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In purchasing our XENYX 1202FX/1002FX you have acquired a mixing console whose small size belies its incredible versatility and audio performance.
The BEHRINGER XENYX mixing console offers you premium-quality microphone preamplifiers with optional phantom power supply, balanced line inputs and the ability to connect external effects processors. Because of its extensive and carefully thought-out routing possibilities, your XENYX lends itself equally to both live and studio use.
Terminals marked with this symbol carry electrical current of suffi cient magnitude to constitute risk of electric shock. Use only high-quality professional speaker cables with ¼" TS or twist-locking plugs pre-installed. All other installation or modifi cation should be performed only by qualifi ed personnel.
This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be suffi cient to constitute a risk of shock.
This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual.
To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside. Refer servicing to qualifi ed personnel.
To reduce the risk of fi re or electric shock, do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects fi lled with liquids, such as vases, shall be placed on the apparatus.
These service instructions are for use by qualifi ed service personnel only. To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualifi ed service personnel.
The XENYX Series represents a milestone in the development of mixing console technology. With the new XENYX microphone preamps including phantom power as an option, balanced line inputs and a powerful effects section, the mixing consoles in the XENYX Series are optimally equipped for live and studio applications. Owing to state-of-the-art circuitry your XENYX console produces a warm analog sound that is unrivalled. With the addition of the latest digital technology these best-in-class consoles combine the advantages of both analog and digital technology.
The microphone channels feature high-end XENYX Mic Preamps that compare well with costly outboard preamps in terms of sound quality and dynamics and boast the following features:
"British EQ"
The equalizers used for the XENYX Series are based on the legendary circuitry of top-notch consoles made in Britain, which are renowned throughout the world for their incredibly warm and musical sound character. Even with extreme gain settings these equalizers ensure outstanding audio properties.
Multi-effects processor
Additionally, your XENYX mixing console has an effects processor with 24-bit A/D and D/A converters included, which gives you 100 presets producing first-class reverb, delay and modulation effects plus numerous multi-effects in excellent audio quality.
We should like to draw your attention to the fact that extreme volumes may damage your hearing and/or your headphones or loudspeakers. Turn the MAIN MIX control and PHONES control in the main section fully counterclockwise before you switch on the unit. Always be careful to set appropriate volume levels.
A mixing console fulfils three main functions:
The interface of BEHRINGER mixing consoles is optimized for these tasks, enabling you to easily keep track of the signal path.
The user's manual is designed to give you both an overview of the controls, as well as detailed information on how to use them. In order to help you understand the links between the controls, we have arranged them in groups according to their function. If you need to know more about specific issues, please visit our website at http://behringer.com. Additional information and explanations about various music industry/audio technology terminology can be found on individual product pages as well as in the glossary area of behringer.com.
For the moment, just try and trace the signal path from the microphone input to the FX SEND connector. Don't be put off by the huge range of possibilities; it's easier than you think! If you look at the overview of the controls at the same time, you'll be able to quickly familiarize yourself with your mixing console and you'll soon be making the most of all its many possibilities.
Your mixing console was carefully packed in the factory to guarantee safe transport. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage that may have occurred during transit.
Be sure that there is enough space around the unit for cooling purposes and to avoid overheating please do not place your mixing console on high-temperature equipment such as radiators or power amps.
Please register your new BEHRINGER equipment right after your purchase by visiting http://behringer.com and read the terms and conditions of our warranty carefully. Should your BEHRINGER product malfunction, it is our intention to have it repaired as quickly as possible. To arrange for warranty service, please contact the BEHRINGER retailer from whom the equipment was purchased. Should your BEHRINGER dealer not be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding contact information is included in the original equipment packaging (Global Contact Information/European Contact Information). Should your country not be listed, please contact the distributor nearest you. A list of distributors can be found in the support area of our website (http://behringer.com).
Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently.
Thank you for your cooperation!
This chapter describes the various control elements of your mixing console. All controls, switches and connectors will be discussed in detail.
MIC
Each mono input channel offers a balanced microphone input via the XLR connector and also features switchable +48 V phantom power supply for condenser microphones. The XENYX preamps provide undistorted and noise-free gain as is typically known only from costly outboard preamps.
LINE IN
Each mono input also features a balanced line input on a ¼" connector.
Unbalanced devices (mono connectors) can also be connected to these inputs.
GAIN
Use the GAIN control to adjust the input gain. This control should always be turned fully counterclockwise 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 dBu) 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 CLIP LED.
