BEHRINGER XENYXL2400 Details top
Built around Behringer's proven XENYX high-headroom, and featuring low noise mic preamps and warm, musical EQ, the Behringer XENYX XL2400 4 Bus Mixer is an ultra-low noise, high-headroom analog mixer for live, front-of-house, monitor, corporate and touring audio applications.
By combining professional features, dramatic styling and astounding value, the XL2400 features an intuitive layout and color-coded control interface designed for ease of use.
Features
12 state-of-the-art XENYX Mic Preamps plus 4 stereo Line inputs with ultra-high RFI suppression designed for live application
Neo-classic British 4-band EQs with 2 semi-parametric mid bands for warm and musical sound
4 Subgroup outputs with inserts plus 2 independent main outputs with inserts on Main A
6 Aux sends per channel: 4 pre/post fader switchable for flexible routing
Channel inserts and direct outputs on each mono channel
Clip and Signal LEDs plus 80 Hz, EQ, Mute, Solo, Subgroup and Main routing switches on all channels
2 multi-functional stereo FX returns with comprehensive routing options
2 Headphone and Speaker outputs with selectable Main/CD/Tape inputs
Solo-In-Place with PFL/AFL function plus full-featured Talkback section
Long-wearing 60 mm logarithmic-taper faders and sealed rotary controls
Internal autorange power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving
High-quality components and exceptionally rugged construction ensure long life
Conceived and designed by Behringer Germany
The Ins and Outs
Some manufacturers can be sneaky when they tell you how many inputs their mixers have, counting features like CD/TAPE IN as an input. But the XL2400 really gives you 16 mono channels and 4 stereo channels (with two 1/4 inch inputs apiece, an additional 8 line-level inputs which can also be used for 4 additional mono mic channels), making it easy to accommodate a wide variety of live performance configurations.
Connect up to 16 microphones (or other mono instruments) and up to 4 stereo instruments (keyboards, for example). You also get four buses, allowing you to assign multiple channels, say all the mics on a drum kit or all the backup singers' mics, to a single fader.
Best of all, you don't need a black belt in engineering to operate the XL2400. To get started, assign all mics and instruments to their channels by connecting them to the corresponding jacks on the back panel. Now, get ready to quickly become acquainted with the incredibly user-friendly design.
Plenty of Channels, All in Living Color
All dials on the XL2400 are assigned to colors that not only allow you to easily locate each function, but to also quickly identify corresponding faders.
At the top of each mono channel strip, you'll find a TRIM dial (White) for adjusting input gain and an 80 Hz switch that can eliminate unwanted infrasonics such as mic-handling noise.
Each mono channel has a 4-band EQ (High, High Mid, Low Mid, Low). High Mid and Low Mid dials (Blue) are each paired with a FREQ control (Lighter Blue) that allows you to select the frequency boosted or cut. Directly below the EQ, there's an EQ switch allowing you to switch between processed and unprocessed signals.
What is British EQ?
British EQ is a smashing thing to have on your side when you start reaching for those channel equalization knobs at a live concert or in the studio. The EQ's on British consoles from the 60s and 70s are what many engineers believe does their sound the best justice. When it comes to tweaking your sound, they're kind, gentle and above all, musical. It's like drinking a fine scotch instead of fortified wine, or maybe receiving a warm hug instead of a kick to the crotch.
British EQ's distinct configuration of wider curves/lower Q and harmonic phase characteristics allows you to add or subtract EQ more generously than you can with conventional EQ circuit designs. When you add low midrange, you get a firmer sound instead of a nasty bonk. When you back high frequencies off a bit, treble backs off just a hair instead of turning muffled.
Back to the Strip
Controls for the channel's FX (Orange), MON (Blue) and AUX (Red) sends are directly below the EQ section. Use these to assign a channel to an outboard FX processor or monitor and auxiliary channels. Further down the channel strip, the PAN control (Black) determines the signal's position in the stereo mix. The channel fader (Black) adjusts the level of the channel signal as part of the main mix. Press the 1-2 or 3-4 switches to assign the channel to a bus.
Stereo channels are configured in the same way, but with a fixed-frequency 4-band EQ (Blue). They are equipped with 1/4 inch stereo inputs, as well as XLR mono inputs, providing 4 additional Mic channels.
