16XENYX XL3200/XL2400/XL1600

XENYX XL3200/XL2400/XL1600 Controls

17Quick Start Guide

(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.

(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.

(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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