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Behringer UB 1832FX-PRO Manual
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Behringer EURORACK UB1832FX Pro
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3. GRAPHIC 9-BAND EQUALIZER (UB1832FX-PRO only)... 12 4. DIGITAL EFFECTS PROCESSOR.. 12 5. REAR PANEL CONNECTORS.. 12
5.1 Main mix outputs, insert points and control room outputs.. 12 5.2 Subgroup outputs.. 13 5.3 Inserts... 13 5.4 Direct outputs (UB2442FX-PRO only). 13 5.5 Voltage supply, phantom power supply and fuse... 13
6.1 Rack mounting.. 14 6.2 Cable connections... 14 6.2.1 Audio connections.. 14
Kindest regards,
Uli Behringer
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 BEHRINGERs brand new high-end IMP INVISIBLE MIC PREAMPs that boast the following features: s s s 130 dB dynamic range for an incredible amount of headroom A bandwidth ranging from below 10 Hz to over 200 kHz for crystal-clear reproduction of even the finest nuances The extremely low-noise and distortion-free circuitry guarantees absolutely natural and transparent signal reproduction They are perfectly matched to every conceivable microphone with up to 60 dB gain and +48 volt phantom power supply They enable full utilisation of the greatly extended dynamic range of your 24-bit/192 kHz HD recorder, thereby maintaining optimal audio quality fully down before you switch on the unit. Always be careful to set the appropriate volume.
1.1 General mixing console functions
A mixing console fulfils three main functions: s Signal processing: Preamplification Microphones convert sound waves into voltage that has to be amplified several-fold; then, this voltage is turned into sound that is reproduced in a loudspeaker. Because microphone capsules are very delicate in their construction, output voltage is very low and therefore susceptible to interference. Therefore, mic signal voltage is amplified directly at the mixer input to a higher signal level that is less prone to interference. This higher, interference-safe signal level has to be achieved through amplification using an amplifier of the highest quality in order to amplify the signal and add as little noise to it as possible. The IMP Invisible Mic Preamp performs this role beautifully, leaving no traces of noise or sound coloration. Interference that could take place at the preamplification level could affect signal quality and purity, and would then be passed on to all other devices, resulting in inaccurate sounding program during recording or playback. Level-setting Signals fed into the mixer using a DI-box (Direct Injection) or the output of a sound card or a keyboard, often have to be adjusted to the operating level of your mixing console. Frequency response correction Using the equalizers found in each channel strip, you can simply, quickly and effectively adjust the way a signal sounds. Effects mixing In addition to the effects processor contained in your mixer, using the insert connectors on the mono channels and both aux busses lets you insert additional signal processors into your signal path. s Signal distribution: Individual signals adjusted at each channel strip are laid out at the aux sends and returns, and are either fed into external effects processors or fed back to the internal effects processor. Then, the signals are brought back into the main mix either via the aux return connectors or via direct internal wiring. The mix for the on-stage musicians is also created using the aux sends (monitor mix). Similarly, for example, signals for recording equipment, power amplifiers, headphones and 2-track outputs can also be taken. s Mix: All other mixing console functions fall under this vital category. Creating a mix means primarily adjusting the volume levels of individual instruments and voices to one another as well as giving them the appropriate weight within the overall frequency spectrum. Likewise, youll have to sensibly spread individual voices across the stereo image of a signal. At the end of this process, adjusting the level of the entire mix to other equipment in the signal path is required (e. g. recorder/crossover/amplifier). The control surface of BEHRINGER mixing consoles is optimized in such a way that these functions become easy to fulfil while the signal path remains simple to follow.
Multi-effects processor Additionally, your EURORACK 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. FBQ Feedback Detection System The FBQ Feedback Detection System integrated into the graphic EQ of your UB1832FX-PRO is one of this mixers most outstanding features. This ingenious circuitry lets you immediately recognize and eliminate feedback frequencies. The FBQ Feedback Detection System uses the LEDs in the frequency band faders of the graphic EQ to indicate the critical frequencies. This way, what once used to be a labor-intensive search for feedback frequencies is now an activity that even a child could master. Voice Canceller We have added another useful feature to the EURORACK UB1832FX-PRO: the Voice Canceller. The Voice Canceller is a filter circuitry that filters out vocal portions from a track. Therefore, this mixing console is ideally suited for use as a karaoke machine. This feature is also an optimal solution for singers who need accompanying music for their rehearsals.
We should like to draw your attention to the fact that extreme volumes may damage your hearing and/or your headphones or loudspeakers. Turn the MAIN MIX faders and phones control in the main section
1.2 The users manual
The users 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. Additional information and
explanations about various music industry/audio technology terminology can be found on individual product pages as well as in the glossary.
This chapter describes the various control elements of your mixing console. All controls, switches and connectors will be discussed in detail.
The block diagram supplied with the mixing console gives you an overview of the connections between the inputs and outputs, as well as the associated switches and controls.
For the moment, just try and trace the signal path from the microphone input to the aux send 1 connector. Dont be put off by the huge range of possibilities; its easier than you think! If you look at the overview of the controls at the same time, youll be able to quickly familiarize yourself with your mixing console and youll soon be making the most of all its many possibilities.
2.1 Mono channels
2.1.1 Microphone and line inputs
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 do NOT return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not 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. Fig. 2.1: Connectors and controls of mic/line inputs MIC Each mono input channel offers a balanced microphone input via XLR as well as switchable phantom power (+48 volt) for powering condenser microphones.
Please note that all units must be properly grounded. For your own safety, you should never remove any ground connectors from electrical devices or power cables, or render them inoperative. Please ensure that only qualified people install and operate the mixing console. During installation and operation, the user must have sufficient electrical contact to earth, otherwise electrostatic discharges might affect the operation of the unit.