Rockin' Bureaucracy
Once all mics and instruments are connected, it's time to take a look at the MAIN, subgroup, MONITOR and FX sections. All four subgroups' controls are positioned in the lower right corner of the mixer. They feature individual faders with CLIP LEDs, SOLO switches and PAN controls to adjust the signal's position in the stereo image.
The FX section is positioned on the middle right section of the console. Both FX 1 and FX 2 signals have orange faders; SOLO and MUTE switches; 1-2 and 3-4 switches that assign the signal to subgroups; MAIN switches to route the signals to the main outputs; MON dials (Blue) that determine the level of FX heard in Monitor sends 1 & 2; and SEND dials (Orange) for adjusting the volume of all FX send signals. Both monitor sends also have their own dedicated faders (Blue), as well as MUTE and SOLO switches.
The MAIN A section lies in the bottom right section of the board. It gives you a channel fader (Light Grey); a 13-LED master level meter in the top right corner gives you a dynamic visual gauge of overall output; a MUTE switch (Red) mutes all input channels except CD/TAPE inputs; and a BAL control (Black) adjusts the mix of the left and right output signal before they are routed through the MAIN A output. Above, you'll find the MAIN B section, which governs the signal sent through the MAIN B outputs on the back panel. Use the MAIN B section and outputs to connect to a separate power amplifier and multiple loudspeakers, or to a stereo recording system.
The XL2400 features a Talkback section in the upper right corner with its own XLR input, LEVEL control (Red), and switches that allow you to send its signal to either the MON, AUX, GROUP or MAIN outputs. Finally, a pair of headphone inputs at the top of the board allows you to personally monitor your mix, and a pair of BNC lamp inputs ensures you'll never have to mix in the dark.
The Back Story
The back panel of the XL2400 mixer features an intuitive patch bay that gives you tons of flexibility in configuring a live show. In the upper left corner you'll find the MAIN OUTPUTS section. There's left and right XLR outputs for connecting to PA speakers, as well as dual 1/4 inch inserts for connecting a dynamics processor or equalizer to further tweak the main signal. There's also dual OUT B jacks governed by the MAIN B dial on front. Next door to the MAIN OUTPUTS section is the FX/MON/AUX SENDS section. The FX 1 and FX 2 1/4 inch outputs send signal to outboard effects processors. MON 1 and MON 2 XLR outputs send signal to monitors, and AUX 1 and AUX 2 XLR outputs can be used for either effects processors or monitors.
The next section to the right contains the AUX RETURNS. Stereo AUX inputs 1 & 2 allow you to connect more effects processors or submixers, while stereo FX 1 & 2 returns accept processed signals sent from the FX 1 and FX 2 outputs. Left and right SPEAKER 1/4 inch outputs allow you to connect monitor speakers that provide the same signal as the headphone outputs.
Each subgroup has its own INSERT and OUT 1/4 inch jacks. The inserts allow you to connect noise gates, compressors or equalizers, while the OUT jacks send the subgroup signal to, for example, a multi-track recorder.
Along the bottom of the back panel, you'll find the mono and stereo channel inserts. Mono channels feature both a 1/4 inch and XLR input, as well as an INSERT jack for applying outboard equipment and a DIRECT OUT jack for sending signal to a device such as a multi-track recorder. Stereo channels feature a single XLR input and dual 1/4 inch inputs.