EQ
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.
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.
LOW CUT
In addition, the mono channels are equipped with a steep LOW CUT filter (slope at 18 dB/oct., -3 dB at 75 Hz) designed to eliminate unwanted low-frequency signal components. These can be noises created by hand-held microphones, subsonic noise or plosive sounds created by highly sensitive microphones.
FX
FX sends enable you to feed signals via a variable control from one or more channels and sum these signals to a bus. The bus appears at the console's FX send output and can be fed from there to an external effects device. The return from the effects unit is then brought back into the console on the stereo channels. Each FX send is mono and features up to +15 dB gain.
As the name suggests, the FX sends of the XENYX mixing consoles are intended to drive effects devices (reverb, delay, etc.) and are therefore configured post-fader. This means that the mix between dry signal and effect remains at the level determined by the channel's aux send, irrespective of the channel fader setting. If this were not the case, the effects signal of the channel would remain audible even when the fader is lowered to zero. With XENYX mixing consoles, the channel fader is called LEVEL control.
In the 1202FX/1002FX, 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 (-∞).
PAN
The PAN control determines the position of the channel signal within the stereo image. This control features a constant-power characteristic, which means the signal is always maintained at a constant level, irrespective of position in the stereo panorama.
LEVEL
The LEVEL control determines the level of the channel signal in the main mix.
CLIP
The CLIP-LED's of the mono channels illuminate when the input signal is driven too high, which could cause distortion. If this happens, use the GAIN control to reduce the preamp level until the LED does not light anymore.
LINE IN
Each stereo channel has two balanced line level inputs on ¼" connectors for left and right channels. If only the connector marked "L" (left) is used, the channel operates in mono. The stereo channels are designed to handle typical line level signals. Both inputs will also accept unbalanced connectors.
FX
The FX send of the stereo channels functions similar to that of the mono channels. However, since the FX send bus is mono, a mono sum is first taken from the stereo input before it is sent to the FX bus.
BAL
The BAL(ANCE) control determines the levels of left and right input signals relative to each other before both signals are then routed to the main stereo mix bus. If a channel is operated in mono via the left line input, this control has the same function as the PAN control used in the mono channels.
LEVEL
The LEVEL control determines the volume of the channel being sent to the main mix.
+4/-10
The stereo inputs of the XENYX have an input sensitivity switch which selects between +4 dBu and -10 dBV. At -10 dBV (home-recording level), the input is more sensitive (requires less level to drive it) than at +4 dBu (studio level).
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.
PHONES/CTRL ROOM OUT
The stereo PHONES connector (at the top of the connector panel) is where headphones are connected. The unbalanced CTRL 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.
+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.
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 GAIN 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.
MAIN MIX
Use the MAIN MIX fader to adjust the volume of the main out.
PHONES/CONTROL ROOM
Use the PHONES/CONTROL ROOM control to adjust the signal level of the CONTROL ROOM and PHONES outputs.
CD/TAPE TO MIX
When the CD/TAPE TO MIX switch is pressed, the CD/tape input is assigned to the main mix providing an additional input for tape machines, MIDI instruments or other signal sources that do not require any processing.
CD/TAPE TO CTRL
Press the CD/TAPE TO CTRL switch if you want to monitor the CD/tape input via the CTRL ROOM and PHONES outputs. A typical studio application of this function is recording music into a digital audio workstation (DAW) with simultaneous reproduction.
FX TO CONTROL
If you want to monitor only the effects signal in your headphones or monitor speaker(s), press the FX TO CTRL switch. Now the signal of the effects processor can be monitored alone, and the main mix and/or CD/tape signal is no longer present on the phone and control room outputs.
100 FIRST-CLASS EFFECTS
The XENYX 1202FX/1002FX features a built-in digital stereo effects processor.
This effects processor offers a large number of standard effects such as Hall, Chorus, Flanger, Delay and various combination effects. Using the FX control, you can feed signals into the effects processor. The integrated effects module has the advantage of requiring no wiring. This way, the danger of creating ground loops or uneven signal levels is eliminated at the outset, completely simplifying the handling.
SIGNAL and CLIP LED
The SIGNAL LED on the effects module shows the presence of a signal whose level is high enough. This LED should always be on. However, make sure that the clip LED lights up only sporadically. If it is lit constantly, you are overdriving the effects processor, which leads to unpleasant distortion. If this occurs, turn the FX controls down somewhat.
