal of
the external effects device. If only the left connector is used, the
AUX RETURN automatically operates in mono.
+Y u can als use these c nnect rs as additi nal
line inputs.
STEREO AUX RETURN 2
The STEREO AUX RETUR 2 connectors serve as the return
path for the effects mix generated using the FX control. If these
connectors already function as additional inputs, you can route
the effects signal back into the console via a different channel,
with the added benefit that the channel EQ can be used to adjust
the frequency response of the effects return signal.
+In this instance, the FX c ntr l f the channel being
used as an effects return sh uld be turned fully
c untercl ckwise, therwise feedback pr blems
c uld ccur!
+If y u wish t use the internal effects pr cess r,
n c nnect rs sh uld be plugged int STEREO AUX
RETURN 2.
2. CONTROL ELE ENTS AND CONNECTORS

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EURORACK UB1204-PRO/UB1204FX-PRO
2.3.4 Stereo aux return
Fig. 2.9: Stereo aux return controls
STEREO AUX RETURN 1
STEREO AUX RETUR 1 is a stereo control which determines
the level of the signal in the main mix. If STEREO AUX RETURN 1
is used as effects return, you can add the effects signal to any
dry channel signal.
+In this instance, the effects device sh uld be set at
100% effect.
STEREO AUX RETURN MON
The STEREO AUX RETUR MO control has a special
function: it can be used to add an effect to a monitor mix. For
example:
M nit r mix with effect
In this instance, the effects device should be set up as follows:
AUX SEND 2 is connected to the L/Mono input of your effects
device, while its outputs are connected to STEREO AUX RETURN
1. Connect the amplifier of your monitor system to AUX SEND1.
The AUX SEND 1 master control determines the volume of the
monitor mix.
You can now use the STEREO AUX RETURN MON control to
adjust the level of the effects signal routed to the monitor mix.
You can easily use the headphones distribution amplifier
BEHRINGER POWERPLAY PRO HA4600/HA4700/HA8000 to
provide you with four (or eight with the HA8000) stereo
headphone mixes for your studio.
STEREO AUX RETURN 2 (FX)
The STEREO AUX RETURN 2 control determines the level of
signals fed into the AUX RETURN 2 connectors which are routed
to the main mix.
MAIN MIX/ALT 3-4
The MAIN MIX/ALT 3-4 switch routes the signal connected to
STEREO AUX RETURN 2 to either main mix (not pressed) or
submix (Alt 3-4, pressed).
2.3.5 Tape input / tape output
Fig. 2.10: 2-track connectors
TAPE INPUT
The TAPE I PUT RCA connectors are provided for connecting
a 2 track machine (e.g. DAT recorder). They can also be used as
stereo line input. Alternatively, the output signal of a second
EURORACK or BEHRINGER ULTRALINK PRO MX882 can also be
connected. If you connect a hi-fi amplifier with a source selection
switch to the TAPE INPUT, you can easily switch between
additional sources (e.g. cassette recorder, CD player, etc.).
TAPE OUTPUT
These connectors are wired in parallel with the MAIN OUT and
carry the main mix signal (unbalanced). Connect the TAPE
OUTPUT to the inputs of your recording device. The final output
level can be adjusted via the high-precision MAIN MIX fader.
+If y u c nnect a c mpress r r a n ise gate after
the 2-track utput, the faders will pr bably n t be
able t create a satisfact ry fade- ut effect.
2.3.6 Level meter and monitoring
Fig. 2.11: Control room/phones section, level meter
TAPE
The TAPE switch routes the signal from the TAPE IN connectors
to the level meter, the CONTROL ROOM OUT outputs and the
PHONES connectorthis is a simple way to check recorded
signals via monitor speakers or headphones.
ALT 3-4
Similarly, the ALT 3-4 switch routes the signal from the
Alt 3-4 bus to the same path for monitoring purposes.
MAIN MIX
The MAI MIX switch sends the main mix signal to the above-
mentioned outputs and to the level meter.
CTRL R & PHONES
Use this control to set control room output level and head-
phones volume respectively.
TAPE TO MAIN
When the TAPE TO MAI switch is depressed, the
2-track input is routed to the main mix and thus serves as an
additional input for tape machines. You can also connect MIDI
instruments or other signal sources here that do not require any
further processing. At the same time, this switch disables the
main mix to tape output link.
POWER
The blue POWER LED indicates that the device is switched
on.
