IMPORTANT SAFETY INSTRUCTIONS DETAILED SAFETY INSTRUCTIONS: 1) Read thee intruction. 2) Keep thee intruction. 3) Heed all warning. 4) Follow all intru

Transcription

1 Uer Manual Verion 1.0 January 2006 ENGLISH

2 IMPORTANT SAFETY INSTRUCTIONS DETAILED SAFETY INSTRUCTIONS: 1) Read thee intruction. 2) Keep thee intruction. 3) Heed all warning. 4) Follow all intruction. CAUTION: WARNING: To reduce the rik of electric hock, do not remove the top cover (or the rear ection). No uer erviceable part inide; refer ervicing to qualified peronnel. To reduce the rik of fire or electric hock, do not expoe thi appliance to rain and moiture. The apparatu hall not be expoed to dripping or plahing and no object filled with liquid, uch a vae, hall be placed on the apparatu. Thi ymbol, wherever it appear, alert you to the preence of uninulated dangerou voltage inide the encloure voltage that may be ufficient to contitute a rik of hock. Thi ymbol, wherever it appear, alert you to important operating and maintenance intruction in the accompanying literature. Pleae read the manual. 5) Do not ue thi apparatu near water. 6) Clean only with dry cloth. 7) Do not block any ventilation opening. Intall in accordance with the manufacturer intruction. 8) Do not intall near any heat ource uch a radiator, heat regiter, tove, or other apparatu (including amplifier) that produce heat. 9) Do not defeat the afety purpoe of the polarized or grounding-type plug. A polarized plug ha two blade with one wider than the other. A grounding type plug ha two blade and a third grounding prong. The wide blade or the third prong are provided for your afety. If the provided plug doe not fit into your outlet, conult an electrician for replacement of the obolete outlet. 10) Protect the power cord from being walked on or pinched particularly at plug, convenience receptacle, and the point where they exit from the apparatu. 11) Only ue attachment/acceorie pecified by the manufacturer. 12) Ue only with the cart, tand, tripod, bracket, or table pecified by the manufacturer, or old with the apparatu. When a cart i ued, ue caution when moving the cart/apparatu combination to avoid injury from tip-over. 13) Unplug thi apparatu during lightning torm or when unued for long period of time. 14) Refer all ervicing to qualified ervice peronnel. Servicing i required when the apparatu ha been damaged in any way, uch a power upply cord or plug i damaged, liquid ha been pilled or object have fallen into the apparatu, the apparatu ha been expoed to rain or moiture, doe not operate normally, or ha been dropped. 15) CAUTION - Thee ervice intruction are for ue by qualified ervice peronnel only. To reduce the rik of electric hock do not perform any ervicing other than that contained in the operation intruction unle you are qualified to do o. 2

3 XENYX Premium 16-Input 2/2-Bu Mixer with XENYX Mic Preamp, Britih EQ, 24-Bit Multi-FX Proceor and USB/Audio Interface Premium ultra low-noie, high headroom analog mixer 4 tate-of-the-art XENYX Mic Preamp comparable to tandalone boutique preamp Neo-claic Britih 3-band EQ for warm and muical ound 1222FX Studio-grade 24-bit tereo FX proceor with 100 aweome preet including reverb, choru, flanger, delay, pitch hifter and variou multi-effect USB/Audio Interface included to connect directly to your computer 7-band tereo graphic EQ allow precie frequency correction of monitor or main mixe Revolutionary FBQ Feedback Detection Sytem intantly reveal critical frequencie Breathtaking XPQ 3D tereo urround effect for more vitality and enhanced tereo image Voice Canceller function for eay-to-ue ing-along application 4 fully equipped tereo input channel featuring 2 additional mic input on channel 5/6 and 7/8, 3-band EQ and input trim control Channel inert on each mono channel for flexible connection of outboard equipment 2 aux end per channel: 1 pre fader for monitoring, 1 pot fader (for internal FX and/or a external end); 2 multi-functional tereo aux return Balanced main mix output with gold-plated XLR connector, headphone/control room output and tereo tape output Long-wearing 60-mm logarithmic-taper fader and ealed rotary control Internal autorange power upply for maximum flexibility ( V~), noie-free audio, uperior tranient repone plu low power conumption for energy aving Rack mount bracket included for ultimate flexibility High-quality component component and exceptionally rugged contruction enure long life Conceived and deigned by BEHRINGER Germany 3