Please mute your monitor system before you switch on phantom power. Otherwise potentially damaging thumps will be sent to your speakers. Please also note the instructions in chapter 5.5 Voltage supply, phantom power and fuse.
LINE IN Each mono input also has a balanced line input on a 1/4" jack. You can also connect unbalanced devices using mono jacks to these inputs.
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!
Please remember that you can use either the microphone input or the line input of a channel, but not both at the same time!
INSERT Insert points enable the processing of a signal with dynamic processors or equalizers. They are sourced pre-fader, pre-EQ and pre-aux send. Detailed information on using insert points can be found in chapter 5.3.
Unlike the UB2442FX-PRO, the UB1622FX-PRO, UB1832FX-PRO and UB2222FX-PRO have their insert points located on the rear of the console.
TRIM Use the TRIM control to adjust the input gain. This control should always be turned fully counter-clockwise whenever you connect or disconnect a signal source to one of the inputs. The scale has 2 different value ranges: the first value range (+10 to +60 dB) refers to the MIC input and shows the amplification for the signals fed in there.
The second value range (+10 to -40 dB) refers to the line input and shows its sensitivity. The settings for equipment with st andard line-level signals (-10 dBV or +4 dBu) look like this: While the TRIM control is turned all the way down, connect your equipment. Set the TRIM control to the external devices standard output level. If that unit has an output signal level display, it should show 0 dB during signal peaks. For +4dBu, turn up TRIM slightly, for -10 dBV a bit more. Fine-tuning of a signal being fed in is done using the level meter. To route the channel signal to the level meter, you have to press the SOLO switch and set the MODE switch in the main section to PFL (LEVEL SET). Using the TRIM control, drive the signal to the 0-dB mark. This way you have a vast amount of drive headroom for use with very dynamic signals. The CLIP display should light up only rarely, preferably never. While fine-tuning, the equalizer should be set to neutral. LOW CUT Additionally, the mono channels of the mixing consoles have a high-slope LOW CUT filter for eliminating unwanted, lowfrequency signal components (75 Hz, 18 dB/octave). routed, for example, to an active monitor speaker or external effects device. In the latter case, the effects return can then be brought back into the console via the aux return connectors. All monitor and effects busses are mono, are tapped into post EQ and offer amplification of up to +15 dB. Pre-fader/post-fader When using effects on a channel signal, it is usual to have the aux send post fader so that the balance between effect and dry signal stays constant even when the channel fader is altered. If this were not the case, the effects signal of the channel would remain audible even when the channel fader is turned all the way down. For monitoring, the aux sends are generally pre-fader, i.e. they operate independently of the position of the channel fader. PRE When the PRE switch is pressed down, the associated aux send is taken pre-fader. FX The aux send marked FX offers a direct route to the built-in effects processor and is therefore post-fader and post-mute. Please refer to chapter 4 DIGITAL EFFECTS PROCESSOR for detailed information.
the pre-fader monitor paths remain active irrespective of whether the channel is muted or not. MUTE LED The MUTE LED indicates a muted channel. CLIP-LED The CLIP-LED lights up when the input signal is driven too high. If this happens, back off the TRIM control and, if necessary, check the setting of the channel EQ. SOLO The SOLO switch 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 listen to a channel signal without affecting the main output signal. The signal you hear is taken either before the pan control (PFL, mono) or after the pan and channel fader (Solo, stereo) (cf. chap. 2.3.10 Level meters and monitoring). SUB (1-2 and 3-4) The SUB switch routes the signal to the corresponding subgroups. The UB2442FX-PRO has 4 subgroups (1-2 and 3-4). MAIN The MAIN switch routes the signal to the main mix bus. The channel fader determines the channels volume in the main mix (or submix). Fig. 2.6: Balance control and mute switch BAL The BAL(ANCE) control has a similar function to the PAN control in the mono channels. The balance control determines the levels of the left and right input signals relative to each other before both signals are routed to the left/right main mix bus (or odd/even subgroup). The remaining control elements in the stereo channels perform the same functions as their counterparts in the mono channels (MUTE switch, MUTE and CLIP LEDs, SOLO switch, SUB and MAIN switches and channel fader).
2.2.2 Equalizer stereo channels
The stereo channels contain a stereo EQ section. The cut-off frequencies of the high and low bands are 12 kHz and 80 Hz respectively, while the center frequencies of the high-mid and low-mid bands are 3 kHz and 500 Hz respectively. The HIGH and LOW controls have the same characteristics as the EQ in the mono channels. Both mid range bands are of the peak filter type. A stereo EQ is superior to two mono EQs on a stereo signal as two separate EQs will usually result in a discrepancy between left and right channels.
2.2.3 Aux sends stereo channels
In principle, the aux sends of the stereo channels function the same way as those of the mono channels. As the aux sends are mono, the send from a stereo channel is first summed to mono before it reaches the aux bus.
2.2.4 Routing switch, solo and channel fader
2.2 Stereo channels
2.2.1 Channel inputs
2.3 Interface panel and main section
Where 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 MON control, aux sends 1, 2 and 3 (FX)
Turning up the AUX 1 control in a channel routes the signal to the aux send bus 1. Fig. 2.5: The various stereo channel inputs Each stereo channel has two balanced line level inputs on jacks for left and right channels. Channels 9/10 and 11/12 on the UB2442FX-PRO feature an additional XLR microphone jack with phantom power. If only the left jack (marked L) is used, the channel operates in mono. The stereo channels are designed to handle typical line level signals, and, depending on model, have a level switch (+4 dBu or -10 dBV) and/or a line TRIM control. Both jack inputs will also accept unbalanced connectors. LOW CUT and MIC TRIM These two control elements operate on the XLR connectors of the UB2442FX-PRO, and are used to filter out frequencies below 75 Hz (LOW CUT) and to adjust microphone levels (MIC TRIM). LINE TRIM Use this control to adjust the line signal levels on channels 13-16 (UB2442FX-PRO only). LEVEL For level matching, the stereo inputs on the UB1622FX-PRO, UB1832FX-PRO and UB2222FX-PRO have a LEVEL switch to select between +4dBu and -10dBV. At -10dBV (homerecording level), the input is more sensitive than at +4dBu (studio level).
