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via the high-precision MAIN MIX fader.
+
Use this BNC socket to connect a gooseneck lamp (12 V DC,
max. 0.5 A).
Fig. 2.16: Control room and phones sections of the 2442FX
The CD/TAPE switch routes the signal from the CD/TAPE INPUT
jacks to the level meter, the CONTROL ROOM OUT outputs and
the PHONES jack—this is a simple way to check recorded signals
via monitor speakers or headphones.
The SUB 1-2 switch routes subgroup 1-2 to the level meter,
CONTROL ROOM OUT and phones.
The SUB 3-4 switch performs a similar function for subgroup
3-4 (2442FX only).
The MAIN MIX switch sends the main mix to the CONTROL
ROOM OUT and the PHONES output as well as to the level meter.
Use this control to adjust the control room output level and the
headphones volume.
When the CD/TAPE TO MAIN switch is depressed, the 2-track
input is routed to the main mix and thus serves as an additional
input for tape machines. You can also connect MIDI instruments or
other signals here that do not require any further processing. At
the same time, this switch disables the main mix to tape output link.
The blue POWER LED indicates that the device is switched on.
The red “+48 V” LED lights up when phantom power is switched
on. Phantom power is required to operate condenser
microphones.
+
The high-precision level meters always give you an accurate
display of signal level.
XENYX 1622FX/1832FX/2222FX/2442FX
When recording to digital recorders, the recorder’s meter should
not go into overload. This is because, unlike analog recordings,
it takes only slightly excessive levels to create unpleasant digital
distortion.
When recording to analog, 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. You should
only drive instruments such as a Hi-Hat as far as -10 dB.
Snare drums should be driven to approx. 0 dB.
+
The MODE switch determines whether the channels’ SOLO
switch operates as PFL (Pre Fader Listen) or as solo (Solo In
Place).
To activate the PFL function, press the MODE switch. The PFL
function should, as a rule, be used for level setting (TRIM). The
signal is sourced pre-fader and assigned to the mono PFL bus. In
“PFL” mode, only the left side of the peak meter is in operation. A
PFL’d channel should be driven to the 0 dB mark of the VU meter.
When the MODE switch is not depressed, the stereo solo bus
is active. Solo is actually short for “Solo In Place”. This is the
customary method for listening to an individual signal or to a
group of signals. As soon as a solo switch is pressed, all channels
not solo selected are muted in th e monitor path (control room
and phones). A channel’s position in the stereo image is
maintained. The solo bus carries the output signals of the channel
pan controls, the aux sends and the stereo line inputs. On the
be routed to the solo bus. The solo bus is, as a rule, taken post-
fader.
+
As a rule, solo signals are monitored via the control room
outputs and headphones jack and are displayed by the level
meters. If a solo switch is pressed, the signals from the tape
input, the subgroups and the main mix are cut from these outputs
and the level meter.
The MAIN SOLO LED lights up as soon as a channel or aux
send solo switch is pressed. The MODE switch must be set to
“Solo”.
The PFL (LEVEL SET) LED indicates that the peak meter is set
to PFL mode.
2. CONTROL ELEMENTS AND CONNECTORS
all aux returns, and on the
only aux return 2 can
Fig. 2.17: PHONES jack
11
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