4 FOREWORD Dear Cutomer, I m ure you re one of thoe people who have devoted themelve body and oul to your choen area and no doubt thi ha made you an expert in your field. Well, for over 30 year, my paion ha been muic and electronic. Thi not only led me to etablih BEHRINGER, but alo enabled me to hare my enthuiam with our employee. During all the year I ve been involved with tudio technology and end uer, I have developed a feel for the thing that really count, uch a ound quality, reliability and eae of ue. What i more, I have alway had the deire to tet the boundarie of what i technically feaible. It wa preciely thi motivation that prompted me to tart work on a new erie of mixing conole. Since our EURORACK had already et new tandard world-wide, I knew the development objective behind the next generation of mixing conole had to be epecially ambitiou. Thu, the concept and deign of the new XENYX mixing conole bear my ignature. The deign work, the entire circuit diagram and PCB development, and even the mechanical concept are my own work. I carefully elected each individual component with the aim of puhing the mixing conole combining analog and digital technologie to their limit. My viion wa to enable you, the uer, to give free rein to your true potential and creativity. The reult i mixing conole that combine incredible performance with intuitive operability. They cannot fail to impre with their extremely flexible routing poibilitie plu a fantatic wealth of function. Innovative technologie, uch a the completely new XENYX Mic Preamp and the Britih EQ, guarantee optimum ound quality. And extraordinarily high-quality component provide unrivalled reliability, even under extreme load. Thank to the quality and eae of ue of your new XENYX mixing conole you ll oon come to appreciate that I, both peronally and in my capacity a muician and ound engineer, put you, the end uer, firt and that thee product were only poible becaue of the paion and the attention to detail that went into them. Thank you for the confidence you have placed in u by purchaing the XENYX mixing conole. I hould alo like to thank all thoe who, with their peronal commitment and paion, have helped me create thi impreive erie of mixing conole. Kindet regard, Uli Behringer TABLE OF CONTENTS 1. INTRODUCTION General mixing conole function The uer manual Before you get tarted Shipment Initial operation Online regitration CONTROL ELEMENTS AND CONNECTORS Mono channel Microphone and line input Equalizer Aux end (MON and FX) Pan, mute witch and channel fader Stereo channel Channel input Equalizer tereo channel Aux end tereo channel Balance, mute witch and channel fader Connector panel and main ection Monitor end and FX end channel Monitor end and FX end connector Aux return connector CD/tape return channel, voice canceller and connection ocket Main mix, main out connector and headphone connector Level meter and level etting Graphic 7-band equalizer Rear view of 1222FX DIGITAL EFFECTS PROCESSOR AND XPQ SURROUND FUNCTION Digital effect proceor XPQ urround function INSTALLATION Rack mounting Cable connection Audio connection SPECIFICATIONS WARRANTY INTRODUCTION Congratulation! In purchaing the BEHRINGER XENYX you have acquired a mixer whoe mall ize belie it incredible veratility and audio performance. The XENYX Serie repreent a miletone in the development of mixing conole technology. With the new XENYX microphone preamp including phantom power a an option, balanced line input and a powerful effect ection, the mixing conole in the XENYX Serie are optimally equipped for live and tudio application. Owing to tate-of-the-art circuitry your XENYX conole produce a warm analog ound that i unrivalled. With the addition of the latet digital technology thee bet-in-cla conole combine the advantage of both analog and digital technology INTRODUCTION

5 FBQ Feedback Detection Sytem The FBQ Feedback Detection Sytem, integrated into the graphic equalizer, i one of the mot outtanding characteritic of thi mixing conole. Thi ingeniou circuitry let you immediately recognize and eliminate feedback frequencie. The FBQ Feedback Detection Sytem ue the LED in the frequency band fader of the graphic EQ to indicate the critical frequencie. Thi way, what once ued to be a labor-intenive earch for feedback frequencie i now an activity that even a child could mater. The microphone channel feature high-end XENYX Mic Preamp that compare well with cotly outboard preamp in term of ound quality and dynamic and boat the following feature: 130 db dynamic range for an incredible amount of headroom A bandwidth ranging from below 10 Hz to over 200 khz for crytal-clear reproduction of even the finet nuance The extremely low-noie and ditortion-free circuitry guarantee abolutely natural and tranparent ignal reproduction They are perfectly matched to every conceivable microphone with up to 60 db gain and +48 volt phantom power upply They enable you to ue the greatly extended dynamic range of your 24-bit/192 khz HD recorder to the full, thereby maintaining optimal audio quality Britih EQ The equalizer ued for the XENYX Serie are baed on the legendary circuitry of top-notch conole made in Britain, which are renowned throughout the world for their incredibly warm and muical ound character. Even with extreme gain etting thee equalizer enure outtanding audio propertie. Multi-effect proceor Additionally, your XENYX mixing conole ha an effect proceor with 24-bit A/D and D/A converter included, which give you 100 preet producing firt-cla reverb, delay and modulation effect plu numerou multi-effect in excellent audio quality. The XENYX mixing conole are equipped with a tate-of-theart witched-mode power upply (SMPS). Unlike conventional circuitry an SMPS provide an optimum upply current regardle of the input voltage. And thank to it coniderably higher efficiency a witched-mode power upply ue le energy than conventional power upplie. USB/Audio interface The USB interface upplied with the unit i a perfect match for the XENYX Serie and erve a a powerful recording interface to your PC or MAC. It upport the digital tranmiion of ignal on up to four channel with max. 48 khz and extremely low latency. When wired to the CD/TAPE INPUT and OUTPUT connector, the interface tranfer the tereo mix from the conole directly to a computer. Both the recording ignal and the playback ignal from the computer can be monitored at the ame time. In thi way, you can ue everal recording run to produce complete multi-track recording. CAUTION! + We would like to draw your attention to the fact that extreme volume may damage your hearing and/or your headphone or loudpeaker. Turn the MAIN MIX fader and the PHONES control in the main ection fully down before you witch on the unit. Alway be careful to et the appropriate volume. XENYX 1222FX 1.1 General mixing conole function A mixing conole fulfil three main function: Signal proceing: Preamplification Microphone convert ound wave into voltage that ha to be amplified everal-fold; then, thi voltage i turned into ound that i reproduced in a loudpeaker. Becaue microphone capule are very delicate in their contruction, output voltage i very low and therefore uceptible to interference. Therefore, mic ignal voltage i amplified directly at the mixer input to a higher ignal level that i le prone to interference. Thi higher, interference-afe ignal level ha to be achieved through amplification uing an amplifier of the highet quality in order to amplify the ignal and add a little noie to it a poible. The XENYX Mic Preamp perform thi role beautifully, leaving no trace of noie or ound coloration. Interference that could take place at the preamplification level could affect ignal quality and purity, and would then be paed on to all other device, reulting in inaccurate ounding program during recording or playback. Level-etting Signal fed into the mixer uing a DI-box (Direct Injection) or the output of a ound card or a keyboard, often have to be adjuted to the operating level of your mixing conole. Frequency repone correction Uing the equalizer found in each channel trip, you can imply, quickly and effectively adjut the way a ignal ound. Effect mixing In addition to the effect proceor contained in your mixer, uing the inert connector on the mono channel and both aux bue let you inert additional ignal proceor into your ignal path. Signal ditribution: Individual ignal adjuted at each channel trip are laid out at the aux end and return, and are either fed into external effect proceor or fed back to the internal effect proceor. Then, the ignal are brought back into the main mix either via the aux return connector or via direct internal wiring. The mix for the on-tage muician i alo created uing the aux end (monitor mix). Similarly, for example, ignal for recording equipment, power amplifier, headphone and 2-track output can alo be taken. Mix: All other mixing conole function fall under thi vital category. Creating a mix mean primarily adjuting the volume level of individual intrument and voice to one another a well a giving them the appropriate weight within the overall frequency pectrum. Likewie, you ll have to enibly pread individual voice acro the tereo image of a ignal. At the end of thi proce, adjuting the level of the entire mix to other equipment in the ignal path i required (e. g. recorder/croover/amplifier). The interface of BEHRINGER mixing conole i optimized for thee tak, enabling you to eaily keep track of the ignal path. 1.2 The uer manual The uer manual i deigned to give you both an overview of the control, a well a detailed information on how to ue them. In order to help you undertand the link between the control, we have arranged them in group according to their function. If you need to know more about pecific iue, pleae viit our webite at Additional information and explanation about variou muic indutry/audio technology terminology can be found on individual product page a well a in the gloary in the ULTRANET area of 1. INTRODUCTION 5