On the UB2222FX-PRO, aux send 1 is hard wired as pre-fader and hence called MON. Model UB1832FX-PRO has a dedicated monitor output (MON OUT jack), cf. chapter 2.3.4.
As already mentioned, the aux sends in the channelsif set post-fadercan be used to connect to external effects devices. AUX SEND (FX) The AUX SEND (FX) jack carries the master aux mix (from the channels FX controls). You can connect this to an external effects device to process the FX bus. The processed signal can then be brought from the effects device back into the STEREO AUX RETURN jacks.
2.3.4 The monitor section of the UB1832FX-PRO
One of the ways that the UB1832FX-PRO differs from the other models of this series is that it has a separate monitor output.
Fig. 2.10: Monitor output of the UB1832FX-PRO The first aux send (MON) on this console is used to set up the monitor mix from the channels and route it to the MON SEND fader.
Using the STEREO AUX RETURN (TO AUX SEND) control, the effect signal can now be blended into the monitor mix. You can easily use the headphones distribution amplifier BEHRINGER POWERPLAY PRO HA4700/HA8000 to provide four (HA8000: eight) stereo headphone mixes for your studio. The following table shows which jacks on the console can be used for this purpose.
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STEREO AUX RETURN connectors STEREO AUX RETURN (TO AUX SEND ) control
Fig. 2.11: Monitor fader of the UB1832FX-PRO MUTE Press the MUTE switch to mute the monitor send. SOLO The SOLO switch routes the monitor send to the solo bus (post-fader and post-mute) or to the PFL bus (pre-fader and pre-mute). The position of the MODE switch in the main section determines which of the buses is selected.
AUX SEND! AUX SEND STEREO AUX RETURN ! connectors MONITOR switch of the FX/AUX! RET
STEREO AUX STEREO AUX RETURN connectors RETURN (TO AUX ! SEND ) control
AUX SEND ! STEREO AUX RETURN connectors STEREO AUX RETURN (TO AUX SEND ) control STEREO AUX RETURN ! (TO AUX SEND !) control
2.3.5 Stereo aux return control
STEREO AUX RETURN 1 The STEREO AUX RETURN 1 control determines the level of this signal in the main mix. If STEREO AUX RETURN 1 is used as effects return, this will determine the level of the effects when mixed with any dry channel signal.
STEREO AUX RETURN ! connectors
When used in this way, the effects device should be set at 100% effect.
Tab. 2.1: Connectors and controls for monitor mix with effect STEREO AUX RETURN FX On consoles UB1622FX-PRO and UB1832FX-PRO this is the STEREO AUX RETURN 2, on consoles UB2222FX-PRO and UB2442FX-PRO this is the STEREO AUX RETURN 3. Use the STEREO AUX RETURN FX control to determine the level of the signal routed from the AUX RETURN FX jacks to the main mix. If nothing is connected to these jacks, the output of the built-in effects module will appear. MAIN MIX / TO SUBS This switch routes the signal fed in via the STEREO AUX RETURN FX jacks either to the main mix (not pressed) or to the submix (pressed). On the UB2442FX-PRO you can select which subgroup the signal is assigned to (switches 1-2 / 3-4, to the right of MAIN MIX / TO SUBS).
2.3.7 XPQ Surround function (UB1832FX-PRO only)
If you connect a compressor or a noise gate post CD/TAPE OUTPUT, the main mix fader will probably not be able to create a satisfactory fade-out effect.
2.3.9 Lamp socket (UB2442FX-PRO only)
Use this BNC socket to connect a gooseneck lamp (12 V DC, max. 0.5 A).
2.3.10 Level meter and monitoring
Fig. 2.14: Control elements of the surround function The XPQ surround function can be enabled/ disabled with the XPQ TO MAIN switch. This is a built-in effect that widens the stereo width, thus making the sound more lively and transparent. Use the SURROUND control to determine the intensity of this effect. VOICE CANCELLER Here, you have a filter circuitry that lets you almost entirely remove the vocal portion of a recording. The filter is constructed in such a way that voice frequencies are targeted without majorly affecting the rest of the signal. Additionally, the filter seizes only the middle of the stereo image, exactly there where the vocals are typically located.
Fig. 2.16: Control room and phones sections of the UB2442FX-PRO CD/TAPE The CD/TAPE switch routes the signal from the CD/TAPE INPUT jacks to the level meter, the CONTROL ROOM OUT outputs and the PHONES jackthis is a simple way to check recorded signals via monitor speakers or headphones. SUB 1-2 or SUB The SUB 1-2 switch routes subgroup 1-2 to the level meter, CONTROL ROOM OUT and phones. SUB 3-4 The SUB 3-4 switch performs a similar function for subgroup 3-4 (UB2442FX-PRO only). MAIN MIX The MAIN MIX switch sends the main mix to the CONTROL ROOM OUT and the PHONES output as well as to the level meter.
Connect the signal sources you wish to process using the Voice Canceller to the CD/TAPE INPUT connectors. The Voice Canceller circuitry is not available for other inputs.
Possible applications for the Voice Canceller are obvious: you can very simply stage background music for Karaoke events. Of course, you can also do this at home or at your rehearsal room before you hit the stage. Singers with their own band can practice singing difficult parts using a complete playback from a tape player or a CD, thus minimizing rehearsal time.