+48 V
The red +48 V LED lights up when the phantom power supply
is switched on. The phantom power supply is necessary for
condenser microphones and is activated using the switch on
the rear of the device.
+Please d n t c nnect micr ph nes t the mixer
( r the stageb x/wallb x) while the phant m
p wer supply is switched n. C nnect micr -
ph nes bef re y u switch n the p wer supply.
In additi n, the m nit r/PA l udspeakers sh uld
be muted bef re y u activate the phant m p wer
supply. After switching n, wait appr x. ne minute
t all w f r system stabilizati n.
LEVEL METER
The high-precision level meter accurately displays the
appropriate signal level.
LEVEL SETTING:
When recording to a digital device, the recorders peak meter
should not exceed 0 dB. This is because, unlike analog recordings,
slightly excessive levels can create unpleasant digital distortion.
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.
2. CONTROL ELE ENTS AND CONNECTORS

9
EURORACK UB1204-PRO/UB1204FX-PRO
+The peak meters f y ur EURORACK display the level
virtually independent f frequency. A rec rding level
f 0 dB is rec mmended f r all signal types.
MODE (UB1204FX-PRO nly)
The MODE switch determines whether the channels SOLO
switch operates as PFL (Pre Fader Listen) or as solo (Solo In
Place).
PFL
To activate the PFL function, depress the MODE switch. The
PFL function should, as a rule, be used for GAIN setting
purposes. The signal is sourced pre-fader and assigned to the
mono PFL bus. In the PFL setting, only the left side of the peak
meter operates. Drive the individual channels to the 0 dB mark of
the VU meter.
S l
When the MODE switch is not depressed, the stereo solo bus
is active. Solo is short for Solo In Place. This is the customary
method for listening to an individual signal or to a group of signals.
As soon as a solo switch is pressed, all channels in the control
room (and headphones) that have not been selected are muted
thereby retaining stereo panning. The solo bus can carry the
output signals of the channel pan controls, the aux sends and
the stereo line inputs. The solo bus is, as a rule, switched post-
fader.
+The PAN c ntr l in the channel strip ffers a
c nstant p wer characteristic. This means that the
signal is always at a c nstant level, irrespective f
its p siti n in the stere pan rama. If the PAN
c ntr l is m ved fully left r right fr m center, the
level increases by 4 dB in that channel. This
ensures that, when set in the center, the audi
signal is n t l uder. F r this reas n, with the s l
functi n activated (S l in Place), audi signals
fr m the channels with PAN c ntr ls that have n t
been m ved fully t the left r right are displayed
at a l wer v lume than in the PFL functi n.
As a rule, solo signals are monitored via the control room
outputs and headphones connector and are displayed by the
level meters. If a solo switch is pressed, the signals from the
tape input, Alt 3-4 and main mix are blocked from the control
room outputs, the headphone connector and the level meter.
MAIN SOLO (UB1204FX-PRO nly)
The MAI SOLO LED lights up as soon as a channel or aux
send solo switch is pressed. The MODE switch also has to be
set at Solo.
PFL (UB1204FX-PRO nly)
The PFL LED indicates that the peak meter is set to PFL mode.
Fig. 2.12: PHO ES connector
PHONES
You can connect headphones to this 1/4" TRS connector. The
signal on the PHO ES connection is sourced from the control
room output.
2.3.7 Alt 3-4 and main mix fader
Fig. 2.13: Alt 3-4 and main mix fader
Use the high-precision quality faders to control the output level
of the Alt 3-4 subgroup and main mix.
2. Rear view of UB120 FX-PRO/
UB120 -PRO
2.4.1 Main mix outputs, Alt 3-4 outputs and
control room outputs
Fig. 2.14: Main mix outputs, Alt 3-4 outputs and
control room outputs
MAIN OUTPUTS
The MAI outputs carry the MAIN MIX signal and are on
balanced XLR connectors with a nominal level of +4 dBu.
ALT 3-4 OUTPUTS
The ALT 3-4 outputs are unbalanced and carry the signals of
the channels that you have assigned to this group using the
MUTE switch. This can be used to route a subgroup to a further
mixing console for example, or or it could be used as a recording
output working in tandem with the main output. This means you
could record to four tracks simultaneously. The icing on the
cake, so to speak, is that you could connect Y-cables to these
four outputs and then connect your 8-track recorder in such a
way that you have 2 x 4 tracks (e.g. channel 1 feeds track 1 and
track 2, etc.). In the first recording pass, you record on tracks 1,
3, 5 and 7 and in the second pass, on tracks 2, 4, 6 and 8.
