Behringer Xenyx XL1600, Быстрый старт

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XENYX XL3200/XL2400/XL1600 Quick Start Guide
XENYX XL3200/XL2400/XL1600 Controls
(EN)
Controls
(1)
IEC receptacle.
(2)
FUSE HOLDER.
(3)
POWER – Use the POWER switch to turn on the mixing
console. The POWER switch should always be in the “Off”
position when you are about to connect your unit to
the mains.
(4)
SERIAL NUMBER.
(5)
MIC – The balanced XLR input connects to microphones,
DI boxes and multicores.
(6)
LINE – This is a ¼" jack connector which connects
to line-level signal sources. The input is balanced
(TRS connector) but can also be used with unbalanced
connectors (TS connector).
(7)
INSERT – The INS(ert) connector (¼" stereo
jack connector) is used to connect to external
signal processors.
(8)
DIRECT OUT – This ¼" mono jack connector is a direct
output which taps the signal after the channel fader
to route it to a multi-track recorder, for example.
By modifying the circuit board in the unit, the signal
can also be tapped pre-fader.
(9)
LINE L (MONO), LINE R – The stereo channels consist of
two line inputs (¼" jacks), one for the left and one for the
right channel. The inputs are balanced (TRS connectors),
but it is also possible to connect to unbalanced plugs
(TS connectors). These channels can also be used as
mono channels by connecting to the jack labeled
“L” (left).
(10)
MIC – The stereo channels also consist of XLR inputs for
connecting to microphones DI boxes and multicores.
(11)
+48 V – This is the phantom power for operating
capacitor microphones along with the control LED
located next to the switch and in the Trim section of the
stereo channels.
(12)
OUT A
– The OUT A outputs are balanced XLR connectors
with a nominal operating level of +4 dBu and provide
the main mix signal.
(13)
OUT B – The OUT B outputs provide the MAIN B signal
the volume level of which can be controlled.
(14)
INSERT – Like the channel inserts, the INS(ert)
connectors can be used to hook up a dynamics processor
or equalizer for further processing of the mix signal
on OUT A.
(15)
GROUP OUT 1 - 4 – These four GROUP OUTS
1 – 4 carry the signals of the individual subgroups.
For multi-tracking connect the outputs to the inputs
of a multi-track recorder.
(16)
INSERT – Each subgroup has an insert jack which
is labeled INS. Here you can connect to a noise gate,
compressor or equalizer to process the subgroup signal
as a whole. For example, route your background vocalists
to one subgroup bus and then use a compressor to
bring the vocals closer together. This makes it sound
more like a choir rather than a group of individual
soloists. The insert point is placed before the group
fader, allowing the dynamics processors (noise gate,
compressor, etc.) to be optimally used and not affected
by changes in volume level of the group fader. Please use
an insert cable to connect to the insert point.
(17)
SPEAKERS
– The SPEAKERS outputs provide the same
signal as the headphone outputs. Use these outputs
to hook up monitor speakers. This is helpful when the
mixing console is not located close the performance but
in a separate room, such as a TV control room. It is also
possible to hook up a stage monitor, ideally one identical
to the monitors being used on stage, to listen in on the
sound as perceived from the stage monitors.
(54)
MAIN MUTE – When the MAIN MUTE switch is pressed,
all input channels are muted. The MUTE LED lights up
when the MUTE switch is pressed. Only the CD/TAPE
signal will be routed to the main mix. In this way,
you can prevent the microphones from picking up
unwanted sounds or noise that would interfere with
CD playback during a break. The main mix and channel
faders can remain in their normal positions while
playing back music from CD (using the CD/TAPE inputs,
so you don’t lose your mix.
(55)
MAIN A – Use this high-precision MAIN fader to control
the output level of the main mix.
Depending on the settings of the MAIN B section,
the level of the Main B output is affected by the MAIN
A fader.
(56)
1 MON 2
– The monitor meters indicate the levels of
the monitor buses 1 and 2 in the solo section.
(57)
SOLO – When a SOLO switch is pressed on the mixing
console, not only the corresponding LED lights up,
but also the global SOLO LED.