6 + The block diagram upplied with the mixing conole give you an overview of the connection between the input and output, a well a the aociated witche and control. For the moment, jut try and trace the ignal path from the microphone input to the MON SEND connector. Don t be put off by the huge range of poibilitie; it eaier than you think! If you look at the overview of the control at the ame time, you ll be able to quickly familiarize yourelf with your mixing conole and you ll oon be making the mot of all it many poibilitie. 1.3 Before you get tarted 2. CONTROL ELEMENTS AND CONNECTORS Thi chapter decribe the variou control element of your mixing conole. All control, witche and connector will be dicued in detail. 2.1 Mono channel Microphone and line input Shipment Your mixing conole wa carefully packed in the factory to guarantee afe tranport. Neverthele, we recommend that you carefully examine the packaging and it content for any ign of phyical damage, which may have occurred during tranit. + If the unit i damaged, pleae do NOT return it to u, but notify your dealer and the hipping company immediately, otherwie claim for damage or replacement may not be granted Initial operation Be ure that there i enough pace around the unit for cooling purpoe and to avoid over-heating. Pleae do not place your mixing conole on high-temperature device uch a radiator or power amp. The conole i connected to the main via the upplied power cable. The conole meet the required afety tandard. Blown fue mut only be replaced by fue of the ame type and rating. + Pleae note that all unit mut be properly grounded. For your own afety, you hould never remove any ground connector from electrical device or power cable, or render them inoperative. + Pleae enure that only qualified people intall and operate the mixing conole. During intallation and operation, the uer mut have ufficient electrical contact to earth, otherwie electrotatic dicharge might affect the operation of the unit Online regitration Pleae do remember to regiter your new BEHRINGER equipment right after your purchae by viiting (alternatively and kindly read the term and condition of our warranty carefully. Should your BEHRINGER product malfunction, our goal i to have it repaired a quickly a poible. To arrange for warranty ervice, pleae contact the retailer from whom the equipment wa purchaed. Should your BEHRINGER dealer not be located in your vicinity, you may directly contact one of our ubidiarie. Correponding contact information i included in the original equipment packaging (Global Contact Information/European Contact Information). Should your country not be lited, pleae contact the ditributor nearet you. A lit of ditributor can be found in the upport area of our webite ( Regitering your purchae and equipment with u help u proce your repair claim quicker and more efficiently. Thank you for your cooperation! Fig. 2.1: Connector and control of mic/line input MIC Each mono input channel offer a balanced microphone input via the XLR connector and alo feature witchable +48 V phantom power upply for condener microphone. The XENYX preamp provide unditorted and noie-free gain a i typically known only from cotly outboard preamp. + Pleae mute your playback ytem before you activate the phantom power upply to prevent witch-on thump being directed to your loudpeaker. Pleae alo note the intruction in chapter 2.5 Rear view of 1222FX. LINE IN Each mono input alo feature a balanced line input on a 1/4" connector. Unbalanced device (mono jack) can alo be connected to thee input. + Pleae remember that you can only ue either the microphone or the line input of a channel at any one time. You can never ue both imultaneouly! INSERT Inert point enable the proceing of a ignal with dynamic proceor or equalizer. They are ourced pre-fader, pre-eq and pre-aux end. Unlike reverb or other effect device, whoe ignal are uually added to the dry ignal, dynamic proceor are mot effective on the complete ignal. In thi cae, aux end path are a le-than-perfect olution. It i better to interrupt the ignal path and inert a dynamic proceor and/or equalizer. After proceing, the ignal i routed back to the conole at preciely the ame point it left. However, the channel ignal path i interrupted only if a plug i inerted into the correponding jack (tereo phone plug: tip = ignal output; ring = return input). All mono input channel are equipped with inert. Inert can alo be ued a pre-eq direct output, without interrupting the ignal path. To thi end, you will need a cable fitted with mono phone plug on the tape machine or effect device end, and a bridged tereo phone plug on the conole ide (tip and ring connected) CONTROL ELEMENTS AND CONNECTORS