CONTROL ROOM OUTPUTS
The control room output is normally connected to the monitor
system in the control room and provides the stereo mix or, when
required, the solo signal.
2. CONTROL ELE ENTS AND CONNECTORS

10
EURORACK UB1204-PRO/UB1204FX-PRO
2.4.2 Voltage supply, phantom power and fuse
Fig. 2.15: Voltage supply and fuse
FUSE HOLDER
The console is connected to the mains via the cable supplied
which meets the required safety standards. Blown fuses must
only be replaced by fuses of the same type and rating.
IEC MAINS RECEPTACLE
The mains connection is via a cable with IEC mains connector.
An appropriate mains cable is supplied with the equipment.
POWER
Use the POWER switch to power up the mixing console.
PHANTOM
The PHA TOM switch activates the phantom power supply
for the XLR connectors of the mono channels which is required
to operate condenser microphones. The red +48 V LED lights up
when phantom power is on. As a rule, dynamic microphones
can still be used with phantom power switched on, provided
that they are wired in a balanced configuration. In case of doubt,
contact the microphone manufacturer!
+After the phant m p wer supply has been
switched n, d n t c nnect micr ph nes t the
mixer ( r the stageb x/wallb x). C nnect the
micr ph nes bef re y u switch phant m p wer
n. In additi n, the m nit r/PA l udspeakers
sh uld be muted bef re activating the phant m
p wer supply. After switching n, wait appr x. ne
minute t all w the system t stabilize.
+Cauti n! Y u must never use unbalanced XLR
c nnect rs (PIN 1 and 3 c nnected) n the MIC
input c nnect rs if y u want t use the phant m
p wer supply.
SERIAL NUMBER
Please note the important information on the serial number
given in chapter 1.3.3.
3. DIGITAL EFFECTS PROCESSOR
Fig. 3.1: Digital effects module (only UB1204FX-PRO)
24-BIT MULTI-EFFECTS PROCESSOR
Here you can find a list of all presets stored in the multi-effects
processor. This built-in effects module produces high-grade
standard effects such as reverb, chorus, flanger, delay and
various combination effects. The integrated effects module has
the advantage of requiring no wiring. This way, the danger of
creating ground loops or uneven signal levels is eliminated at the
outset, completely simplifying the handling. You can route signals
to the effects processor via aux send 2 in the channels and the
aux send 2 master control. The built-in stereo effects processor
has the advantage that it does not need to be cabled up. This
eliminates any danger of hum or level mismatch right from the
start providing straight-forward operation.
These effect presets are designed to be added to dry signals.
If you move the STEREO AUX RETURN FX control, you mix the
channel signal (dry) and the effect signal. You can control the
balance between the two signals with the channel fader and the
STEREO AUX RETURN FX control.
FX FOOTSW.
Connect a standard foot switch to the foot switch connector
use this to switch the effects processor on and off. A dot at the
bottom of the display indicates if the effects processor is muted
via the foot switch.
+On the f ll wing page, y u will find an illustrati n
sh wing h w t c nnect y ur f t switch c rrectly.
LEVEL
The LED level meter on the effects module should display a
sufficiently high level. Take care to ensure that the clip LED only
lights up at peak levels. If it is lit constantly, you are overloading
the effects processor and this could cause unpleasant distortion.
The FX control (AUX SEND 2) determines the level that reaches
the effects module.
PROGRAM
You can select the effect preset by turning the PROGRAM
control. The display flashes the number of the current preset. To
recall the selected preset, press the button the flashing stops.
You can also recall the selected preset with the foot switch.
3. DIGITAL EFFECTS PROCESSOR

11
EURORACK UB1204-PRO/UB1204FX-PRO
4. INSTALLATION
.1 Rack mounting
The packaging of your mixing console contains two 19" rack
mount wings which can be installed on the side panels of the
console.
Before you can attach the rack mount wings to the mixing
console, you need to remove the screws holding the left and
right side panels. Use these screws to fasten the two wings
onto the console, being careful to note that each wing fits a
specific side. With the rack mount wings installed, you can mount
the mixing console in a commercially available 19" rack. Be sure
to allow for proper air flow around the unit, and do not place the
mixing console close to radiators or power amps, so as to avoid
overheating.