(58)
PAN – The PAN control adjusts the position within the
stereo image.
(59)
MAIN
– The MAIN switch routes the subgroup signal to
the main mix.
(60)
SOLO – The SOLO switch routes the subgroup signal to
the AFL bus (Solo In Place) or PFL bus (Pre Fader Listen),
so that you can monitor the subgroup signal without
affecting the main or sub output signals.
(61)
CLIP
– The CLIP LED lights up as soon as the subgroup
signal’s level is too high. In this case, pull down the
channels’ faders routed to this group.
(62)
SIG – The SIG LED lights up when a signal is routed to
the subgroup whose level is higher than -20 dB.
(63)
Fader – The subgroup faders adjust the volume
level of the subgroup signal at the subgroup output.
If the MAIN switch is pressed, you can also adjust the
subgroup’s volume level in the main mix.
(64)
MIC – Here you can plug in the microphone for
talkback use.
(65)
LEVEL – The LEVEL control adjusts the volume level of
the talkback signal.
(66)
MON, AUX, GROUP, MAIN – These push-
button switches (MON, AUX, GROUP and MAIN)
determine to which outputs and buses the talkback
signal is to be routed. Then, turn on the talkbalk
microphone. Press and hold down the push-button
switch while speaking into the microphone.
(67)
SOLO LEVEL
– The SOLO LEVEL control adjusts the
volume level of all solo signals routed to the headphone
and loudspeaker outputs.
(68)
PFL/AFL – Press the PFL/AFL switch to change the
solo functionality from PFL mono (pre-fader listen)
to AFL stereo. The LED next to the switch indicates the
selected state. In PFL mode, the signal is tapped before
the fader when pressing the solo switch. In AFL mode,
the signal is tapped behind the fader and in stereo for a
correct positioning within the stereo image.
(69)
LEVEL
– The LEVEL control adjusts the signal in the
main mix, for example, when connecting the CD/tape
inputs to a CD player.
(70)
MAIN – Press the MAIN switch to route the CD signal
to the main output. The CD signal remains audible even
when the MAIN MUTE switch is pressed. This allows you
to play music during performance breaks.
(71)
PHONES/SPEAKER.
(72)
SPKR – The Speaker control adjusts the volume level of
the SPEAKERS outputs.
(73)
SOURCE – The SOURCE push-button switch selects
the signal source for the headphone and loudspeaker
outputs (main or CD/TAPE signal). Pressing a solo
switch routes the solo signal to these outputs and is not
affected by the SOURCE push-button switch.
(74)
LEVEL – The LEVEL control adjusts the volume level of
the signal routed to the MAIN B output.
(75)
STEREO/MONO – The STEREO/MONO switch changes
the Main B signal from mono to stereo depending on
the situation. For example, a mono signal is usually
used for a center cluster.
(76)
PRE/POST – The PRE/POST switch is used to determine
whether the signal is tapped in front or behind the
MAIN A fader.
(77)
FX SEND – This is the master FX SEND control for
adjusting the volume of all FX send signals at the
corresponding FX send jacks and at the inputs of the
built-in effects processor. Use it to control the master
signal of all FX 1/FX 2 signals from the input channels.
When neither of the FX SEND controls is turned up,
the effects processor will not receive a signal.
(78)
MON – Use the MON controls to add an effect signal
to the monitor buses 1 and 2. For this application,
the effects unit needs a signal: turn up the respective
master FX SEND control and the FX send controls on the
channel strips (34) and pull up the channel faders.
(79)
1-2, 3-4 – These selector switches route the effect
signal to the main mix or to the subgroups 1-2 or
3-4. For example, if you create a subgroup for a choir,
you need to feed the effect, which processes the vocal
signal, to the same subgroup so that all signals can be
adjusted equally. In this case it doesn’t matter that the
FX sends are routed post-fader as long as the choir’s
volume level is adjusted with the subgroup fader.
Otherwise, the effect signal is perceived as unaffected
in the main mix.
(80)
MUTE – The MUTE switch mutes the effect return path.
Use this function to deactivate the reverb effect of a
vocalist who makes announcements between songs.