7 LOW CUT The mono channel of the mixing conole have a high-lope LOW CUT filter for eliminating unwanted, low-frequency ignal component (80 Hz, 18 db/octave). TRIM Ue the TRIM control to adjut the input gain. Thi control hould alway be turned fully counter-clockwie whenever you connect or diconnect a ignal ource to one of the input. The cale ha 2 different value range: the firt value range (+10 to +60 db) refer to the MIC input and how the amplification for the ignal fed in there. The econd value range (+10 to -40 db) refer to the line input and how it enitivity. The etting for equipment with tandard line-level ignal (-10 dbv or +4 dbu) look like thi: While the TRIM control i turned all the way down, connect your equipment. Set the TRIM control to the external device tandard output level. If that unit ha an output ignal level diplay, it hould how 0 db during ignal peak. For +4 dbu, turn up TRIM lightly, for -10 dbv a bit more. Tweaking i done uing the LEVEL SET LED. LEVEL SET Thi LED light up when the optimum operating ignal level i achieved. During normal ue, thi LED hould only light up during ignal peak Equalizer All mono input channel include a 3-band equalizer. All band provide boot or cut of up to 15 db. In the central poition, the equalizer i inactive. The circuitry of the Britih EQ i baed on the technology ued in the bet-known top-of-the-line conole and providing a warm ound without any unwanted ide effect. The reult are extremely muical equalizer which, unlike imple equalizer, caue no ide effect uch a phae hifting or bandwidth limitation, even with extreme gain etting of ±15 db. Aux end take ignal via a control from one or more channel and um thee ignal to a o-called bu. Thi bu ignal i ent to an aux end connector and then routed, for example, to an active monitor peaker or an external effect device. The return from an external effect device can then be brought back into the conole via the aux return connector. For ituation that require effect proceing, the aux end are uually witched pot-fader o that the effect volume in a channel correpond to the poition of the channel fader. If thi were not the cae, the effect ignal of the channel would remain audible even when the fader i turned to zero. When etting up a monitor mix, the aux end are generally witched to pre-fader; i.e. they operate independently of the poition of the channel fader. Both aux end are mono, are ourced after the equalizer and offer up to +15 db gain. + If you pre the MUTE witch of the repective channel, aux end and return (MON and FX) are not being muted. MON In the 1222FX, aux end 1 (MON) i wired pre-fader and i thu particularly uitable for etting up monitor mixe. FX The aux end labeled FX i for feeding external effect device and i thu et up to be pot-fader. In the 1222FX, the FX end i routed directly to the built-in effect proceor. To make ure that the effect proceor receive an input ignal, you houldn t turn thi control all the way to the left (-oo). Don t have the FX MUTE witch preed, and you hould alo not have the FX SEND fader pulled down Pan, mute witch and channel fader Fig. 2.2: The equalizer of the input channel The upper (HIGH) and the lower band (LOW) are helving filter that increae or decreae all frequencie above or below their cut-off frequency. The cut-off frequencie of the upper and lower band are 12 khz and 80 Hz repectively. The mid band i configured a a peak filter with a center frequency of 2.5 khz. Unlike helving filter, the peak filter procee a frequency range that extend upward and downward around it middle frequency Aux end (MON and FX) Fig. 2.3: The AUX SEND control in the channel trip Fig. 2.4: Channel fader and additional control element PAN The PAN control determine the poition of the channel ignal within the tereo image. Thi control feature a contant-power characteritic, which mean the ignal i alway maintained at a contant level, irrepective of poition in the tereo panorama. MUTE Ue the MUTE witch to mute the channel. Thi mean that the channel ignal i no longer preent in the main mix. However, the aux end (MON and FX) remain active. MUTE LED The MUTE LED indicate that the relevant channel i muted. 2. CONTROL ELEMENTS AND CONNECTORS 7

8 CLIP LED The CLIP LED light up when the input ignal i driven too high. In thi cae, lower apparent frequency increae on the channel EQ to avoid ditortion. For example, lower the mid and the high omewhat to emphaize the ba. If you don t wih to change the EQ etting under any circumtance, try lowering the TRIM control omewhat (counterclockwie). If you inerted an external effect proceor via the inert connector (e. g. a dynamic proceor), then you hould alo control it output ignal level. It hould not be higher than it input ignal level (0 db). The channel fader determine the level of the channel ignal in the main mix. + Attention: Since the aux path for the effect proceor i connected pot-fader, the channel fader ha to be turned up in order to get thi channel ignal to the effect proceor! 2.2 Stereo channel Channel input Aux end tereo channel In principle, the aux end of the tereo channel function in jut the ame way a thoe of the mono channel. A aux end path are alway mono, the ignal on a tereo channel i firt ummed to mono before it reache the aux bu Balance, mute witch and channel fader BAL The function of the BAL(ANCE) control correpond to the PAN control in the mono channel. The balance control determine the relative proportion between the left and right input ignal before both ignal are routed to the main tereo mix bu. The MUTE witch, MUTE LED, CLIP LED and channel fader function in the ame way a the mono channel. 2.3 Connector panel and main ection Wherea it wa ueful to trace the ignal flow from top to bottom in order to gain an undertanding of the channel trip, we now look at the mixing conole from left to right. The ignal are, o to peak, collected from one point on each of the channel trip and then routed to the main ection all together Monitor end and FX end channel Fig. 2.5: Stereo channel input Each tereo channel feature two line-level input on 1/4" connector for left and right channel. Channel 9/10 and 11/12 can alo be ued in mono if you only ue the connector labeled L. Both channel 5/6 and 7/8 feature an additional balanced XLR input for microphone with available +48 V phantom power. All tereo channel trip have a TRIM control for level etting. In thoe channel in which a mic input i preent in the channel, the TRIM control ha two cale: jut like in the mono channel, there i a 0 to +40 db cale that how the preamplification of the mic ignal; the +20 to -20 db cale how the enitivity for the correponding input level that i applied to the line input. Both input can alo be ued with balanced or unbalanced connector Equalizer tereo channel The equalizer of the tereo channel i, of coure, tereo. The filter characteritic and croover frequencie are the ame a thoe of the mono channel. A tereo equalizer i alway preferable to two mono equalizer if frequency correction of a tereo ignal i needed. There i often a dicrepancy between the etting of the left and the right channel when uing eparate equalizer. Fig. 2.6: Aux end control of the main ection A channel ignal i routed to the MON(ITOR) end bu if the MON control i turned up on the correponding channel. MON SEND The aux end control MON SEND act a mater control for the monitor bu and determine the level of the ummed ignal that i taken from the mixer via the MON SEND connector and that can for example be fed to an amplifier for monitor purpoe. Uing the audio ignal from thi output, you can alo feed a ubwoofer if you don t require tage monitor. To thi end, you hould implement a croover in your ignal path pre-ubwoofer and pre-amplifier, o that only low frequencie are fed into the ubwoofer. You can achieve the ame effect by uing the builtin graphical equalizer. Lower all frequencie above 160 Hz and aign the equalizer to Monitor. + When you ue the MAIN MIX fader to reduce the overall volume, keep in mind that the ubwoofer i till receiving a ignal! 8 2. CONTROL ELEMENTS AND CONNECTORS