PROGRAM
The PROGRAM control has two functions: by turning the PROGRAM control, you dial the number of an effect. The number of the preset you just dialed up blinks in the display. To confirm your selection, press the PROGRAM control; the blinking stops.
FX TO MAIN
The FX TO MAIN control feeds the effects signal into the main mix. If the control is turned all the way counterclockwise, no effects signal is present in the sum signal of the mixing console.
The appendix contains an overview of all presets of the multi effects processor.
Even though most of the tasks in a studio can nowadays be accomplished using a computer, a mixing console remains an unavoidable piece of equipment that lets you effectively manage audio inputs and outputs: microphone signals need to be pre-amplified prior to being recorded, and the quality of microphone sound is often worked on; recording and playback signals must be routed to the appropriate connectors or integrated into the mix; the volume of headphones and studio monitors needs to be adjusted, and so on. The extensively equipped main section of the XENYX mixing consoles provides concrete benefits to you.
Wiring:
Connect your sound sources to the microphone/line inputs of the mixing console. Connect the master machine (DAT/minidisk recorder) to the main outputs. Your monitor speakers are connected to the control room outputs; the headphones are connected to the headphone output. Now, connect the CD/tape outputs to the sound card inputs on your DAW (Digital Audio Workstation). Connect the outputs of the sound card in your computer to the CD/tape inputs.
Recording and playback:
Once in the mixing console, the recording signal is pre-amplified, EQ'ed and is then routed to the main bus. Use the LEVEL control to adjust the recording signal level. The overall level of the signal going to the computer is adjusted using the MAIN MIX fader. To make sure that the signal is actually being recorded, use either the phones bus or the control room bus to monitor not the main mix signal (i.e. the output signal of the mixing console, before the recording); instead, monitor the returns of the sound card that is connected to the CD/tape inputs. To this end, press the CD/TAPE TO CTRL switch and adjust the monitoring volume using the PHONES/CONTROL ROOM control. Doing so, you can record additional tracks in addition to a signal already brought in (so-called overdubs). Use the direct monitoring function of your DAW.
This illustration shows a typical arrangement for a live setup. Two vocal microphones and the line outputs of a guitar and a bass amplifier are connected to the mono channels of the 1202FX. A keyboard and a drum computer are connected to the stereo channels. The power amplifier in your sound system is connected to the main outputs; equipment such as compressors, equalizers or crossovers are located between the mixer and the amp in the signal path. If you wish to make a live recording, you can connect your recording equipment (in this case, a minidisk recorder) to the CD/tape outputs. A CD player that is playing during intermissions is connected via the CD/tape inputs. If you connect a recorder/player combo (e. g. a tape deck recorder), the CD/tape to Mix switch should not be pressed during a recording because this way the signal intended for recording would be directly re-routed back to the mixing console, and then back to the recorder... this would cause a feedback loop as soon as you hit the record button. A loud, unpleasant, even painful sound would result. If you are using an external effects processor (wired as shown in the illustration), please make sure that the FX SEND control in channel 11/12 is turned all the way down counterclockwise to avoid creating a feedback loop.
AC POWER IN
Connect the power supply to the 3-pin mains connector on the rear of the console. Use the AC adapter supplied to connect the console to the mains. The adapter complies with all applicable safety standards.
You will need a large number of cables for different applications. The illustrations below show how the connectors should be wired. Be sure to use only high-grade cables.
Please use commercial RCA cables to connect the CD/tape inputs and outputs.
You can, of course, also connect unbalanced equipment to the balanced inputs/outputs. To do this, use either mono plugs or stereo plugs with the ring and sleeve bridged (pins 1 and 3 in the case of XLR connectors).
