Behringer Eurodesk MX 9000

23 Jun

Why is the new MX9000 so quiet you only “feel” it when you mix? Because music is our major passion and sound design is the biggest technical and creative challenge for you and us. Your mixing console is at the heart of your music. On one hand, it has to be rugged and reliable, accurate and soulful on the other. At its worst, it could ruin your sound and distort all the carefully created parts of your recording instead of faithfully reproducing the essence of your music. That’s why they’ve equipped the Eurodesk with what they think is the most musical and transparent audio possible, plus all the flexibility you need. Behringer is proud to introduce its new line of mixing consoles that combine high-quality components, state-of-the-art manufacturing, and ISO9000 quality management.

MX9000 Eurodesk Mixer Features

• 24 in-line channels
• 8 Groups
• 48 Mono inputs
• 2 Supplementary stereo inputs
• 24 Mic preamps
• EQ (main chs.) 4-band 2 swept mids + low cut
• EQ (B chs.) 2-band
• 6 Aux sends
• 6 Stereo aux returns
• 24 Direct outs
• 24 Ch. inserts
• Internal talkback mic
• Phantom power 48 V
• Power supply 400 VA ext.
• The Ultra-Quiet and Acoustically Transparent Console from Behringer
• Behringer uses ultra-low impedance circuitry throughout our consoles, reducing noise to a physical minimum. By adding outstanding 4580 operational amplifiers to the design, they’ve achieved an incredible level of silent performance. Compare the Eurodesk with any other console on the market. Let your ears be the judge!
• Why You Can’t Hear the Mic Preamp
• Each channel in the Eurodesk is equipped with Behringer’s new discrete mic preamp that uses conjugate pair transistors running in high-current mode instead of standard ICs. How does it sound? Absolutely natural, with virtually unmeasurable distortion and lots of headroom. What comes out is what goes in. They only add gain, no signal coloration. That’s why you can’t hear the preamp. Equipped with a Mic/Line switch and phantom powering, your choice of inputs also includes professional, gold-plated XLR connectors. This is one of the details that you asked for.
• Commitment to Quality
• The inspiration required to produce your finest mix is the same kind of inspiration that created the Dual Input 48/24 Eurodesk MX9000. Because the concept behind its design came from you, the sound engineer, the most important part of our Behringer engineering team. Suggestions from many of our friends and some of the world’s leading engineers have shaped and molded the Behringer Eurodesk. You wanted it to define your creative ideas with every feature you suggested. And they wanted to improve what you heard with high-quality components, leaving you free to concentrate on your creative ideas.
• What They Mean by “Quality” Components
• A lot of manufacturers talk about quality. Behringer doesn’t just talk about it, they make it happen. One look at their popular signal processors and you’ll know: fiberglass circuit boards; sealed rotary pots; gold-plated connectors; true logarithmic Panasonic faders; carefully selected components; and a rock solid metal chassis have made Behringer one of the leading manufacturers in the industry who inspires the kind of confidence you deserve to have in your equipment.
• How Would You Make the Final Quality Check on Your Own Mixing Console?
• A mixer has hundreds of pots, countless connectors, and limitless routing possibilities. If you were given the option of choosing your own mixer from a production line, you’d probably spend a long time pressing every switch and turning every pot. Some manufacturers try to save money by doing quick, cursory tests, leaving the real testing to the end user. We don’t. Each Eurodesk runs through a fully automated 2-hour test procedure where every pot and switch is tested three times within different routing configurations. Every signal path is tested against every other signal path, every connector against every other connector. This kind of testing is what produces a very high level of quality control. After that, every console gets a signed quality check report. You can rely on working with the Eurodesk MX9000 around the clock.
• The Incredible Input Section
• Each channel on the Eurodesk uses a mic preamp based on a modern version of classic technology using large, sophisticated transistors rather than ICs. A +48 V phantom powering is switchable in groups of 8 channels. The inputs include high-quality gold-plated XLR connectors. The Mic/Line switch routes either the servo-balanced mic input or the balanced line level input to the gain circuit. Apart from mic and line, there is a third input per channel, called MixB input/tape return. Although primarily designed for tape return monitoring from multi-track, this input is also suitable for use with any line level source, such as one from a MIDI keyboard, sampler, or drum machine. A Flip control switches the main channel’s signal source from mic/line to tape, while simultaneously changing the Mix B’s external source from tape input to mic/line.