9 FX TO MON You can ue thi control to inert an effect ignal from the built-in effect proceor to your monitor mix. Of coure, to do thi, your effect proceor mut firt receive a ignal, i.e. the FX control in the channel trip mut be turned up, and the FX SEND fader (ee fig. 2.6) hat to be open. MON MUTE If the MON MUTE witch i preed, the monitor bu i muted, i.e. there i no ignal at the MON SEND connector. FX SEND The FX SEND fader determine the overall level of the effect bu. Both external effect proceor (via the FX SEND connector) and the built-in proceor only receive an input ignal if thi control i open. FX TO MAIN Ue the FX TO MAIN control to feed the effect ignal into the main mix. If the control i turned all the way to the left, no effect ignal can be heard. FX MUTE If the FX MUTE witch i preed, the effect channel i muted, i.e. no ignal i preent at the FX SEND connector and the effect proceor no longer receive an input ignal. XENYX 1222FX + You can alo ue thee connector a additional line input. AUX RETURN 2 The AUX RETURN 2 connector are ued exactly the ame way a the AUX RETURN 1 connector. If thee connector already function a additional input, you can route the effect ignal back into the conole via a different tereo channel, with the added benefit that the channel EQ can be ued to adjut the frequency repone of the effect return ignal. + In thi intance, the FX control of the channel being ued a an effect return hould be turned fully counter-clockwie, otherwie feedback problem can occur! CD/tape return channel, voice canceller and connection ocket Monitor end and FX end connector Fig. 2.7: Aux end connector MON and FX MON SEND Connect the input of your monitor power amp or an active monitor ytem here to make the monitor mix audible to the muician on the tage. The ignal mix i created uing the channel MON control. FX SEND The FX SEND connector output the ignal you picked up from the individual channel uing the FX control. You can connect thi to the input of an external effect device in order to proce the FX bu mater ignal. Once an effect mix i created, the proceed ignal can then be routed from the effect device output back into the AUX RETURN connector. + If the connected effect proceor receive no input ignal, the FX MUTE witch i probably preed and/or the FX SEND control i too low. Thi alo goe for the built-in effect proceor. + Adjut your external effect proceor to 100% wet (effect ignal only), becaue the effect ignal i added to the main mix along with the dry channel ignal Aux return connector Fig. 2.8: Aux return connector AUX RETURN 1 The AUX RETURN 1 connector generally erve a the return path for the effect mix generated uing the FX end. Thi i where you connect the output ignal of the external effect device. If only the left connector i ued, the aux return 1 automatically operate in mono. Fig. 2.9: CD/tape return channel Thi channel, intended epecially for connecting tereo ignal ource (CD player, DAT recorder or even ound card) feature a particularly practical feature: the VOICE CANCELLER. VOICE CANCELLER Here, you have a filter circuitry that let you almot entirely remove the vocal portion of a recording. The filter i contructed in uch a way that voice frequencie are targeted without majorly affecting the ret of the ignal. Additionally, the filter eize only the middle of the tereo image, exactly there where the vocal are typically located. Poible application for the Voice Canceller are obviou: you can very imply tage background muic for Karaoke event. Of coure, you can alo do thi at home or at your rehearal room before you hit the tage. Singer with their own band can practice inging difficult part uing a complete playback from a tape player or a CD, thu minimizing rehearal time. STANDBY If the STANDBY witch i preed, all input channel with a mic connector (XLR connector) are muted. During break or tage converion, you can prevent noie from entering the ound ytem via the microphone. Such noie can in the wort-cae cenario even irreparably damage loudpeaker membrane. The cool thing about thi i that the main mix fader can remain open, o that you can play muic from a CD at the ame time. Similarly, the fader for the muted channel can alo remain in their poition. To bring in other ound ource, you can ue the CD/tape input, tereo input channel 9 to 12 and the aux return input. 2. CONTROL ELEMENTS AND CONNECTORS 9

10 CD/TAPE MUTE Uing thi witch, the input ignal from the CD/tape input i muted. CD/TAPE RET(URN) Thi tereo fader aign the input ignal from the CD/tape input into the main mix. Fig. 2.12: Main out connector MAIN OUT The MAIN output carry the MAIN MIX ignal and are on balanced XLR connector with a nominal level of +4 dbu. Depending on how you wih to ue your mixer and which gear you own, you can connect the following equipment: Fig. 2.10: 2-track connector CD/TAPE INPUT The CD/TAPE INPUT RCA connector are provided for connecting a 2-track machine (e.g. DAT recorder) or alo a CD player. They can alo be ued a tereo line input. Alternatively, the output ignal of a econd XENYX or BEHRINGER ULTRALINK PRO MX882 can alo be connected. If you connect a hi-fi amplifier with a ource election witch to the CD/TAPE INPUT, you can eaily witch between additional ource (e.g. caette recorder, MD player, ound card etc.). Uing the voice canceller function, you can proce all ignal being brought into your mixing conole via thee connector. CD/TAPE OUTPUT Thee connector are wired pre graphic EQ and pre XPQ urround function. They carry the main mix ignal (unbalanced), effect mix included. Connect the CD/TAPE OUTPUT to the input of your recording device. If you wih to ue your mixer olely for recording purpoe, the main output are alo an alternative Main mix, main out connector and headphone connector Live PA ytem: A tereo dynamic proceor (optional), tereo equalizer (optional) and the tereo power amplifier for full-range loudpeaker with paive croover. If you wih to ue multi-way loudpeaker ytem without an integrated croover, you have to ue an active croover and everal power amplifier. Often, limiter are already built into active croover (e.g. BEHRINGER SUPER-X PRO CX2310 and ULTRADRIVE PRO DCX2496). Active croover are implemented directly before the power amplifier, and they divide the frequency range into everal egment that are firt amplified in the amplifier and then paed onto the correponding loudpeaker. Recording: For matering, uing a tereo compreor uch a the COMPOSER PRO-XL MDX2600 can be recommended. Ue it to cutom-tailor the dynamic characteritic of your ignal to the dynamic range of the recording equipment you are uing. The ignal i in thi cae paed on from the compreor into the recorder. PHONES The PHONES control adjut the volume of the headphone connected to the PHONS/CTRL connector. If you connect active monitor or an amplifier, ue thi connector to adjut the output ignal level. CAUTION! + We would like to draw your attention to the fact that extreme volume may damage your hearing and/ or your headphone or loudpeaker. Turn the MAIN MIX fader and the PHONES control in the main ection fully down before you witch on the unit. Alway be careful to et the appropriate volume. Fig. 2.13: PHONS/CTRL connector PHONS/CTRL connector You can connect headphone to thi 1/4" TRS connector. The connector can alo be ued for feeding active monitor loudpeaker (or an amplifier) in your control room. For thi purpoe, the ignal i taken directly before it i paed on to the main mix fader. Fig. 2.11: Main mix fader MAIN MIX Ue the high-preciion quality fader to control the output level of the main mix CONTROL ELEMENTS AND CONNECTORS