The corresponding MUTE LED indicates that the channel
is muted.
(81)
SOLO – Press the SOLO switch to listen in on the effect
signal on the headphones/speakers as well as see it on
the monitor meter 1/2. The corresponding LED lights up
when the solo function is activated.
(82)
FX RETURN
– The FX return fader adjusts the volume
level of the returned effect signal in the main mix and
subgroups (this depends on the routing switch you
have pressed).
(83)
SEND – The SEND faders control the output level of the
monitor buses. Each fader is 60 mm long and features
10 dB headroom.
(84)
MUTE – Each monitor send has a MUTE switch and
MUTE LED.
(85)
SOLO
– For acoustic control of the stage sound,
use the SOLO switch to feed the monitor signal
to the headphone and speaker output.
(86)
PRE/POST – This is the global PRE/POST switch for
the aux buses. For utmost flexibility, each AUX bus can
individually be switched from pre-fader to post-fader.
(87)
AUX SEND – The Master AUX SEND controls 1 and 2
adjust the signals’ volume level of the respective aux
send connector. This way you adjust the sum of the
AUX 1 and AUX 2 signals on the input channels.
(88)
MUTE – The MUTE switch mutes the aux outputs.
(89)
SOLO – The aux send signals can individually be
listened to using the SOLO function.
(90)
MON – A signal sent from AUX RETURN can be added to
the stage mix using the MON control.
(91)
AUX RETURN
– The AUX RETURN controls adjust the
volume level of the aux return signals in the main mix.
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(18)
IN – The CD/TAPE input connectors are used to hook up
CD players, tape decks or other line-level sources.
(19)
OUT – The CD/TAPE output connectors provide the
stereo main mix signal to a tape deck or DAT recorder to
record your mix. The signal is taken pre-fader so that it
will not be influenced by the fader positions.
(20)
FX 1 and 2 – The FX outputs 1 and 2 provide the signals
of the effects buses 1 and 2. These signals may be sent
to external effects processors and are routed back over
the AUX-RETURN inputs or separate input channels,
for example.
(21)
MON 1 and 2 – The monitor outputs 1 and 2 provide the
signals of the monitor buses. These signals may be be
sent to stage loudspeakers. To prevent interference due
to the long cables being used between stage and mixing
console, the outputs are balanced XLR connectors.
What΄s more, you have the right connectors when
working with multicores.
(22)
AUX 1 and 2 – The AUX outputs 1 and 2 provide the
signals of the AUX buses 1 and 2. You can switch these
buses pre-fader and post-fader so that they may be
used for effects as well as for monitor applications.
(23)
AUX RETURN – The stereo AUX inputs 1 und 2 let
you connect the mixer to additional equipment
(players, effects processors, submixers, etc.). The signal
is sent to the signal sum.
(24)
FX RETURN – The stereo FX RETURN connectors 1 and 2
are linked to the outputs of external effects processors.
Depending on the routing, the signals are sent to the
subgroup or the main mix bus.
(25)
LAMPS
– The LAMPS plugs are for connecting gooseneck
lamps with BNC connectors. The power supply is 12 V
_
and the total connection load is 5 Watts a lamp.
(26)
PHONES – The PHONES outputs (¼" stereo jacks) let you
plug in your headphones.
(27)
Trim – The TRIM control adjusts the input gain.
(28)
80 Hz – Press the 80 Hz switch to activate the
high-pass filter which blends out low-frequency noise
(-3 dB at 80 Hz, 18 dB/octave).
(29)
HIGH – The high-frequency range is processed with a
shelving filter above 12 kHz.
(30)
HIGH MID – A semi-parametric peak filter processes
the upper mid range between 400 Hz and 8 kHz. The FRE
control selects the frequency which is boosted or cut by
using the HIGH MID control.
(31)
LOW MID
– A second semi-parametric peak filter
processes the upper mid range. The FREQ control selects
the frequency which is boosted or cut by using the
HIGH MID control.
(32)
LOW – The low-frequency range is processed with a
shelving filter below 80 Hz.
(33)
EQ
– The EQ push-button switch activates the equalizer.