• The “Musical” Equalizer
• The 4-band Constant Q equalizer is always assigned to the main channel. A healthy 15 dB of boost and cut is available on all bands. Two semiparametric bands offer an amazingly wide combined sweep range from 50Hz to 20 kHz. Two shelving frequency controls at 12 kHz and 80 Hz offer gentle contouring. There’s also a switchable low cut filter you can use to eliminate unwanted subsonics like stage rumble and mic handling “thumps,” or to tighten up the bottom end of your mix. Of course, the EQ section is switchable in and out for easy A/B comparisons.
• Flexible Aux Sends for More Possibilities
• The Aux sends are switchable pre and post fader in banks of two: pre fader is for a cue feed and post fader is for sending to reverb or other time-based effects. Dedicated pots are used for aux sends 1 & 2. The Shift switch determines whether buses 3 & 4 or 5 & 6 are assigned to the 3rd and 4th aux send controls. Depressing the Source switch will disconnect buses 3, 4, 5, and 6 from the main channel signal path and assign them to the B channel instead.
• Mix B — Everything You Need and More
• On many inline design consoles, the tape returns don’t feature a separate EQ section. The MX9000’s Mix B channels include 2 shelving frequency controls at 12 kHz and 80 Hz that provide 15 dB of boost and cut. You can use these channels as a complete set of 24 additional inputs and the main channel’s equalization is never affected. Every Mix B channel has its own Pan and Level control and, more importantly, Mute controls. Mutes are essential tools in modern mixing and we feel that their inclusion greatly enhances the flexibility and functionality of your secondary channels. The Mix B Source control is also a major plus. When you enable it, it routes the main channel’s signal post fader into the Mix B channel, converting an input’s Mix B section to an additional stereo post fader aux send. Mix B channels always feed into a separate stereo bus, called Mix B-Bus, which has its own Mix Level control. The Mix B-Bus can be accessed via its own stereo output. In this mode, the Mix B channels combined with Mix B-Bus, become a totally viable separate 24 input mixer, which can be routed into the Main Mix via the Mix B Master section switch.
• Fully Featured Channel Output
• Your channel output level is ultimately determined by a 100 mm true logarithmic taper channel fader, which is backed by ergonomically located and illuminated Mute and Solo controls. The Pan control features a sophisticated design, which ensures constant level and pinpoint accuracy across the stereo field. Signal present (-20 dB) and Clip LEDs continually monitor 3 test points within the channel. The console’s internal 24 input meter bridge is switchable between channel and tape inputs. The multi-segment peak LED meters respond instantly to transients in the program material and their readings are totally independent of frequency. So the Eurodesk keeps you fully aware of your signal status.Technical Description
• Main Channel Strip
• Mic input: electronically balanced, discrete input configuration
• Mic E.I.N.: (22 Hz to 22 kHz) -129.0 dBu, 150 Ohms source
• -117.3 dBqp, 150 Ohms source
• -132.0 dBu, input shorted
• -122.0 dBqp, input shorted
• Distortion: (THD & N) 0.007 % at +4 dBu, 1 kHz, bandwidth 80 kHz
• Gain range: +10 dB to +50 dB
• Max. input: +12 dBu (+32 dBu @ PAD)
• Line input: electronically balanced
• Gain range: unity to +40 dB (-20 to +20 dB @PAD)
• Max. input: +22 dBu
• Channel fader: range +10 dB to -85 dB / off
• Aux send gain: range off to unity to +15 dB
• Equalisation
• Hi shelving: 12 kHz, +/- 15 dB
• Hi mid sweep: 300 Hz to 20 kHz, +/- 15 dB
• Lo mid sweep: 50 Hz to 3 kHz, +/- 15 dB
• Lo shelving: 80 Hz, +/- 15 dB
• Lo cut (HPF): 75 Hz, 12 dB/oct.
• Channel: direct out
• Max. output: + 22 dBu
• Noise: @unity gain -94 dBu
• Output impedance: 120 Ohms
• Tape returns: bal./unbal. 1/4″ jacks, globally switchable from +4 dBu to -10 dBV
• Channel Insert
• Max. in/out: +22 dBu
• Channel to channel crosstalk: -95 dB @ 1 kHz
• Mix B channel strip
• Gain range: off to unity to +15 dB
• Hi shelving: 12 kHz, +/- 15 dB
• Lo shelving: 80 Hz, +/- 15 dB
• Subgroup Section
• Noise: bus noise @ fader 0 dB:
• -102.5 dBr (ref. +4 dBu)
• -92.5 dBr (ref. +4 dBu, 24 chs. assigned (input B) & set @ unity gain)
• -94.5 dBr (ref. +4 dBu, 16 chs. assigned (input B) & set @ unity gain)
• Submaster output max.: out +22 dBu balanced/unbalanced
• Submaster insert max.: out +22 dBu
• Submaster insert max.: in +22 dBu
• Fader: range +10 dB to -85 dB / off
• Main Mix Section
• Noise: bus noise @ fader 0 dB:
• -101.0 dBr (ref. +4 dBu)
• -92.5 dBr (ref. +4 dBu, 24 chs. assigned (input B) & set @ unity gain)
• -94.5 dBr (ref. +4 dBu, 16 chs. assigned (input B) & set @ unity gain)
• Max. output: +28 dBu balanced XLR, +22 dBu unbalanced 1/4″ jacks
• Aux returns: gain range off to unity to + 20 dB
• Aux sends: max. out +22 dBu

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Posted by on 23/06/2010 in Mixers


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