11 2.3.6 Level meter and level etting Fig. 2.14: Level meter POWER The blue POWER LED indicate that the device i witched on. +48 V The red +48 V LED light up when the phantom power upply i witched on. The phantom power upply i neceary for condener microphone and i activated uing the correponding witch on the rear of the device. + Connect microphone before you witch on the phantom power upply. Pleae do not connect microphone to the mixer (or the tagebox/ wallbox) while the phantom power upply i witched on. In addition, the monitor/pa loudpeaker hould be muted before you activate the phantom power upply. After witching on, wait approx. one minute to allow for ytem tabilization. XENYX 1222FX The graphic tereo equalizer allow you to tailor the ound to the room acoutic. FBQ FEEDBACK DETECTION The witch turn on the FBQ Feedback Detection Sytem. It ue the LED in the frequency band fader to indicate the critical frequencie. On a per-need bai, lower the frequency range in quetion omewhat in order to avoid feedback. The graphic tereo equalizer ha to be turned on in order to ue thi function. + Logically, at leat one (ideally everal) microphone channel have to be open for feedback to occur at all! Feedback i particularly common when tage monitor ( wedge ) are concerned, becaue monitor project ound in the direction of microphone. Therefore, you can alo ue the FBQ Feedback Detection for monitor by placing the equalizer in the monitor bu (ee MAIN MIX/MONITOR). EQ IN Ue thi witch to activate the graphic equalizer. When activated, the fader LED will illuminate. MAIN MIX/MONITOR Thi toggle the graphic equalizer between the main mix and the monitor mix. With the witch up (not depreed), the equalizer i active in tereo on the main mix, and inactive on the monitor mix. When the witch i depreed the equalizer i active in mono on the monitor mix, and inactive on the main mix. 2.5 Rear view of 1222FX LEVEL METER/CLIP The high-preciion level meter accurately diplay the appropriate ignal level. LEVEL SETTING: When recording to a digital device, the recorder peak meter hould not exceed 0 db. Thi i becaue, unlike analog recording, lightly exceive level can create unpleaant digital ditortion. When recording to an analog device, the VU meter of the recording machine hould reach approx. +3 db with lowfrequency ignal (e.g. kick drum). Due to their inertia VU meter tend to diplay too low a ignal level at frequencie above 1 khz. Thi i why, for example, a Hi-Hat hould only be driven a far a -10 db. Snare drum hould be driven to approx. 0 db. + The peak meter of your XENYX diplay the level virtually independent of frequency. A recording level of 0 db i recommended for all ignal type. 2.4 Graphic 7-band equalizer Fig. 2.15: The graphic tereo equalizer Fig. 2.16: Voltage upply and fue FUSE HOLDER/IEC MAINS RECEPTACLE The conole i connected to the main via the cable upplied, which meet the required afety tandard. Blown fue mut only be replaced by fue of the ame type and rating. The main connection i made via a cable with IEC main connector. An appropriate main cable i upplied with the equipment. POWER Ue the POWER witch to power up the mixing conole. The POWER witch hould alway be in the Off poition when you are about to connect your unit to the main. To diconnect the unit from the main, pull out the main cord plug. When intalling the product, enure that the plug i eaily acceible. If mounting in a rack, enure that the main can be eaily diconnected by a plug pull or by an all-pole diconnect witch on or near the rack. + Attention: The POWER witch doe not fully diconnect the unit from the main. Unplug the power cord completely when the unit i not ued for prolonged period of time. PHANTOM The PHANTOM witch activate the phantom power upply for the XLR microphone input, which i required to operate condener microphone. The red +48 V LED light up when phantom power i on. A a rule, dynamic microphone can till be ued with phantom power witched on, provided that they are wired in a balanced configuration. In cae of doubt, contact the microphone manufacturer! 2. CONTROL ELEMENTS AND CONNECTORS 11