Mono Inputs | |
Microphone Inputs | |
Type | XLR, electronically balanced, discrete input circuit |
Mic E.I.N. (20 Hz - 20 kHz) | |
@ 0 Ω source resistance | -132.7 dB / 137 dB A-weighted |
@ 50 Ω source resistance | -130 dB / 133.9 dB A-weighted |
@ 150 Ω source resistance | -127.1 dB / 130.9 dB A-weighted |
Frequency response | <10 Hz - 200 kHz (-1 dB) |
Gain range | +10 to +60 dB |
Max. input level | +12 dBu @ +10 dB gain |
Impedance | approx. 2.6 kΩ balanced |
Signal-to-noise ratio | -107 dB / -111 dB A-weighted (0 dBu In @ +22 dB gain) |
Distortion (THD + N) | 0.005% / 0.003% A-weighted |
Line Input | |
Type | ¼" TRS connector electronically balanced |
Impedance | approx. 20 kΩ balanced approx. 10 kΩ unbalanced |
Gain range | -10 to +40 dB |
Max. input level | +20 dBu @ 0 dB Gain |
Fade-Out Attenuation 1 (Crosstalk Attenuation) | |
Main fader closed | 85 dB |
Channel fader closed | 88 dB |
Frequency Response | |
Microphone Input to Main Out | |
<10 Hz - 80 kHz | +0 dB / -1 dB |
<10 Hz - 137 kHz | +0 dB / -3 dB |
Stereo Inputs | |
Type | ¼" TRS connector, electronically balanced |
Impedance | approx. 20 kΩ bal. / 10 kΩ unbal. (+4 dBu operating level) approx. 20 kΩ bal. / 5 kΩ unbal. (-10 dBV) |
Max. input level | +22 dBu |
EQ Mono Channels | |
Low | 80 Hz / ±15 dB |
Mid | 2.5 kHz / ±15 dB |
High | 12 kHz / ±15 dB |
Audio Outputs | |
FX Send | |
Type | ¼" TRS connector, unbalanced |
Impedance | approx. 120 Ω |
Max. output level | +22 dBu |
Main Outputs | |
Type | ¼" TRS connector, unbalanced |
Impedance | approx. 120 Ω |
Max. output level | +22 dBu |
Control Room Outputs | |
Type | ¼" TRS connector, unbalanced |
Impedance | approx. 120 Ω |
Max. output level | +22 dBu |
Headphones Output | |
Type | ¼" TRS connector, unbalanced |
Max. output level | +19 dBu / 150 Ω (+25 dBm) |
Main Mix System Data 2 | |
Noise | |
Main mix @ -∞, Channel fader -∞ | -105 dB / -108 dB A-weighted |
Main mix @ 0 dB, Channel fader -∞ | -94 dB / -97 dB A-weighted |
Main Mix @ 0 dB, Channel fader @ 0 dB | -83 dB / -85 dB A-weighted |
FX Section | |
Converter | 24-bit Sigma-Delta |
Sampling rate | 40 kHz |
Mains Voltage | |
USA/Canada | 120 V~, 60 Hz, MXUL6 adapter |
U.K./Australia | 240 V~, 50 Hz, MXUK6 adapter |
Europe | 230 V~, 50 Hz, MXEU6 adapter |
China/Korea | 220 V~, 50 Hz, MXCN6 adapter |
Japan | 100 V~, 60 Hz, MXJP6 adapter |
Output | 2 x 14.8 V~, 2 x 500 mA |
Dimensions | |
1202FX | |
Dimensions (H x W x D) | 1 5/6 x 9 1/2 x 8 2/3" 47 x 220 x 242 mm |
Weight (Net) | approx. 4.6 lbs / 2.1 kg |
1002FX | |
Dimensions (H x W x D) | 1 5/6 x 7 2/5 x 8 2/3" 47 x 189 x 220 mm |
Weight (Net) | approx. 3.5 lbs / 1.6 kg |
Measuring conditions:
BEHRINGER is constantly striving to manintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
TECHNICAL SPECIFICATIONS AND APPEARANCES ARE SUBJECT TO CHANGE WITHOUT NOTICE AND ACCURACY IS NOT GUARANTEED. BEHRINGER IS PART OF THE MUSIC GROUP (MUSIC-GROUP.COM). ALL TRADEMARKS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NO LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED BY ANY PERSON WHO RELIES EITHER WHOLLY OR IN PART UPON ANY DESCRIPTION, PHOTOGRAPH OR STATEMENT CONTAINED HEREIN. COLORS AND SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT. MUSIC GROUP PRODUCTS ARE SOLD THROUGH AUTHORIZED FULLFILLERS AND RESELLERS ONLY. FULLFILLERS AND RESELLERS ARE NOT AGENTS OF MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED UNDERTAKING OR REPRESENTATION. THIS MANUAL IS COPYRIGHTED. NO PART OF THIS MANUAL MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, ELECTRONIC OR MECHANICAL, INCLUDING PHOTOCOPYING AND RECORDING OF ANY KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS WRITTEN PERMISSION OF MUSIC GROUP IP LTD. ALL RIGHTS RESERVED.
© 2012 MUSIC Group IP Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands
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