BEHRINGER XENYXL2400 Specs top
Mono inputs
Microphone inputs (XENYX Mic preamp)
Type XLR connector, electronically balanced,
discrete input circuit
RF rejection filters
Mic E.I.N.1 (20 Hz - 20 kHz)
@ 0 Ω source resistance -127 dB / 129.7 dB A-weighted
@ 50 Ω source resistance -126 dB / 128.3 dB A-weighted
@ 150 Ω source resistance -125 dB / 126.5 dB A-weighted
Frequency response
To Direct Out <10 Hz - 50 kHz (-1 dB)
<10 Hz - 100 kHz (-3 dB)
To Insert Send <10 Hz - 90 kHz (-1 dB)
<10 Hz - 170 kHz (-3 dB)
Gain range 0 dB to +60 dB
Max. input level +24 dBu @ 0 dB Gain
Impedance approx. 2.6 kΩ balanced
Signal-to-noise ratio 120 dB / 122 dB A-weighted (0 dBu In @
+22 dB Gain)
Distortion (THD+N) typ. 0.0008 %
Line input
Type ¼" TRS jack, electronically balanced
Impedance approx. 20 kΩ balanced, approx. 10 kΩ
unbalanced
Gain range -10 dB to +40 dB
Max. input level +22 dBu @ 0 dB Gain
Channel inserts
Type ¼" TRS jack, unbalanced
Max. input level +22 dBu
Channel direct outs
Type ¼" TRS jack, balanced
Impedance 75 Ω balanced
Max. input level +22 dBu
Crosstalk2
Main fader closed 100 dB
Channel muted 90 dB
Channel fader muted 85 dB
Frequency response (Mic In → Main Out)
<20 Hz - 20 kHz +0 dB / -1 dB
<10 Hz - 160 kHz +0 dB / -3 dB
Stereo inputs
Type 2 x ¼" TRS jack, balanced
Impedance approx. 20 kΩ balanced, 10 kΩ unbalanced
Gain range -20 dB to +20 dB
Max. input level +22 dBu @ 0 dB Gain
CD/Tape in
Type RCA connector
Impedance approx. 10 kΩ
Max. input level +22 dBu
Equalizer
EQ mono channels
LOW 80 Hz / ±15 dB
HIGH MID 100 Hz to 2 kHz / ±15 dB
LOW MID 400 Hz to 8 kHz / ±15 dB
HIGH 12 kHz / ±15 dB
LOW CUT 80 Hz, 12 dB/oct.
EQ stereo channels
LOW 80 Hz / ±15 dB
LOW MID 300 Hz / ±15 dB
HIGH MID 3 kHz / ±15 dB
HIGH 12 kHz / ±15 dB
Channel inserts
Type ¼" TRS jack, unbalanced
Max. input level +22 dBu
AUX/MON send
Type XLR connector, electronically balanced
Impedance approx. 75 Ω
Max. output level +22 dBu
1) Equivalent Input Noise
2) Measuring conditions: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output;
unity gain
FX send
Type ¼" TRS jack, balanced
Impedance 75 Ω
Max. output level +22 dBu
AUX/FX Returns
Type ¼" TRS jack, unbalanced
Impedance approx. 20 kΩ
Max. input level +22 dBu
Subgroup outputs
Type ¼" TRS jack, unbalanced
Impedance approx. 75 Ω
Max. output level +22 dBu
Group inserts
Type ¼" TRS jack, unbalanced
Max. output level +22 dBu
Main outputs A/B
Type XLR connector, electronically balanced
Impedance approx. 240 Ω balanced, 120 Ω unbalanced
Max. output level +25 dBu
Main Inserts
Type ¼" TRS jack, unbalanced
Max. input level +22 dBu
Speakers
Type ¼" TRS jack, unbalanced
Impedance 75 Ω
Max. output level +22 dBu
Phones A/B output
Type ¼" TRS jack, unbalanced
Max. output level +22 dBu / 600 Ω
CD/Tape output
Type RCA connector
Impedance approx. 1 kΩ
Max. output level +15 dBu
Main mix system data3 (Noise)
Main mix @ -∞, channel fader @ -∞
-110 dB / -114 dB A-weighted
Main mix @ 0 dB, channel fader @ -∞
-95 dB / -98 dB A-weighted
Main mix @ 0 dB, channel fader @ 0 dB
-92 dB / -95 dB A-weighted
Power supply
XL1600
Power consumption 60 W
XL2400
Power consumption 65 W
XL3200
Power consumption 70 W
Fuse
(100 - 240 V~, 50/60 Hz) T 2,0 A H 250 V
Mains connector Standard IEC receptacle
Physical/weight
Dimensions (H x W x D)
XL1600 7.1 in / 180 mm x 19.5 in /
495 mm x 21.3 in / 540 mm
XL2400 7.1 in / 180 mm x 27.8 in /
705 mm x 21.3 in / 540 mm
XL3200 7.1 in / 180 mm x 35.8 in /
910 mm x 21.3 in / 540 mm
Weight (net)
XL1600 25.8 lb / 11.7 kg
XL2400 19.0 lb / 8.6 kg
XL3200 32.8 lb / 14.9 kg
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.
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