12 + Connect microphone before you witch on the phantom power upply. Pleae do not connect microphone to the mixer (or the tagebox/ wallbox) while the phantom power upply i witched on. In addition, the monitor/pa loudpeaker hould be muted before you activate the phantom power upply. After witching on, wait approx. one minute to allow for ytem tabilization. + Caution! You mut never ue unbalanced XLR connector (PIN 1 and 3 connected) on the MIC input connector if you want to ue the phantom power upply. SERIAL NUMBER Pleae note the important information on the erial number given in chapter DIGITAL EFFECTS PROCESSOR AND XPQ SURROUND FUNCTION 3.1 Digital effect proceor + In chapter 4.2, you will find an illutration howing how to connect your footwitch correctly. Fig. 3.3: Digital Effect module and XPQ Surround Function control element LEVEL The LED level meter on the effect module hould diplay a ufficiently high level. Take care to enure that the clip LED only light up at peak level. If it i lit contantly, you are overloading the effect proceor and thi could caue unpleaant ditortion. The FX SEND fader determine the level that reache the effect module. PROGRAM You can elect the effect preet by turning the PROGRAM control. The diplay flahe the number of the current preet. To recall the elected preet, pre the button; the flahing top. You can alo recall the elected preet uing the footwitch. 3.2 XPQ urround function The urround function can be enabled/diabled with the XPQ TO MAIN witch. Thi i a built-in effect that widen the tereo width, thu making the ound more lively and tranparent. Ue the SURROUND control to determine the intenity of thi effect. 4. INSTALLATION Fig. 3.1: Effect preet overview 24-BIT MULTI-EFFECTS PROCESSOR Here you can find a lit of all preet tored in the multi-effect proceor. Thi built-in effect module produce high-grade tandard effect uch a reverb, choru, flanger, delay and variou combination effect. The integrated effect module ha the advantage of requiring no wiring. Thi way, the danger of creating ground loop or uneven ignal level i eliminated at the outet, completely implifying the handling. Thee effect preet are deigned to be added to dry ignal. If you move the FX TO MAIN control, you mix the channel ignal (dry) and the effect ignal. Thi alo goe for mixing effect ignal with the monitor mix. The main difference i that the mix ratio i adjuted uing the FX TO MON control. Of coure, a ignal ha to be fed into the effect proceor via the FX control in the channel trip for both application. Fig. 3.2: Connection ocket for the footwitch FOOTSWITCH Connect a tandard footwitch to the footwitch connector; ue thi to witch the effect proceor on and off. A flahing dot at the bottom of the diplay indicate if the effect proceor i muted via the footwitch. 4.1 Rack mounting The packaging of your mixing conole contain two 19" rack mount bracket which can be intalled on the ide panel of the conole. Before you can attach the rack mount bracket to the mixing conole, you need to remove the crew holding the left and right ide panel. Ue thee crew to faten the two bracket onto the conole, being careful to note that each bracket fit a pecific ide. With the rack mount bracket intalled, you can mount the mixing conole in a commercially available 19" rack. Be ure to allow for proper air flow around the unit, and do not place the mixing conole cloe to radiator or power amp, o a to avoid overheating. + Only ue the crew holding the mixing conole ide panel to faten the 19" rack mount. 4.2 Cable connection You will need a large number of cable for the variou connection to and from the conole. The following illutration how the wiring of thee cable. Be ure to ue only high-grade cable INSTALLATION

13 Fig. 4.1: 1/4" TS footwitch connector Fig. 4.4: 1/4" TRS connector Audio connection Pleae ue commercial RCA cable to wire the 2-track input and output. You can, of coure, alo connect unbalanced device to the balanced input/output. Ue either mono plug, or enure that ring and leeve are bridged inide the tereo plug (or pin 1 & 3 in the cae of XLR connector). + Caution! You mut never ue unbalanced XLR connector (pin 1 and 3 connected) on the MIC input if you intend to ue the phantom power upply. Fig. 4.5: Inert end return 1/4" TRS connector Fig. 4.2: XLR connection Fig. 4.6: 1/4" TRS connector for headphone Fig. 4.3: 1/4" TS connector 4. INSTALLATION 13

14 Mono input 5. SPECIFICATIONS Microphone input (XENYX Mic Preamp) XLR, electronically balanced, dicrete input circuitry Mic E.I.N. (20 Hz W ource reitance -134 db / db 50 W ource reitance -131 db / db 150 W ource reitance -129 db / db A-weighted Frequency repone Gain range Max. input level Signal-to-noie ratio Ditortion (THD+N) Line input Gain range Max. input level <10 Hz khz (-1 db), <10 Hz khz (-3 db) +10 to +60 db db Gain approx. 2.6 kw balanced 110 db / 112 db A-weighted (0 dbu +22 db Gain) 0.005% / 0.004% A-weighted 1/4" TRS connector, electronically balanced approx. 20 kw balanced 10 kw unbalanced -10 to +40 db db Gain EQ mono channel Low Mid High Low cut EQ tereo channel Low Mid High MON/FX end Max. output level Aux return Max. input level Main output Max. output level 80 Hz / ±15 db 2.5 khz / ±15 db 12 khz / ±15 db 80 Hz, 18 db/oct. 80 Hz / ±15 db 2.5 khz / ±15 db 12 khz / ±15 db 1/4" TS connector, unbalanced approx. 120 W +22 dbu 1/4" TRS connector, unbalanced approx. 10 kw +22 dbu XLR, electronically balanced approx. 240 W balanced / 120 W unbalanced +28 dbu Fade-out attenuation 1 (Crotalk attenuation) Main fader cloed Channel muted Channel fader muted 98 db 85 db 85 db Frequency repone Microphone input to main out <10 Hz - 90 khz +0 db / -1 db <10 Hz khz +0 db / -3 db Stereo input Channel 5/6, 7/8 Microphone input Gain range Max. input level Stereo input Gain range Max. input level Channel 9/10, 11/12 Gain range Max. input level CD/tape in Max. input level XLR microphone connector, electronically balanced approx. 2.6 kw balanced 0 db to +40 db +2 dbu 2 x 1/4" TRS connector, unbalanced approx db Gain -20 db to +20 db db Gain 2 x 1/4" TRS connector, unbalanced approx db Gain -20 db to +20 db db Gain RCA connector approx. 10 kw +22 dbu Headphone output Max. output level CD/tape out Max. output level 1/4" TRS connector, unbalanced +19 dbu / 150 W (+25 dbm) RCA connector approx. 1 kw +22 dbu DSP Texa Intrument Converter 24-bit Sigma-Delta, 64/128-time overampling Sampling rate 40 khz Main mix ytem data 2 Noie Main -oo, Channel fader -oo Main 0 db, Channel fader -oo Main 0 db, Channel 0 db Power upply Main Voltage Power conumption Fue Main connection Phyical Dimenion (H x W x D) Weight (net) Meauring condition: -99 db / -101 db A-weighted -84 db / -87 db A-weighted -80 db / -82 db A-weighted V~, Hz 40 W T 1.6 A H 250 V Standard IEC receptacle approx. 97 mm (3 7/8") x 345 mm (13 18/32") x 334 mm (13 5/32") approx kg (8.38 lb.) 1: 1 khz rel. to 0 dbu; 20 Hz - 20 khz; line input; main output; unity gain. 2: 20 Hz - 20kHz; meaured at main output. Channel 1-4 unity gain; EQ flat; all channel on main mix; channel 1/3 a far left a poible, channel 2/4 a far right a poible. Reference = +6 dbu. BEHRINGER i contantly triving to manintain the highet profeional tandard. A a reult of thee effort, modification may be made from time to time to exiting product without prior notice. Specification and appearance may differ from thoe lited or illutrated SPECIFICATIONS