Toggle the EQ to give you a quick comparison between
unprocessed and processed signal.
(34)
FX 1 and FX 2 – The FX buses are used as send paths
to external effects units. The signal is usually tapped
after the channel fader and therefore is affected by the
position of the channel fader. The FX control adjusts the
volume level of the channel signal to the effects unit.
(35)
PRE – Press the PRE switch to change the routing of both
effects paths from “post-fader” to “pre-fader.”
(36)
Monitor 1 and 2: – The monitor buses are used as
send paths to stage monitors. The monitor sends are
hardwired pre-fader. This means the volume level
of the monitor mix is not affected when using the
channel fader.
The MON control adjusts the volume level of the channel
signal in the monitor buses.
(37)
AUX
– The aux buses are used as additional, flexible send
paths for various applications.
(38)
PAN – The PAN control determines the position of the
channel signal in the stereo mix as well as the subgroup
to which the channel signal is routed.
(39)
MUTE
– The MUTE switch mutes the channel. This means
that the channel signal has been removed from the main
mix and subgroups. At the same time the FX, monitor
and aux paths of the respective channel are muted as
well. The corresponding MUTE LED indicates that the
channel has been muted.
(40)
SOLO
– Use the solo function to listen in on a channel.
Press the channel΄s SOLO switch to hear the signal
on your headphones. Simultaneously, the monitor
meter 1/2 switches to the solo signal, allowing you to
level the signal correctly (see chapter X). The signal to
be listened in on is tapped either before (PFL, mono)
or behind (AFL, stereo) the channel fader and the pan
control (depending on the state of the PFL/AFL switch.
The corresponding LED lights up when the solo function
is activated.
(41)
CLIP – The CLIP LED lights up as soon as the channel΄s
level is too high. In this case, reduce the channel΄s input
amplification with the TRIM control.
(42)
SIG – The SIG LED lights up when a channelws signal is
higher than -20 dB. The LED is not affected by the fader.
The signals are indicated even when the fader is pulled
down and the channel is muted.
(43)
Fader – The channel fader adjusts the level of the
channel signal as part of the main mix (or submix).
(44)
1-2, 3-4, MIX – The routing switch routes the signal
to the respective subgroup or the main mix or both.
The XENYX features 4 subgroups. The PAN control
determines the group to which the signal is routed
(fully left: Sub 1 or 3, fully right: Sub 2 or 4).
(45)
MIC TRIM – The MIC TRIM control adjusts amplification
of the microphone input. The amplification ranges
between 0 and +60 dB.
(46)
80 Hz – Press the 80 Hz switch to activate the high-pass
filter which blends out low-frequency noise (-3 dB at
80 Hz, 18 dB/octave).
(47)
LINE TRIM – The LINE TRIM control adjusts the
amplification of the LINE input, ranging between
-20 and +20 dB. When centered (at 12 o΄clock),
the line signal is neither boosted nor cut.
(48)
HIGH – The HIGH control of the EQ section adjusts the
high-frequency range of the respective channel. This is
a shelving filter which boosts and cuts the frequencies
above 12 kHz.
(49)
HIGH MID
– The HIGH MID control adjusts the mid
frequency range. This is a peak filter which boosts and
cuts the frequencies centered at 3 kHz.
(50)
LOW MID – The LOW MID control adjusts the mid
frequency range. This is a peak filter which boosts and
cuts the frequencies centered at 300 Hz.
(51)
LOW
– The LOW control adjusts the low-frequency
range. This is a shelving filter which boosts and cuts the
frequencies below 80 Hz.
(52)
EQ – The EQ push-button switch activates the equalizer.
Toggle the EQ to give you a quick comparison between
unprocessed and processed signal.
The aux and FX paths of the stereo channels work
in principle the same way as the mono channels.
Since the aux buses are mono, the stereo signal needs
to be converted to a mono signal before being routed to
these buses.
(53)
BAL(ANCE)
– The BAL(ANCE) control adjusts the mix
of the left and right output signal before both signals
are routed to the MAIN A output. This way the left and
right volume level of the mixer sum can individually be
adjusted if necessary.