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Behringer SX2442FX
24-Channel 4-Buss Mixer with 16 XENYX Microphone Preamps and 99 Digital Effects Presets


If you want classic analog handling but can't skimp on superior digital effects and studio-grade mic preamps, the SX2442FX is your new best friend.
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List Price: $749.99
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Behringer SX2442FX
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If you want classic analog handling but can't skimp on superior digital effects and studio-grade mic preamps, the SX2442FX is your new best friend. This mixer's 16 mic inputs, 8 stereo inputs and 4 buses give you enough leeway to handle anything from a graduation speech to a small orchestra.

Classic control, state-of-the-art sound
Each of the SX2442FX's 16 mic inputs connects to our world-famous, studio-grade XENYX mic preamps. They are legendary for their high headroom, warm natural timbre and utter lack of background noise. Plug in a large-diapragm condenser mic and track a vocal to hear XENYX's rich detail and spaciousness. Plug in a dynamic mic and stick it inside a bass drum to appreciate the whopping headroom.

Built-in FX
Whether you need to add a dab of reverb or delay to a live vocalist's mic or warp a hard day's studio session into psychadelic quicksand, the SX2442FX has you covered. We gave this mixer two independent studio-grade 24-bit stereo FX processors with 99 awesome presets to provide the perfect sonic garnish.

The SX2442FX gives you a whole palette of creative effects like reverb, chorus, flanger, delay and pitch shifter tones, as well as mind-bending multi-effects to take your sound out of this world. But you also get problem solving workhorses like compression and gating plus final effects such as Ultramizer, Ultrabass and Exciter that can put a PA or studio mix over the top. And becuase there are two processors, you can cue two separate effects, then apply one or both to channels 1 through 20 - compression for the vocalist, reverb for the vocalist and snare drum, for example.

British-style EQ
A good thing to have on your side when you start reaching for those channel equalization knobs. At a live concert or in the studio. Think of it as kinder, gentler, more musical EQ like the type found on classic British consoles from the 60's and 70's. 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.

All SX2442FX mono channels have low and high shelving plus a sweepable "midrange" you can move anywhere from 100Hz to 8kHz.

Feedback Detection
When it comes to suppressing feedback, the SX2442FX is like having a bloodhound trained to spot trouble frequencies a mile away.

The 9-band graphic EQ (which you can choose to apply to your main mix or monitor mix via the MAIN/AUX1 button) features the FBQ Feedback Detection system. It makes finding and adjusting critical frequencies a snap. Just push FBQ IN, then watch as LEDs on the individual EQ sliders light up, indicating which frequency bands are causing feedback. Simply adjust until the LED goes dim.

The Ins and Outs
Some manufacturers make what they call 24-input mixers that count stuff like CD/TAPE IN as an input. But the SX2442FX really gives you sixteen honest mono channels plus eight stereo channels, making it easy to accommodate a variety of studio or live performance configurations. You can connect up to 16 microphones or other mono instruments and up to four stereo instruments (keyboards or tone modules, for example).

You can combine these inputs in four different sub-mixes (aka busses). That allows you to blend multiple channels - say all the mics on a drum kit or all the backup singers' mics - to a single fader, which is easier to adjust for the overall mix that goes to the PA speakers. You can also use one or more of the sub-mix buses to create custom monitor mixes for picky members of your band.

Channel Flexibility
At the top of each mono channel, you'll find both a balanced XLR input with a XENYX mic preamp and a 1/4" input. A phantom power switch located on the back near the main power switch accommodates condenser mics.
Next comes an insert for connecting individual signal processors or feeding a remote broadcast feed or multitrack recorder directly.
Trim control and level set LED let you adjust the channel's input level for maximum headroom and minimum noise - the huge range of this control can handle anything from a very timid vocalist to a close-miced guitar amp stack.

Each mono channel features a 3-band EQ with semi-parametric mids (giving you control of the Mid level and a sweepable frequency with a boost or cut of 15dB) and a Trim control for adjusting input gain via a Level Set LED.
A Low Cut button eliminates the frequencies where unwanted infrasonics such as mic handling, P-pops or wind noise occur.
FX1 and FX2 dials add a blend of up to two effects, and AUX1 and AUX2 dials help create your monitor mix. Press the PRE button to send a raw, EQ-free signal to the monitors.

Near every mono channel's fader you'll find a 1-2, 3-4 and MAIN button. By engaging the MAIN button, the signal is sent to the main mix. Or, if you engage the 1-2 button, the channel becomes part of a bus. Twist the PAN control all the way to the left to assign it to Sub 1, or all the way to the right for Sub 2. The same principle applies to the 3-4 button.

A Mute button with accompanying LED cuts the signal from the channel, and a Clip LED helps you dial in a distortion-free post-EQ signal. The Solo button on individual channels routes the subgroup signal to the solo bus or Pre-Fader Listen - depending on whether the signal has been included in a subgroup.
Instead of XLR inputs, stereo channels 17-24 have left and right balanced/unbalanced line level inputs. Channels 17-20 feature the same controls as the mono channels, but with a four-band EQ that gives you control of HIGH, HIGH MID, LOW MID and LOW. This is especially useful for EQ'ing the critical midrange frequency content found in keyboard signals.