CTRL ROOM & PHONES Use this control to adjust the control room output level and the headphones volume. CD/TAPE TO MAIN When the CD/TAPE TO MAIN 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 signals 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 phantom power is switched on. Phantom power is required to operate condenser microphones. is moved fully left or right, the level in that channel increases by 4 dB. This ensures that, when set at the center of the stereo image, the audio signal does not appear louder. For this reason, with the solo function activated (Solo in Place), audio signals from channels with PAN controls that have not been moved fully left or right are displayed at a lower volume than in the PFL function. As a rule, solo signals are monitored via the control room outputs and headphones jack and are displayed by the level meters. If a solo switch is pressed, the signals from the tape input, the subgroups and the main mix are cut from these outputs and the level meter. MAIN SOLO The MAIN SOLO LED lights up as soon as a channel or aux send solo switch is pressed. The MODE switch must be set to Solo. PFL The PFL LED indicates that the peak meter is set to PFL mode.
Fig. 2.18: Subgroup and main mix faders
The PAN control in the channel strip offers a constant power characteristic. This means that the signal is always at a constant level, irrespective of position in the stereo panorama. If the PAN control
EURORACK UB1622FX-PRO/UB1832FX-PRO/UB2222FX-PRO/UB2442FX-PRO 3. GRAPHIC 9-BAND EQUALIZER (UB1832FX-PRO only)
considerably facilitates use. These effect presets are classical mixing effects. 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 OUT Mixing consoles UB2222FX-PRO and UB2442FX-PRO have a separate output for the effects device, which is unbalanced and stereo (tip = left signal; ring = right signal; sleeve = ground/ shielding). Thus, you can record, for example, a vocal track enhanced with reverb in parallel to a dry vocal track; when doing the mix-down later on, you can freely determine the amount of reverb added.
Fig. 3.1: The graphic stereo equalizer of the UB1832FX-PRO The graphic stereo equalizer allows you to tailor the sound to the room acoustics. EQUALIZER Use this switch to activate the graphic equalizer. MAIN MIX/MONITOR This toggles the graphic equalizer between the main mix and the monitor mix. With the switch up (not depressed), the equalizer is active in stereo on the main mix, and inactive on the monitor mix. When the switch is depressed the equalizer is active in mono on the monitor mix, and inactive on the main mix. FBQ FEEDBACK DETECTION The switch turns on the FBQ Feedback Detection System. It uses the LEDs in the frequency band faders to indicate the critical frequencies. On a per-need basis, lower the frequency range in question somewhat in order to avoid feedback. The graphic stereo equalizer has to be turned on in order to use this function.
+ The UB2442FX-PRO has the effect output on the rear,
UB2222FX-PRO has it located next to the aux sends on the front panel.
FX FOOTSW. Connect a standard foot switch to the foot switch jack and use this to switch the effects processor on and off. A light at the bottom of the display indicates wheater the effects processor has been muted by the foot switch.
In Chapter 6.2 you will find an illustration showing how to connect your foot switch correctly.
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. PROGRAM You can select the effect preset by turning the PROGRAM control. The display flashes with the number of the current preset. To recall the selected preset, press on the button; the flashing stops. You can also recall the selected preset with the foot switch.
Logically, at least one (ideally several) microphone channels have to be open for feedback to occur at all!
Feedback is particularly common when stage monitors (wedges) are concerned, because monitors project sound in the direction of microphones. Therefore, you can also use the FBQ Feedback Detection for monitors by placing the equalizer in the monitor bus (see MAIN MIX/MONITOR).
5.1 Main mix outputs, insert points and control room outputs
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. Use the Aux Send FX on the channels and the Aux Send FX master control to determine the input signal of the effects processor.
Fig. 5.1: Main Mix outputs, main mix insert points and control room outputs MAIN OUTPUTS The MAIN outputs carry the MAIN MIX signal and are on balanced XLR jacks with a nominal level of +4 dBu. In parallel with this, 1/4" phone jacks carry the main mix signal in a balanced format (UB1622FX-PRO: here, the phone jack outputs are unbalanced and located on the front panel). CONTROL ROOM OUTPUTS (CTRL OUT) The control room output is normally connected to the monitoring system in the control room and carries the stereo mix or, when selected, the solo signals.
Fig. 4.1: Digital effects module The built-in stereo effects processor has the advantage that it does not need to be wired up. This excludes the danger of humming or level mismatch right from the start and thus
MAIN INS(ERTS) (UB2442FX-PRO only) These are the insert points for the main mix. In the signal path, they are post-main mix amp, but pre-main fader(s). Use them to insert, for example, a dynamics processor or graphic equalizer. Please also note the information on insert points in chapter 5.3.
5.4 Direct outputs (UB2442FX-PRO only)
5.2 Subgroup outputs
Fig. 5.4: Direct outputs DIRECT OUTPUTS The direct outputs of the UB2442FX-PRO (1 each per mono input channel) are ideal for recording if several tracks are to be recorded simultaneously. These unbalanced phone jacks are post-EQ, post-mute and post-fader.
Fig. 5.2: Subgroup outputs SUB OUTPUTS The subgroup outputs are unbalanced and provide the mix of those channels assigned to each subgroup with the SUB switch (UB2442FX-PRO: switches 1-2 or 3-4) next to the channel faders. Thus, you can, for example, route a subgroup to a second console or use the output as a recording output in parallel to the main outputs. In this way, you can record several tracks simultaneously. With an 8-track recorder, use Y cables and wire the inputs of your machine so that you have 2 x 4 tracks available (e.g. channel 1 to track 1 and 2, etc.). In the first pass, you can record the tracks 1, 3, 5 and 7, in the second the tracks 2, 4, 6 and 8. The EURORACK UB2442FX-PRO already has subgroup outputs wired in parallel (1-5, 2-6, etc.).
