Manual Behringer Xenyx XL1600 (page 7 of 18) (English, German, French, Portuguese, Spanish)

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12 13XENYX 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 “O”

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 aected

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 aected 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

aecting 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

aected 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 eects 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eects processor will not receive a signal.

(78) MON – Use the MON controls to add an eect signal

to the monitor buses 1 and 2. For this application,

the eects 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 eect

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 eect, 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 eect signal is perceived as unaected

in the main mix.

(80) MUTE – The MUTE switch mutes the eect return path.

Use this function to deactivate the reverb eect 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 eect

signal on the headphones/speakers as well as see it on

the monitor meter ½. 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 eect 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 exibility, 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 inuenced by the fader positions.

(20) FX 1 and 2 – The FX outputs 1 and 2 provide the signals

of the eects buses 1 and 2. These signals may be sent

to external eects 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eects 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,eects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 eects 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 lter 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 lter above 12 kHz.

(30) HIGH MID – A semi-parametric peak lter 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 lter

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 lter 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 eects units. The signal is usually tapped

after the channel fader and therefore is aected by the

position of the channel fader. The FX control adjusts the

volume level of the channel signal to the eects unit.

(35) PRE – Press the PRE switch to change the routing of both

eects 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 aected 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, exible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 ½ 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

amplication with the TRIM control.

(42) SIG – The SIG LED lights up when a channelws signal is

higher than -20 dB. The LED is not aected 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 amplication

of the microphone input. The amplication ranges

between 0 and +60 dB.

(46) 80 Hz – Press the 80 Hz switch to activate the high-pass

lter which blends out low-frequency noise (-3 dB at

80Hz, 18 dB/octave).

(47) LINE TRIM – The LINE TRIM control adjusts the

amplication 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 lter 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 lter 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 lter which boosts and

cuts the frequencies centered at 300Hz.

(51) LOW – The LOW control adjusts the low-frequency

range. This is a shelving lter 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.

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