Stereo channels 21 through 24, designed for signals that do not require EQ, have a simplified interface consisting of a Level, AUX1 and AUX2 dial. Can you say laptop backing track feeds, drum machines, tone modules, DJ mixers or CD players?

Finally, all four sub-mix buses feature an independent fader (naturally), Solo switch with bright LED, and assign buttons for routing them to Left or Right stereo channels.

Take on the world
Not every town on the planet uses the same voltage common in yours. Unfortunately, this sometimes doesn't occur to jet-setting sound technicians until they're 5,000 miles from home. With the SX2442FX, this is never an issue. The internal autorange power supply can run on anything from 100 to 240 V with noise-free audio, top-quality transient response and low power consumption.

Parallel Effects

  • Cathedral (01-02): Very dense and long reverberation of a large cathedral
  • Plate (03-04): Simulates early plate reverb
  • Concert (05-06): Simulates a small theater or large concert hall
  • Stage (07-08): Very dense reverb, especially for live applications
  • Room (09-10): Simulates room's wall reverb. This particular room has two windows and yellow wallpaper
  • Studio (11-12): Adds spaciousness to the sound
  • Small Hall (13-14): Simulates hallway reverberation
  • Ambience (15-16): Simulates the reverb of a middle-sized room without late reflections
  • Early Reflections (17): Dense reverb with pronounced early reflections
  • Spring Reverb (19-20): Simulates spring reverb
  • Gated Reverb (21-22): Reverb that’s synthetically cutoff
  • Reverse Reverb (23-24): Reverb that slowly gets louder
  • Chorus (25-30): Slight detuning of the original signal
  • Flanger (31-35): A delayed signal is added to the original signal, causing a phase shift
  • Phaser (36-39): Another phase-shift effect
  • Rotary Speaker (40-42): Simulation of a rotating electronic organ speaker
  • Delay (43-52): Delay of the input signal with repetitions
  • Chorus & Reverb (53-54): Combination of chorus and reverb
  • Flanger & Reverb (55-56): Flanger combined with reverb
  • Phaser & Reverb (57-58): Phaser combined with reverb
  • Rotary Speaker & Reverb (59-60): Rotary Speaker effect combined with Reverb
  • Delay & Reverb (61-63): Delay combined with Reverb
  • Delay & Chorus (64-67): Widens the signals and produces repetition effects
  • Delay & Flanger (68-70): Similar to Delay & Chorus, but with audible up/downward modulation

Insert Effects

  • Compressor (71-73): Soft or loud passages are raised or lowered in level respectively
  • Expander (74-76): Noise and hum is reduced in level
  • Gate (77-78): A gate opens for a specific period of time to make a specific signal pass, then closes abruptly
  • Ultramizer (79-80): Compression through automatic adaptation of compression parameters
  • Ultrabass (81-82): Combines sub-harmonics processor, bass exciter, and limiter
  • Panner (83-85): The signal "wanders" between the sides of the stereo basis
  • Exciter (86-88): Adds synthetic harmonics to the signal, resulting in increased presence and "loudness"
  • Auto Filter (89-91): Level-dependent boost of a specific frequency band, similar to auto-wah or electric guitars
  • Tube Distortion (92-93): Simulates the tube distortion of classic guitar amplifiers
  • Guitar Amp (94-97): Guitar amp simulation
  • Vinylizer (98): Adds the clicks and noise of old vinyl records
  • Test Tone (99): 1-kHz test tone. Virtually indistinguishable from some genres of techno.

Behringer SX2442FX Features:

  • Premium ultra-low noise, high-headroom analog mixer
  • 16 state-of-the-art XENYX Mic Preamps
  • Neo-classic "British" 3-band EQs with semi-parametric mid band
  • 4 bus outputs and additional Mono output with sweepable Low Pass filter for subwoofer application
  • 2 independent studio-grade 24-bit stereo FX processors with 99 presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects
  • 9-band stereo graphic EQ allows precise frequency correction of monitor or main mixes
  • FBQ Feedback Detection system instantly reveals critical frequencies
  • Peak LEDs, Mute, Main mix and subgroup routing switches, Solo and PFL functions on all channels
  • Standby switch mutes all channels during breaks while background music is provided via CD/Tape inputs
  • 2 stereo input channels with 4-band EQ plus 2 additional stereo input channels with Level and pre-fader Aux controls
  • Inserts on each mono channel and main mix for connection of outboard equipment
  • 4 Aux sends per channel: 2 pre/post fader switchable for monitoring/FX applications, 2 post fader (for internal FX or as external send)
  • Balanced Main mix outputs with 1/4" jack and gold-plated XLR connectors, separate Control room, Headphone and stereo Tape outputs
  • Solo-In-Place and Pre-Fader-Listen functions 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
  • Dimensions (HxWxD): 3.9" x 26.9" x 16.1"
  • Weight: 19 lbs
  • See documentation for specifications

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