PHANTOM switch The PHANTOM switch activates the phantom power (necessary to operate condenser microphones) on the XLR sockets of the mono channels. The red +48 V LED illuminates when phantom power is on. As a rule, dynamic microphones can still be used with phantom power, provided that they are wired in a balanced configuration. In case of doubt, contact the microphone manufacturer!
Connect microphones before you switch on the phantom power supply. Please do not connect microphones to the mixer (or the stagebox/ wallbox) while the phantom power supply is switched on. In addition, the monitor/PA loudspeakers should be muted before you activate the phantom power supply. After switching on, wait approx. one minute to allow for system stabilization. Caution! Please also note the information given in chapter 6.2.1 Audio connections.
SERIAL NUMBER Please note the important information on the serial number given in chapter 1.3.3.
6.1 Rack mounting
The packaging of your mixing console contains two 19" rack mounts for installation on the side panels of the console. Before you can attach the rack mounts to the mixing console, you need to remove the screws holding the left and right side panels. Then, use these screws to fasten the two rack mounts, each specifically to one side. With the rack mounts 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 holding the mixing console side panels to fasten the 19" rack mounts.
Fig. 6.3: 1/4" mono plug
6.2 Cable connections
You will need a large number of cables for the various connections of the console. The illustrations below show the wiring of these cables. Be sure to use only high-grade cables.
Fig. 6.4: 1/4" stereo plug
Fig. 6.1: Foot switch connector
6.2.1 Audio connections
Please use commercial RCA cables to wire the CD/TAPE inputs and outputs. You can, of course, also connect unbalanced devices to the balanced input/outputs. Use either mono plugs, or use stereo plugs to link the ring and shaft (or pins 1 & 3 in the case of XLR connectors). Fig. 6.5: Insert send/return stereo plug
Fig. 6.2: XLR connections
Caution! You must never use unbalanced XLR connectors (PIN 1 and 3 connected) at the MIC input jacks if you want to use the phantom power supply.
Fig. 6.6: Stereo plug for headphones connection
Microphone 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) +10 to +60 dB +12 dBu @ +10 dB Gain approx. 2.6 kW balanced 110 dB / 112 dB A-weighted (0 dBu In @ +22 dB gain) 0.005% / 0.004% A-weighted Main outputs Type UB1622FX-PRO only: Impedance Max. output level XLR, electronically balanced and 1/4" TRS balanced 1/4" TS connector unbalanced approx. 240 W symm. / 120 W unbalanced +28 dBu +22 dBu (UB1622FX-PRO)
Control room outputs Type Impedance Max. output level Headphones outputs Type Max. output level DSP Converter Sampling rate
1/4" TS connector unbalanced approx. 120 W +22 dBu
Gain range Max. input level Impedance Signal-to-noise ratio
1/4" TRS connector, unbalanced +19 dBu / 150 W (+25 dBm) 24-bit 24-bit Sigma-Delta, 64/128-times oversampling 40 kHz
Distortion (THD+N) Line input Type Impedance Gain range Max. input level Fade-out attenuation 1 (Crosstalk attenuation) Main fader closed Channel muted Channel fader closed Frequency response Microphone input to main out <10 Hz - 90 kHz <10 Hz - 160 kHz Stereo inputs Type Impedance Max. input level EQ mono channels Low Mid High EQ stereo channels Low Low Mid High Mid High Aux sends Type Impedance Max. output level Stereo aux returns Type Impedance Max. input level
1/4" TRS connector electronically balanced approx. 20 kW balanced 10 kW unbalanced -10 to +40 dB 30 dBu
Main mix system data 2 Noise Main mix @ -oo, Channel fader @ -oo Main mix @ 0 dB, Channel fader @ -oo
-101 dB -100 dB (UB2442FX-PRO) -93 dB -96 dB (UB1622FX-PRO) -87 dB (UB2442FX-PRO) -81 dB -83 dB (UB1622FX-PRO) -80 dB (UB2442FX-PRO)
90 dB 89 dB 89 dB
Main mix @ 0 dB, Channel fader @ 0 dB
+0 dB / -1 dB +0 dB / -3 dB
Power supply Mains voltage Power consumption
1/4" TRS connector, electronically balanced approx. 20 kW +22 dBu
Fuse Mains connection Physical UB1622FX-PRO Dimensions (H x W x D)
100 to 240 V~, 50/60 Hz 37 W (UB1622FX-PRO) 43 W (UB1832FX-PRO) 46 W (UB2222FX-PRO) 47 W (UB2442FX-PRO) 100 - 240 V ~: T 1.6 A H 250 V Standard IEC receptacle
80 Hz / 15 dB 100 Hz - 8 kHz / 15 dB 12 kHz / 15 dB
approx. 3 7/8" x 11 7/8" x 13 7/8" (97 mm x 301mm x 351mm)
UB1832FX-PRO / UB2222FX-PRO Dimensions (H x W x D) approx. 3 7/8" x 16 1/16" x 14 1/16"
(97 mm x 408 mm x 367 mm)
80 Hz / 15 dB 500 Hz / 15 dB 3 kHz / 15 dB 12 kHz / 15 dB
UB2442FX-PRO Dimensions (H x W x D)
approx. 5 3/8" x 16 1/2" x 17 1/4" (136 mm x 418 mm x 438 mm)
1/4" TS connector, unbalanced approx. 120 W +22 dBu
Weight (net) UB1622FX-PRO UB1832FX-PRO UB2222FX-PRO UB2442FX-PRO Measuring conditions:
approx. approx. approx. approx.
7 1/4 lbs (3.3 kg) 10 3/8 lbs (4.7 kg) 10 5/8 lbs (4.8 kg) 13 lbs (5.9 kg)
1/4" TRS connector, electronically balanced approx. 20 kW bal. / 10 kW unbal. +22 dBu
1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain. 20 Hz - 20kHz; measured at main output. Channels 1 - 4 unity gain; EQ 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 liiustrated.