+Only use the screws h lding the mixing c ns le
side panels t fasten the 19" rack m unts.
.2 Cable connections
You will need a large number of cables for the various
connections to and from the console. The illustrations below
show the wiring of these cables. Be sure to use only high-grade
cables.
Fig. 4.1: 1/4" TS connector for foot switch
4.2.1 Audio connections
Please use commercial RCA cables to wire the 2-track inputs
and outputs.
You can, of course, also connect unbalanced devices to the
balanced input/outputs. Use either mono plugs, or ensure that
ring and sleeve are bridged inside the stereo plug (or pins 1 & 3
in the case of XLR connectors).
+Cauti n! Y u must never use unbalanced XLR
c nnect rs (pin 1 and 3 c nnected) n the MIC inputs
if y u intend t use the phant m p wer supply.
Fig. 4.2: XLR connections
Fig. 4.3: 1/4" TS connector
Fig. 4.4: 1/4" TRS connector
Fig. 4.5: 1/4" TRS connector for headphones
4. INSTALLATION

12
EURORACK UB1204-PRO/UB1204FX-PRO
5. SPECIFICATIONS
M n inputs
Micr ph ne inputs (IMP Invisible Mic Preamp)
Type XLR, electronically balanced,
discrete input circuit
Mic E.I.N. (20 Hz - 20 kHz)
@ 0 W source resistance -134 dB / 135.7 dB A-weighted
@ 50 W source resistance -131 dB / 133.3 dB A-weighted
@ 150 W source resistance -129 dB / 130.5 dB A-weighted
Frequency response <10 Hz - 150 kHz (-1 dB),
<10 Hz - 200 kHz (-3 dB)
Gain range +10 to +60 dB
Max. input level +12 dBu @ +10 dB gain
Impedance approx. 2.6 kW balanced
Signal-to-noise ratio 110 dB / 112 dB A-weighted
(0 dBu In @ +22 dB gain)
Dist rti n (THD+N) 0.005% / 0.004% A-weighted
Line input
Type 1/4" TRS connector
electronically balanced
Impedance approx. 20 kW balanced
10 kW unbalanced
Gain range -10 to +40 dB
Max. input level 30 dBu
Fade- ut attenuati n1
(Cr sstalk attenuati n)
Main fader closed 90 dB
Channel muted 89.5 dB
Channel fader closed 89 dB
Frequency resp nse
Microphone input to main out
<10 Hz - 90 kHz +0 dB / -1 dB
<10 Hz - 160 kHz +0 dB / -3 dB
Stere inputs
Type 1/4" TRS connector,
electronically balanced
Impedance approx. 20 kW
Max. input level +22 dBu
EQ m n channels
L o w 80 Hz / ±15 dB
Mid 2.5 kHz / ±15 dB
High 12 kHz / ±15 dB
EQ stere channels
L o w 80 Hz / ±15 dB
Mid 2.5 kHz / ±15 dB
High 12 kHz / ±15 dB
Aux sends
Type 1/4" TS connector, unbalanced
Impedance approx. 120 W
Max. output level +22 dBu
Stere aux returns
Type 1/4" TRS connector,
electronically balanced
Impedance approx. 20 kW bal. / 10 kW unbal.
Max. input level +22 dBu
5. SPECIFICATIONS
Main utputs
Type XLR, electronically balanced
Impedance approx. 240 W bal. / 120 W unbal.
Max. output level +28 dBu
C ntr l r m utputs
Type 1/4" TS connector, unbal.
Impedance approx. 120 W
Max. output level +22 dBu
Headph nes utput
Type 1/4" TRS connector, unbalanced
Max. output level +19 dBu / 150 W (+25 dBm)
DSP 24-bit Texas Instruments TM
Converter 24-bit Sigma-Delta,
64/128-times oversampling
Sampling rate 40 kHz
Main mix system data2
Noise
Main mix @ -oo,
Channel fader -oo -105 dB / -108 dB A-weighted
Main mix @ 0 dB,
Channel fader -oo -95 dB / -97 dB A-weighted
Main Mix @ 0 dB,
Channel fader @ 0 dB -82,5 dB / -85 dB A-weighted
P wer supply
Mains voltage 100 to 240 V~, 50/60 Hz
Power consumption 40 W
Fuse 100 - 240 V ~: T 1.6 A H
Mains connection Standard IEC receptacle
Physical
UB1204FX-PRO
Dimensions (H x W x D) approx. 97 mm (3 7/8") x 247mm
(9 11/16") x 334 mm (13 5/32")
Weight (net) approx. 2.60 kg (5 3/4 lbs)
UB1204-PRO
Dimensions (H x W x D) approx. 97 mm (3 7/8") x 247mm
(9 11/16") x 328 mm (13")
Weight (net) approx. 2.56 kg (5 5/8 lbs)
Measuring conditions:
1: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain.
