XENYX 1202FX/1002FX User Manual, Page 8
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8 XENYX 1202FX/1002FX User Manual
FX SEND
The FX SEND connector outputs the signal you picked up from the individual
channels using the FX controls. You can connect this to the input of an external
effects device in order to process the FX bus’ master signal. Once an effects mix is
created, the processed signal can then be routed from the effects device outputs
back into a stereo input.
If the connected effects processor receives no input signal, the FX SEND ◊
control is probably too low. This also goes for the built-in
effects processor.
Adjust your external effects processor to 100% wet (effects signal only), ◊
because the effects signal is added to the main mix along with the
“dry” channel signals.
In this instance, the FX control of the channel being used as an effects ◊
return should be turned fully counterclockwise, otherwise feedback
problems can occur!
PHONES/CONTROL ROOM OUT
The stereo PHONES connector (at the top of the connector panel) is where
headphones are connected. The unbalanced CONTROL ROOM OUT connectors
carry the summed effects and main mix signals as well as soloed channel signals.
The PHONES/CONTROL ROOM control in the main section adjusts the level of both
headphones and main monitor outputs.
MAIN OUT
The MAIN OUT connectors are unbalanced mono connectors. The main mix
signal appears here at a level of 0 dBu. The MAIN MIX fader adjusts the volume of
these outputs. Depending on how you wish to use your mixer and which gear you
own, you can connect the following equipment:
Live PA systems:
A stereo dynamics processor (optional), stereo equalizer (optional) and the stereo
power amplifier for full-range loudspeakers with passive crossovers.
If you wish to use multi-way loudspeaker systems without an integrated
crossover, you have to use an active crossover and several power amplifiers.
Often, limiters are already built into active crossovers (e.g. BEHRINGER
SUPER-X PRO CX2310 and ULTRADRIVE PRO DCX2496). Active crossovers are
implemented directly before the power amplifier, and they divide the frequency
range into several segments that are first amplified in the amplifiers and then
passed on to the corresponding loudspeakers.
Recording:
For mastering, using a stereo compressor such as the COMPOSER PRO-XL
MDX2600 can be recommended. Use it to custom-tailor the dynamic
characteristics of your signal to the dynamic range of the recording equipment
you are using. The signal is in this case passed on from the compressor into
the recorder.
CD/TAPE INPUT
The CD/TAPE INPUTs are used to bring an external signal source (e.g. CD player,
tape deck, etc.) into the console. They can also be used as a standard stereo line
input, so the output of a second XENYX or BEHRINGER ULTRALINK PRO MX882 can
be connected. Alternatively the line or tape output of a hi-fi amplifier with source
selection switch could also be hooked up here, allowing you to easily listen to
additional sources (e.g. cassette recorder, minidisk player, sound card etc.).
TAPE OUTPUT
These connections are laid out as RCA connectors and are wired parallel to
MAIN OUT. Connect the inputs of a computer sound card or a recorder here.
The output signal level is set up using the highly accurate MAIN MIX fader.
Main section2.4
+48 V
The red “+48 V” LED lights up when the phantom
power is turned on. Phantom power is required to
operate condenser microphones and is activated
using the +48 V switch located above the
+48 V LED.
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 loud speakers
should be muted before you activate the
phantom power supply. After switching
on, wait approx. one minute to allow for
system stabilization.
Caution! You must never use unbalanced ◊
XLR connectors (PIN 1 and 3 connected)
on the MIC input connectors if you want to
use the phantom power supply.
POWER
The blue POWER LED indicates that the console is powered on.
LEVEL INDICATOR
The 4-segment display accurately displays the relevant signal level.
LEVEL SETTING:
To correctly set the gains of the channels, first set the LEVEL controls of the input
channels to their center positions. Then use the TRIM controls to increase the
input amplification until signal peaks show 0 dB on the level meter.
When recording to digital recorders, the recorder’s peak meter should not go into
overload. While analog recorders can be overloaded to some extent, creating only
a certain amount of distortion, digital recorders distort quickly when overloaded.
In addition, digital distortion is not only undesirable, but also renders your
recording completely useless.
When recording to an analog device, the VU meters of the recording machine
should reach approx. +3 dB with low-frequency signals (e.g. kick drum). Due to
their inertia VU meters tend to display too low a signal level at frequencies above
1 kHz. This is why, for example, a Hi-Hat should only be driven as far as -10 dB.
Snare drums should be driven to approx. 0 dB.
The CLIP-LED’s of your XENYX display the level virtually independent ◊
of frequency. A recording level of 0 dB is recommended for all
signal types.
Fig. 2.4: Control elements of the
main section