1 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1. This warranty does not exclude or limit the buyers 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 dealers 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: s improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals. connection 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. damages/defects caused by force majeure or any other condition that is beyond the control of BEHRINGER.
Effect Presets of EURORACK UB1832FX-PRO
Solo instruments / vocals in slow pieces. A classic for drums (snare) and vocals. Gives signals (e.g. voices in a radio play) atmosphere. Gives keyboard pads width and depth. Reverb effect that isnt intended to be directly audible. Enhances sound sources when recording. Suitable for drums, etc. Extremely versatilelots of different uses. Drums, percussion, slap bass. Extremely versatilelots of different uses. Creates an extremely "snappy" snare sound. Creates a "weird" kind of vocal sound. Extremely versatilelots of different uses (guitar, vocals, bass, keyboards, etc.). Extremely versatilelots of different uses (guitar, vocals, bass, keyboards, etc.). Extremely versatilelots of different uses (guitar, vocals, bass, keyboards, etc.). Organ / keyboards. Extremely versatilelots of different uses. A classic for vocals. Can be used in all applications. Can be used in all applications. Organ / keyboards / electric guitar. The most common combination for vocals, solo guitar, etc. Voices are striking and have "character". Intelligibility is maintained. Ideal for creating all types of "spacey" sounds.
8hurqhy Qyhr 8pr Thtr S Tqv ThyyChyy 6ivrpr @hySrsyrpv TvtSrri BhrqSrri SrrrSrri 8u Ayhtr Quhr ShTrhxr 9ryh 8uSrri AyhtrSrri QuhrSrri ShTrhxr Srri 9ryhSrri 9ryh8u 9ryhAyhtr 8r @hqr Bhr Vyhvr Vyhih Qhr @pvr 6Avyr Uir9vv Bvh6 Wvyvr UrUr
Very dense and long reverb similar to sound in a large cathedral. Simulation of early reverb plates. Simulation of a small theater or large concert hall respectively. Very dense reverb intended primarily for live performances. You can clearly hear the walls of the room as they reflect the sound. Communicates a sense of atmosphere; signals sound natural and not "flat". Simulation of a more or less small, lively (i.e. with strong reflections) hall. Simulation of a medium-sized room without late reflections. Very dense reverb with strong early reflections. Simulation of the classic spring reverb. Reverb, which is cut off abruptly. Reverb with inverse reverb curve, i.e. the reverb is first quiet and then gets louder. Slightly detunes the original signal. A slightly delayed signal is added to the original signal. This creates phase shifting. Works according to the principle of phase shifting. Simulation of the classic organ effect. The input signal is delayed with several feedbacks. Combination of chorus and reverb effects. Flanger and reverb effects. Combination of phaser and reverb effects. Combination of rotary speaker effect and reverb program. Delay and reverb. Widens the signal with interesting repeat effects. Similar to delay & chorus, but the signal's pitch is modulated up and down.
Quiet passages are raised in level; loud ones are attenuated. Dynamics are not restricted (see compressor), but expanded: interference (noises, humming, etc.) is reduced. A gate opens for a specific moment to allow a signal to pass. It then closes again. Extremely effective compression due to automatic adjustment of compression parameters. All types of individual signals, as well as main mix signals. Individual signals, primarily with microphones. "Tones down" microphones susceptible to feedback / removal of interference noise. Processing of main mix signals in order to obtain a uniform output level.
Combination of sub-harmonic processor, bass exciter and limiter. Refinement of keyboard sounds / sound effect for electric bass. The signal "wanders" from one stereo side to the other. Artificial harmonics are added to the signal. Result: improved presence and "loudness". Depending on the level, a frequency band is emphasized, similar to the auto wah effect of electric guitars. Simulation of the tube distortion familiar from guitar amplifiers. Simulation of a guitar amplifier. Simulates the crackling of old vinyl records. Test tone with a frequency of 1 kHz. Can be used as special effect (e.g. when adding sound effects to radio plays). Both main mix and individual signals. With vocals, the exciter enhances intelligibility. DJ applications / sound effect at live events / electric guitar / electric bass. Electric guitar / vocals / keyboards. Electric guitar / electric bass. DJ applications / sound effect at live events. For P.A. level adjustment
GT-12 3 0 Dnx-8620 LN40B500p3F LVP-SA51U Powerlite S1 KDC-M7024 Track II VR1000 Winfast PVR MP7002 GFX-707 Dusseldorf C51 IS70 C PS-LX250H D-EJ017CK ZOB330X 2400MP BDL3231C Ue40c7000WP DUO 2000 Finepix J250 A-X350 XSA-00800A Review 9500AT K C KDL-37EX500 MA-1650-4 All-IN-ONE Fisheasy ST Darkness SGH-X530 EZ-20 UE-46C6000 C231SF HM160JC-FRC R-4 PRO CX5500 GX-4000DB EMS2040S DSC-W230 B Canon Kaossilator PRO T40 II SA-PM03 269 DSC-T70 32LD8700U AT1302 Lbp5050N Majesty250-2001 SX-AX7 PS-42C91HX VM400 BMW 523I CX-DP88U SRF-M10 ROC 45 FMC12000CP CDX-F5000C Abit AT7 TS662 Premium 200 836 XA 940BF Vivicam 8225 PT-350 CCD-TRV238E Router CL4000DN SC-D381 Ideacentre B305 37PFL3403D 12 Computer GR-555 KEH-P4025 Piranhamax 240 NW-S605 Vodafone 715 EM4816 BD-C8900A 26WLB520HD 1290S KS-AX6500 17LS5R Navigator 2002 Dlx-10 Thermometer NX-G5 W2448HC QB5120W J108I MHC-VX333 KX-T3155 LCX-15MT Smcwaps-G NN-S658WA Empires III Maple 10 2X 73A5
manuel d'instructions, Guide de l'utilisateur | Manual de instrucciones, Instrucciones de uso | Bedienungsanleitung, Bedienungsanleitung | Manual de Instruções, guia do usuário | инструкция | návod na použitie, Užívateľská príručka, návod k použití | bruksanvisningen | instrukcja, podręcznik użytkownika | kullanım kılavuzu, Kullanım | kézikönyv, használati útmutató | manuale di istruzioni, istruzioni d'uso | handleiding, gebruikershandleiding
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text:
It's a long-established fact that UK content marketing agencies lead the world in planning, producing and distributing content that's just as effective in Europe, Asia or the US as it is on home soil.