2: 20 Hz - 20kHz; measured at main output. Channels 1 - 4 unity gain; E flat; all
channels on main mix; channels 1/3 as far left as possible, channels 2/4 as far
right as possible. Reference = +6 dBu.
BEHRINGER is constantly striving to manintain 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.

13
EURORACK UB1204-PRO/UB1204FX-PRO
6. WARRANTY
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. The names
of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use
neither constitutes a claim of the trademarks by BEHR NGER® nor affiliation of the trademark owners with BEHR NGER®. BEHR NGER® accepts no
liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained
herein. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not
agents of BEHR NGER® and have absolutely no authority to bind BEHR NGER® by any express or implied undertaking or representation. 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 BEHR NGER Spezielle Studiotechnik GmbH. BEHR NGER® is a registered trademark.
ALL R GHTS RESERVED. © 2006 BEHR NGER Spezielle Studiotechnik GmbH,
Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide , Germany.
Tel. [phone], Fax [phone]
6. WARRANTY
§ 1 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1. This warranty does not exclude or limit the buyers statutory
rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
§ 2 ONLINE REGISTRATION
Please do remember to register your new BEHRINGER equipment
right after your purchase by visiting www.behringer.com
(alternatively www.behringer.de) and kindly read the terms and
conditions of our warranty carefully.
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
Thank you for your cooperation!
§ 3 WARRANTY
1. BEHRINGER (BEHRINGER International GmbH including all
BEHRINGER subsidiaries listed on the enclosed page, except
BEHRINGER Japan) warrants the mechanical and electronic
components of this product to be free of defects in material and
workmanship for a period of one (1) year* from the original date
of purchase, in accordance with the warranty regulations
described below. If the product shows any defects within the
specified warranty period that are not excluded from this
warranty as described under § 5, BEHRINGER shall, at its
discretion, either replace or repair the product using suitable
new or reconditioned parts. In the case that other parts are used
which constitute an improvement, BEHRINGER may, at its
discretion, charge the customer for the additional cost of these
parts.
2. If the warranty claim proves to be justified, the product will be
returned to the user freight prepaid.
3. Warranty claims other than those indicated above are expressly
excluded.
§ 4 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized dealer)
must call BEHRINGER (see enclosed list) during normal business
hours BEFORE returning the product. All inquiries must be
accompanied by a description of the problem. BEHRINGER will
then issue a return authorization number.
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER.
3. Shipments without freight prepaid will not be accepted.
§ 5 WARRANTY REGULATIONS
1. Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealers invoice.
Any product deemed eligible for repair or replacement under the
terms of this warranty will be repaired or replaced.
2. If the product needs to be modified or adapted in order to
comply with applicable technical or safety standards on a national
or local level, in any country which is not the country for which
the product was originally developed and manufactured, this
modification/adaptation shall not be considered a defect in
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
3. Free inspections and maintenance/repair work are expressly
excluded from this warranty, in particular, if caused by improper
handling of the product by the user. This also applies to defects
caused by normal wear and tear, in particular, of faders,
crossfaders, potentiometers, keys/buttons, tubes, guitar strings,
illuminants and similar parts.
4. Damages/defects caused by the following conditions are not
covered by this warranty:
simproper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER
user or service manuals.
sconnection or operation of the unit in any way that does
not comply with the technical or safety regulations
applicable in the country where the product is used.
sdamages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warranty.
6. If an inspection of the product by BEHRINGER shows that the
defect in question is not covered by the warranty, the inspection
costs are payable by the customer.
7. Products which do not meet the terms of this warranty will be
repaired exclusively at the buyers expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced
separately when the buyer has sent in a written repair order.
§ 6 WARRANTY TRANSFERABILITY
This warranty is extended exclusively to the original buyer
(customer of retail dealer) and is not transferable to anyone
who may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any warranty promise
on behalf of BEHRINGER.
§ 7 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.