15 6. WARRANTY 1 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1. Thi warranty doe not exclude or limit the buyer tatutory right provided by national law, in particular, any uch right againt the eller that arie from a legally effective purchae contract. 2. The warranty regulation mentioned herein are applicable unle they contitute an infringement of national warranty law. 2 ONLINE REGISTRATION Pleae do remember to regiter your new BEHRINGER equipment right after your purchae by viiting (alternatively and kindly read the term and condition of our warranty carefully. Regitering your purchae and equipment with u help u proce your repair claim quicker and more efficiently. Thank you for your cooperation! 3 WARRANTY 1. BEHRINGER (BEHRINGER International GmbH including all BEHRINGER ubidiarie lited on the encloed page, except BEHRINGER Japan) warrant the mechanical and electronic component of thi product to be free of defect in material and workmanhip for a period of one (1) year* from the original date of purchae, in accordance with the warranty regulation decribed below. If the product how any defect within the pecified warranty period that are not excluded from thi warranty a decribed under 5, BEHRINGER hall, at it dicretion, either replace or repair the product uing uitable new or reconditioned part. In the cae that other part are ued which contitute an improvement, BEHRINGER may, at it dicretion, charge the cutomer for the additional cot of thee part. 2. If the warranty claim prove to be jutified, the product will be returned to the uer freight prepaid. 3. Warranty claim other than thoe indicated above are exprely excluded. 4 RETURN AUTHORIZATION NUMBER 1. To obtain warranty ervice, the buyer (or hi authorized dealer) mut call BEHRINGER (ee encloed lit) during normal buine hour BEFORE returning the product. All inquirie mut be accompanied by a decription of the problem. BEHRINGER will then iue a return authorization number. 2. Subequently, the product mut be returned in it original hipping carton, together with the return authorization number to the addre indicated by BEHRINGER. 3. Shipment without freight prepaid will not be accepted. 5 WARRANTY REGULATIONS 1. Warranty ervice will be furnihed only if the product i accompanied by a copy of the original retail dealer invoice. Any product deemed eligible for repair or replacement under the term of thi warranty will be repaired or replaced. XENYX 1222FX 2. If the product need to be modified or adapted in order to comply with applicable technical or afety tandard on a national or local level, in any country which i not the country for which the product wa originally developed and manufactured, thi modification/adaptation hall not be conidered a defect in material or workmanhip. The warranty doe not cover any uch modification/adaptation, irrepective of whether it wa carried out properly or not. Under the term of thi warranty, BEHRINGER hall not be held reponible for any cot reulting from uch a modification/adaptation. 3. Free inpection and maintenance/repair work are exprely excluded from thi warranty, in particular, if caued by improper handling of the product by the uer. Thi alo applie to defect caued by normal wear and tear, in particular, of fader, crofader, potentiometer, key/button, tube, guitar tring, illuminant and imilar part. 4. Damage/defect caued by the following condition are not covered by thi warranty: improper handling, neglect or failure to operate the unit in compliance with the intruction given in BEHRINGER uer or ervice manual. connection or operation of the unit in any way that doe not comply with the technical or afety regulation applicable in the country where the product i ued. damage/defect caued by force majeure or any other condition that i beyond the control of BEHRINGER. 5. Any repair or opening of the unit carried out by unauthorized peronnel (uer included) will void the warranty. 6. If an inpection of the product by BEHRINGER how that the defect in quetion i not covered by the warranty, the inpection cot are payable by the cutomer. 7. Product which do not meet the term of thi warranty will be repaired excluively at the buyer expene. BEHRINGER will inform the buyer of any uch circumtance. If the buyer fail to ubmit a written repair order within 6 week after notification, BEHRINGER will return the unit C.O.D. with a eparate invoice for freight and packing. Such cot will alo be invoiced eparately when the buyer ha ent in a written repair order. 6 WARRANTY TRANSFERABILITY Thi warranty i extended excluively to the original buyer (cutomer of retail dealer) and i not tranferable to anyone who may ubequently purchae thi product. No other peron (retail dealer, etc.) hall be entitled to give any warranty promie on behalf of BEHRINGER. 7 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty ervice hall not entitle the buyer to claim (conequential) damage. In no event hall the liability of BEHRINGER exceed the invoiced value of the product. * Cutomer in the European Union pleae contact BEHRINGER Germany Support for further detail. Technical pecification and appearance ubject to change without notice. The information contained herein i correct at the time of printing. The name of companie, intitution or publication pictured or mentioned and their repective logo are regitered trademark of their repective owner. Their ue neither contitute a claim of the trademark by BEHRINGER nor affiliation of the trademark owner with BEHRINGER. BEHRINGER accept no liability for any lo which may be uffered by any peron who relie either wholly or in part upon any decription, photograph or tatement contained herein. Colour and pecification may vary lightly from product. Product are old through our authoried dealer only. Ditributor and dealer are not agent of BEHRINGER and have abolutely no authority to bind BEHRINGER by any expre or implied undertaking or repreentation. No part of thi manual may be reproduced or tranmitted in any form or by any mean, electronic or mechanical, including photocopying and recording of any kind, for any purpoe, without the expre written permiion of BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER i a regitered trademark. ALL RIGHTS RESERVED BEHRINGER Spezielle Studiotechnik GmbH, Hann-Martin-Schleyer-Str , Willich-Münchheide II, Germany. Tel , Fax WARRANTY 15