Whether it's their experience in creating inspiring content that travels across borders easily, producing many different language versions with pin-sharp accuracy, or an ability to liaise with local editors to produce the most relevant content for each market, UK agencies are known the world over for being the best in the business. There are many reasons for this success, but here are just five, fünf, cinq, vijf, beş, pięć...
1. Experience counts
The UK content marketing industry is one of the most established and respected in the world, with some of its largest agencies based here. Those agencies have decades of experience in producing and distributing multi-market content, and so have a fantastic range of skills when it comes to launching a campaign and building a content strategy.
2. Mind your language
Producing content in a number of different languages for simultaneous distribution requires a unique set of organisational skills and a team of trustworthy foreign-language translators and sub-editors, who need to be native tongue speakers of the market they are working on. The magazine Land Rover OneLife, for example, is translated into 14 languages and delivered to 36 international markets. That couldn't be done without the skills of highly experienced editorial professionals.
3. A world of inspiration
The UK has a strong track record of producing content that travels well around the world. Titles such as IKEA Family Living and Zoom-Zoom (produced for Mazda) commission expert writers and photographers to travel to a vast range of countries to seek out stories and images that are just as inspiring on Las Ramblas as on Clapham High Street.
4. Credible and relevant
Most international content will have both global and local sections, increasing its relevance to the local market. Those sections have to blend seamlessly together to create a credible brand experience that makes the reader feel they are part of a global community.
5. Universal quality
Whether it's content produced for a sleepy Yorkshire village or every country in the world, UK agencies understand that the most important element for any campaign is quality - quality of editorial, quality of strategy, quality of measurement. Only by producing quality content will the reader be engaged and encouraged to act - no matter where they are in the world.

subset: commoncrawl


text:
Israeli investors had reason to celebrate last month with the news that Israel may soon be joining the club of oil-producing states. Only one cloud looms on the horizon. It is unclear how much of this new-found oil wealth actually belongs to Israel. The Meged 5 oil field extends over a very large area, possibly 250 sq km, with much of the reserves believed to lie under Palestinian territory in the West Bank. PA officials refer to it as part of Israel's "theft of Palestinian national resources".
Area C
Is Israel preparing to annex Area C, as a growing number of analysts have recently been speculating? This week, on a visit to the Israel's tourism bureau in Nazareth, I came across an official brochure, "Your Next Vacation: Israel", that suggests the answer. The brochure is supplied to travel agents around the world as well as to hundreds of thousands of tourists who arrive in Israel each year.
In poll after poll Israel ranks as one of the countries with the most negative influence on international affairs. And yet, the lower Israel sinks in public estimation, the more generous western leaders are in handing out aid and special favours to their wayward ally. The past few days have been particularly shameless. It was revealed last week that the European Union had approved a massive upgrade in Israel's special trading status, strengthening economic ties in dozens of different fields. The decision was a reversal of a freeze imposed in the wake of the Gaza attack of winter 2008.
The recently published report by an Israeli judge concluding that Israel is not in fact occupying the Palestinian territories – despite a well-established international consensus to the contrary – has provoked mostly incredulity or mirth in Israel and abroad. Even Binyamin Netanyahu, Israel's prime minister, seemed a little discomfited by the coverage. Downplaying the Levy report's significance may prove unwise, however. If Netanyahu is embarrassed, it is only because of the timing of the report's publication rather than its substance.
Little more than a decade ago, in a brief interlude of heady optimism about the prospects of regional peace, the Israeli Supreme Court issued two landmark rulings that, it was widely assumed, heralded the advent of a new, post-Zionist era for Israel. But with two more watershed judgments handed down over the winter of 2011-2012 the same court has decisively reversed the tide.
Already-strained relations between Israel and Europe hit an all-time low this week after a leaked internal European report on the so-called peace process criticised Israel in unprecedented terms. The document, which warned that the chances of a two-state solution were rapidly fading, appeared to reflect mounting exasperation among the 27 European member states at Israel's refusal to revive talks with the Palestinians.
Thousands of pilgrims flocked this week to Israel's latest tourist attraction, touted as the place where Jesus was baptised in the River Jordan. Visitors to Qasr al Yahud, in the Jordan Valley, received an unusual welcome, however. They had to pass through a fenced-off corridor warning that landmines surrounded them on all sides. At the river's edge, they were watched over by armed Israeli soldiers in watchtowers with orders to stop anyone trying to cross the short stretch of water that marks the border with Jordan.


text:
"Released EPA Administrator's Non-Public Emails Called 'Deeply Troubling'"
Complying with a court order minutes before Monday's 5 p.m. deadline, the Environmental Protection Agency yesterday released 2,100 emails received or sent by EPA Administrator Lisa Jackson on one of her non-public accounts. But which one? The name on the email account was redacted.
The information provided by the EPA under court order doesn't satisfy the man who discovered that Jackson has been using the alias "Richard Windsor" on an email account from which she may have sent messages on the administration's coal policy. Using the alias would shield those communications from Freedom of Information Act (FOIA) requests.
