ENGLISH
XENYX 1222FX User Manual
6
ENGLISH
XENYX 1222FX User Manual
7
Equalizer
All mono input channels include a 3-band equalizer. All
bands provide boost or cut of up to 15 dB. In the central
position, the equalizer is inactive.
The circuitry of the British EQs is based on the technology
used in the best-known top-of-the-line consoles and
providing a warm sound without any unwanted side effects.
The result are extremely musical equalizers which, unlike
simple equalizers, cause no side effects such as phase
shifting or bandwidth limitation, even with extreme gain
settings of ±15 dB.
The equalizer of the input channels
Fig. 2.2:
The upper (HIGH) and the lower band (LOW) are shelving
filters that increase or decrease all frequencies above or
below their cut-off frequency. The cut-off frequencies of the
upper and lower band are 12 kHz and 80 Hz respectively.
The mid band is configured as a peak filter with a center
frequency of 2.5 kHz. Unlike shelving filters, the peak filter
processes a frequency range that extends upwards and
downwards around its middle frequency.
Aux sends (MON and FX)
2.1.2
The AUX SEND controls in the channel strips
Fig. 2.3:
Aux sends take signals via a control from one or more
channels and sum these signals to a so-called bus. This bus
signal is sent to an aux send connector and then routed,
for example, to an active monitor speaker or an external
effects device. The return from an external effects device can
then be brought back into the console via the aux return
connectors.
For situations that require effects processing, the aux sends
are usually switched post-fader so that the effects volume in
a channel corresponds to the position of the channel fader.
If this were not the case, the effects signal of the channel
would remain audible even when the fader is turned to zero.
When setting up a monitor mix, the aux sends are generally
switched to pre-fader; i.e. they operate independently of the
position of the channel fader.
Both aux sends are mono, are sourced after the equalizer
and offer up to +15 dB gain.
If you press the MUTE switch
◊
of the respective channel,
aux sends and returns (MON and FX) are not being
muted.
MON
In the 1222FX, aux send 1 (MON) is wired pre-fader and is
thus particularly suitable for setting up monitor mixes.
FX
The aux send labeled
FX
is for feeding external effects
devices and is thus set up to be post-fader.
In the 1222FX, the FX send is routed directly to the built-in
effects processor. To make sure that the effects processor
receives an input signal, you shouldn’t turn this control all
the way to the left (-oo). Don’t have the FX MUTE switch
pressed, and you should also not have the FX SEND fader
pulled down.
Pan, mute switch and channel fader
2.1.3
Channel fader and additional control elements
Fig. 2.4:
PAN
The
PAN
control determines the position of the channel
signal within the stereo image. This control features a
constant-power characteristic, which means the signal
is always maintained at a constant level, irrespective of
position in the stereo panorama.
MUTE
Use the
MUTE
switch to mute the channel. This means that
the channel signal is no longer present in the main mix.
However, the aux sends (MON and FX) remain active.
MUTE LED
The
MUTE
LED indicates that the relevant channel is muted.
CLIP LED
The
CLIP
LED lights up when the input signal is driven too
high. In this case, lower apparent frequency increase on the
channel EQ to avoid distortion. For example, lower the mids
and the highs somewhat to emphasize the bass. If you don’t
wish to change the EQ settings under any circumstances, try
lowering the GAIN control somewhat (counterclockwise).
If you inserted an external effects processor via the insert
connector (e. g. a dynamic processor), then you should also
control its output signal level. It should not be higher than its
input signal level (0 dB).
The channel fader determines the level of the channel signal
in the main mix.
Attention: Since the aux path for the effect processor
◊
is connected post-fader, the channel fader has to be
turned up in order to get this channel’s signal to the
effects processor!
Stereo channels
2.2
Channel inputs
2.2.1
Stereo channel inputs
Fig. 2.5:
Each stereo channel features two line-level inputs on
¼
"
connectors for left and right channels. Channels 9/10
and 11/12 can also be used in mono if you only use the
connector labeled “L.”
Both channels 5/6 and 7/8 feature an additional balanced
XLR input for microphones with ava48 V phantom
power.
All stereo channel strips have a GAIN control for level setting.
In those channels in which a mic input is present in the
channel, the GAIN control has two scales: just like in the
mono channels, there is a 0 to +40 dB scale that shows the
preamplification of the mic signal; the +20 to -20 dB scale
shows the sensitivity for the corresponding input level that is
applied to the line input.
Both inputs can also be used with balanced or unbalanced
connectors.
Equalizer stereo channels
2.2.2
The equalizer of the stereo channels is, of course, stereo. The
filter characteristics and crossover frequencies are the same
as those of the mono channels. A stereo equalizer is always
preferable to two mono equalizers if frequency correction
of a stereo signal is needed. There is often a discrepancy
between the settings of the left and the right channels when
using separate equalizers.
Aux sends stereo channels
2.2.3
In principle, the aux sends of the stereo channels function
in just the same way as those of the mono channels. As aux
send paths are always mono, the signal on a stereo channel
is first summed to mono before it reaches the aux bus.
Balance, mute switch and channel fader
2.2.4
BAL
The function of the
BAL
(ANCE) control corresponds to the
PAN control in the mono channels.
The balance control determines the relative proportion
between the left and right input signals before both signals
are routed to the main stereo mix bus.
The MUTE switch, MUTE LED, CLIP LED and channel fader
function in the same way as the mono channels.
Connector panel and main section
2.3
Whereas 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 one point on
each of the channel strips and then routed to the main
section all together.
Monitor send and FX send channels
2.3.1
Aux send controls of the main section
Fig. 2.6:
+15
+15
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