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XENYX X1222USB User Manual
LOW CUT
The mono channels of the mixing consoles have a high-slope LOW CUT filter for
eliminating unwanted, low-frequency signal components (80 Hz, 18 dB/octave).
GAIN
Use the GAIN control to adjust the input gain. This control should always be
turned fully counter-clockwise whenever you connect or disconnect a signal
source to one of the inputs.
The scale has 2 different value ranges: the first value range (+10 to +60 dB)
refers to the MIC input and shows the amplification for the signals fed in there.
The second value range (+10 to -40 dB) refers to the line input and shows
its sensitivity. The settings for equipment with standard line-level signals
(-10 dBV or +4 dBu) look like this: While the GAIN control is turned all the way
down, connect your equipment. Set the GAIN control to the external devices’
standard output level. If that unit has an output signal level display, it should
show 0 dB during signal peaks. For +4 dBu, turn up GAIN slightly, for -10 dBV a
bit more. Tweaking is done using the LEVEL SET LED.
LEVEL SET
This LED lights up when the optimum operating signal level is achieved.
During normal use, this LED should only light up during signal peaks.
COMPRESSOR
Each mono channel features a built-in compressor which lowers the dynamic
range of the signal and increases its perceived loudness. The loud peaks are
squashed down and the quiet sections are boosted.
Turn the COMP knob clockwise to add more compression effect. The adjacent LED
with light when the effect is engaged.
2.1.2 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.
Fig. 2.2: The equalizer of the input channels
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.
2.1.3 Aux sends (MON and FX)
Fig. 2.3: The AUX SEND controls in the channel strips
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 X1222USB, 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 X1222USB, 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.
2.1.4 Pan, mute switch and channel fader
Fig. 2.4: Channel fader and additional control elements