Chris Horner of the free-market Competitive Enterprise Institute says he discovered Jackson's "false identity" while doing research for his book, "The Liberal War on Transparency."
Late Monday, Horner called the EPA's document release "deeply troubling."
"[It] seems to have gravely compounded the unlawful activity we have exposed involving a false identity assumed for federal recordkeeping purposes," he said.
Jackson admitted to using the fake identity "Richard Windsor" in November. Citing high email traffic in her public account (email@example.com), the EPA said Jackson used the Richard Windsor alias to communicate with other public officials. (Jackson announced her resignation as EPA administrator on Dec. 27, saying she is ready for "new challenges.")
Horner said he is dissatisfied with the 2,100 emails the EPA finally delivered to him on Monday. First of all, that number is well short of the promised 3,000, he said.
Furthermore, Horner said he doubts that the emails, which contain the keywords "coal, climate, endanger, and MACT" [Maximum Achievable Control Technology Standards], are from the "Richard Windsor" account.
In its response to Horner, the EPA stated that the emails it released in response to Horner's FOIA request are from "one secondary official account to conduct EPA business."
Horner also says the emails are a bunch of nothing: "Perhaps seeking to take the air out of a growing scandal, EPA's defective compilation boasts an impressively anemic content-to-volume ratio. It starts with Washington Post daily news briefs, then follows with Google alerts for "Lisa Jackson EPA" (none for "Richard Windsor"). Then EPA HQ national news clips. And so on. Rope a dope. Clever. Maybe too much so."
Horner said the EPA apparently decided it "had to produce a lot of something. Desperate to produce nothing at the same time, it came up with this."
The release Monday marks only the first batch of the 12,000 emails that will be made public as a result of the CEI v. EPA lawsuit. Though dissatisfied with the initial release, Horner showed no sign of lessening his pursuit.
"This is both deeply distressing yet entirely consistent with their approach throughout," he said. "But then again, frankly, what did you expect from a gang caught using false identity for federal record-keeping purposes? To just say 'you caught me; now I'll come clean?'"
You as citizens are held in contempt. The very idea that the government and its administrative arm would have to answer to the likes of you is repugnant to these people — your sovereigns and your betters — and with every calculated attempt to avoid the transparency we demand they are very deliberately blinding us.
By flipping us the bird, then jamming it in our eyes. With relish.


text:
See All Contributors »
As cyclone fans, I'm sure each and every one of you get that lump in your throat when a big play w/ an official review goes down on the gridiron.....especiallly if it looks like the call should go the Cyclones way.
It's sad that I feel this way, but I'm blown away that we didn't get HOSED on any calls today....the officials got about every single play right after a lot of reviews and I just wanted to commend them for that.
I'm sure NU fans feel diiferently, but I saw every replay in HD and I can honestly say the calls were made correctly and ISU got a fair shake (except for a couple holding calls of course :). Damn that feels good for a change!!!
-- Thanks Coach Paul Rhoads. --
I was impressed with how thorough and professional they were.
Excessive intake of alcohol, we all know, kills brain cells, but naturally it attacks the slowest and weakest brain cells first. In this way regular consumption of beer eliminates the weaker brain cells, making the brain a faster and more efficient machine. That's why you always feel smarter after a few beers.
I kept thinking they wouldn't give us one of those calls.... guess i was wrong.
OSU 2011 Game Thread
Yeah, a couple of those were close, but I think they made the right calls.
They did well on the reviews. I, of course, did not watch our Oline because I refuse to believe we would ever hold but their tackles were grabbing anything they could on Lyle at the end of the game. He was an absolute beast in the fourth quarter and he was getting held almost every play. They grabbed his hair one play and it didn't get called. The hold on Quis was sketchy and the James SMith ejection was touchy, but you can't hit someone in the face. I don't care if it was hard or not.
This is very important:
2014-15 KenPom AdjO (rating)
116.3 (11)
2015-16 KenPom AdjO (rating
120.7 (3)
Some of the reviews were a little questionable. They looked black and white to me.
My father and law and I were joking that Tom Osborne must have a secret button he pushes every time he wants the refs to review a play.
I will agree. Neither of us can complain much. We had an offensive holding call on the third to last possession which was unfortunate and it stalled a drive for a fieldgoal at the time and helped give NU two more offensive possessions, but what the heck. I am absolutely fine now.
Cyclone fans know the agony and the ectasy. It is good right now.
The Cornhuskers and their fans need to pay for a lot of sins over the years....a lot of humbling is coming their way.
the Niles Paul fumble, I honestly thought he was out of Bounds from my view in the stadium. Bit God knows we deserve a break now and then.
Eternal Optimist
Originally Posted by Shinyhappyclone
Cyclone fans know the agony and the ectasy. It is good right now.
The Cornhuskers and their fans need to pay for a lot of sins over the years....a lot of humbling is coming their way.
Amen Brother.
Speaking of which, the James Smith ejection seemed like they called it a little tight (by ejecting him), but that doesn't condone what he did.
What James Smith was wrong, obvious personal foul. I do not think he should have been ejected though.
Cyclone Football
It's the start of something big.
Originally Posted by clone136
the Niles Paul fumble, I honestly thought he was out of Bounds from my view in the stadium. Bit God knows we deserve a break now and then.
Well, sitting on my couch and watching the replay in super-slow-motion HD, I can confidently tell you that he was NOT out of bounds. He fumbled the ball and made a dumb play and we captitalized on it.
Originally Posted by cyclones357
What James Smith was wrong, obvious personal foul. I do not think he should have been ejected though.
It was the right thing to do.
thanks! good to know.
The one where they reversed the call in ISUs favor floored me.
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