BEHRINGER ULTRAZONE ZMX8210 PDF

Thomann is the largest online and mail order retailer for musical instruments, light and sound equipment worldwide, having about 10m customers in countries and 80, products on offer. We are musicians ourselves and share your passion for making it. As a company, we have a single objective: making you, our customer, happy. We have a wide variety of pages giving information and enabling you to contact us before and after your purchase. Alternatively, please feel free to use our accounts on social media such as Facebook or Twitter to get in touch. Most members of our service staff are musicians themselves, which puts them in the perfect position to help you with everything from your choice of instruments to maintenance and repair issues.

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Update your browser to view this website correctly. Update my browser now. There are audio manufacturers that are exceedingly focused on a small group of very specific and esoteric products, and there are those that develop and manufacture a large diversity of distinct products in numerous domains pertaining to sound.

To say that Behringer is one of the latter type of organizations would be a vast understatement. Over the years, Behringer has offered a massive array of products ranging from pro audio to musical instruments and back again.

One domain into which the company has never really ventured is contractor-oriented public address — the stuff we talk about in these pages such as in-ceiling loudspeakers, podium mics, and zone mixers. The Behringer Ultrazone ZMX zone mixer is very simple by comparison, without the highly sophisticated features of more costly zone mixers from other manufacturers.

It also sports some equalization, and it provides Euro-type connectors, the ability to gang multiple units, and remote potentiometers and switching. Each channel has a level knob and a three-segment LED level indicator green for dB, yellow for 0dB, and red for clip.

Each channel also has a pushbutton switch to engage a 20dB pad, to engage 48V phantom power, and to determine signal routing. Specifically, there are three bus buttons: left, right, and aux. To the right of the first six inputs are inputs 7 and 8, which are slightly different from the other six. They lack phantom power and a pad, and the routing possibilities are a bit different. Additionally, they are stereo inputs, facilitating the introduction of background music or other stereo signals.

Otherwise, left goes to left, right goes to right, and left and right are summed in the aux bus. The inputs from both cannot be routed to the busses simultaneously. Each of these eight inputs across the front panel has a white scribble strip so the contractor can name them. Four bands of boost or cut are controlled by recessed trimpots.

As one would expect, the low and high bands are shelving types, with corner frequencies of 70Hz and 10kHz, respectively. The low mids and high mids are centered at Hz and 3kHz, respectively. Above the EQ trimpots are pushbutton switches that serve several functions. The first engages a highpass filter of Hz on the mic inputs to eliminate rumble.

When it is engaged, only inputs 7 and 8 are acted upon by remote level control — disengaging it includes inputs 1 through 6 in that control. The fourth and final pushbutton switch in this section simply activates the EQ for left and right busses.

Finally, on the far right of the front panel are the master outputs for the three busses. Each has an output-level knob, a five-segment LED meter, and a scribble strip for naming each output. Inputs 1 through 6 are electronically balanced — with positive, negative, and ground connectors.

The three outputs are also balanced. This system can be ganged in order to provide more inputs, and yet another PCB connector facilitates the connection with another unit. Finally, remote control of the unit is made possible with yet another Euro-type connector. The outputs of the left and right busses can be independently attenuated, and a switch can be used to toggle between inputs 7 and 8.

At first glance, I mistakenly presumed that Behringer had simply attached Euro-type inputs and outputs to a rack mixer as it is referred to in the manual on occasion and named it a zone mixer. Upon digging in a bit, however, I was pleasantly surprised to discover that the company actually put quite a bit of thought into the needs of the contractor and developed a mixer that creates quite a bevy of possibilities in the way of signal routing.

For instance, all the pushbuttons on the front panel are recessed, and they require the use of some kind of tool ostensibly a pen or small screwdriver to engage them, rather than protruding buttons that a non-professional could easily press by accident. The recessed buttons require deliberation and are not easily changed by mistake. Similarly, the muting threshold and EQ knobs are also recessed trimpots.

To have connectivity with a computer would be simply too much to ask in a product at this price, but perhaps that is a direction Behringer will go with subsequent models and upgrades. And as is usually the case with Behringer, the product is definitely worth more than its price. He has consulted in the development of studios and installations, and he provides high-quality podcast-production services.

Previous 1 2. For more stories like this, and to keep up to date with all our market leading news, features and analysis, sign up to our newsletter here. Ipswich, UK June 4, — Celestion, the premier manufacturer of guitar and bass loudspeakers and professional audio drivers for sound reinforcement applications, Is very pleased to announce the Your browser is out-of-date! Zone mixer provides surprising functionality for low price. Subscribe For more stories like this, and to keep up to date with all our market leading news, features and analysis, sign up to our newsletter here.

Markets Favorite Room Tuning Tracks. From The Wire. Celestion Appoints Professional Audio Ltd.

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Audio Review: Behringer Ultrazone ZMX8210

Would you like to tell us about a lower price? Typical applications include restaurants, office areas, health clubs and houses of worship, just to name a few. The ZMX lets you take up to eight input signals and route them to any or all of three destinations. Maybe you want to play stereo music for clients waiting in the lobby of your office complex and page people in the work area. Another example might be the small church that wants to play soft music in the foyer, mic the preacher in the sanctuary, then send the sermon and music to the nursery. These are all perfect applications for the ZMX - multiple sound sources, multiple zones, total flexibility.

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