ALLEN & HEATH Xone:23C - DJ Mixer Manual

PACKED ITEMS

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Introduction

To ensure that you get the maximum benefit from the unit please spare a few minutes familiarizing yourself with the controls and setup procedures outlined in this user guide. For further information please refer to the additional information available on our web site, or contact our product support team.
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APPLICATION DIAGRAM

INTRODUCTION TO THE XONE:23C

The Xone: 23C is a high performance 2+2 channel VCA mixer designed around the latest analogue circuitry, with microprocessor control of all signal routing and featuring a high specification USB soundcard, incorporating an X:LINK control interface port.
It is equipped with a version of the classic Xone filter system, a 3 band EQ, plus a send/return loop for external effects.
The crossfader curve has two settings, suitable for beat matching, or a more aggressive curve for scratching. For ultimate crossfader performance the mixer can also be equipped with a custom Innofader, available from your nearest Allen & Heath stockist, (part number 004-504JIT).
With a studio grade 20dB of signal headroom, a separate booth monitor and balanced XLR main outputs, (with an impressive +28dBu max level) the Xone: 23C is ideal for the DJ who requires a high quality compact mix tool that easily interfaces with all leading DJ software.
Some key features of the Xone: 23C:

• Four channel stereo 24bit/96kHz USB soundcard with X:LINK
• Classic Xone Voltage Controlled Filter system
• Up to four sources can be mixed simultaneously
• 3 Band equalizer
• Dedicated booth Monitor
• Outputs on professional standard balanced XLR connectors
• Four inputs (2+2 stereo channels) with dual levels for phono/line inputs
• FX Send/Return loop
• Innofader crossfader option
• Accurate signal level monitoring with peak hold
• +28dBu maximum output level (balanced XLR)
• High internal headroom (+20dB) to prevent overload
• Universal voltage power supply (works anywhere in the World)
• Twin headphone sockets (1/4" and 3.5mm)
• Separate record output on RCA
• Negligible signal distortion (typically 0.01% at +10dBu output)
• UV sensitive ink screen for improved low light legibility
• Cue-mix control with illuminated Cue switches
• Crossfader curve switch

We wish you the same fun playing on it as we have had designing it!
www.allen-heath.com

Click Continue Installation

When the installation finishes, click continue

And restart your computer when prompted

Checking the Audio MIDI Setup
To confirm that the Xone: 23C is properly installed or to configure the Audio or MIDI. With the mixer switched on and connected to your computer, open the AUDIO MIDI utility - (to find this utility type "Audio MIDI" into spotlight (the magnifier at the top left of the desktop) and follow the links.
The driver offers two modes of operation:

Bit Accurate and Core Audio.
Bit accurate - in this mode the Xone: 23C controls the audio clocks and provides the lowest latency and least jitter. We recommend working in this mode for best performance.
Core Audio - In this mode the driver is fully class complaint and will allow aggregation with other soundcards connected to your computer, but will have slightly higher latency and clock jitter.
Selecting either driver will bring up the devices properties and will allow you to configure the sample rate and input/output routing. The sample rate can be set from 44.1kHz up to a maximum of 96kHz. If you mostly play commercially available music files it is recommended that you set the sample rate to 44.1kHz as this will save the replay software from have to perform sample rate conversation which can create low level artefacts.

Checking the Audio MIDI Setup
To confirm that the Xone: 23C is properly installed open Windows Device Manager (click on the start button, then right click "computer" and select "properties", then select "Device Manager")

FILTER REFERENCE

The VCF Filters
A voltage controlled filter is an audio filter where the cut-off frequency is altered by a DC control voltage rather than a variable resistor. This produces a much wider operating range and more control over the filter response to create unlimited combinations of tonal effect.

Filter Type Select
The filters provide two simultaneous filter types: high-pass, and low-pass. Large illuminated switches select which type is active.
The graphs below show the effect on the audio frequency response for the two filter types. The range of sweep from low to high frequency is shown together with the effect of adjusting RESONANCE.
The vertical scale shows the amount of cut or boost around the normal 0dB operating level. The horizontal scale shows the change in frequency from low (bass) to high (treble).

OPERATING LEVELS

It is most important that the system level settings are correctly set. It is well known that many DJs push the level to maximum with meters peaking hard in the belief that they are getting the best from the system. THIS IS NOT THE CASE! The best can only be achieved if the system levels are set within the normal operating range and not allowed to peak. Peaking simply results in signal distortion, not more volume. It is the specification of the amplifier / speaker system that sets the maximum volume that can be achieved, not the console. The human ear too can fool the operator into believing that more volume is needed. Be careful as this is in fact a warning that hearing damage will result if high listening levels are maintained. Remember that it is the QUALITY of the sound that pleases the ear, not just the VOLUME.
The diagram below illustrates the operating range of the audio signal.
NORMAL OPERATING RANGE. For normal music the signal should range between –6 and +6 on the meters with average around 0dB. This allows enough HEADROOM for unexpected peaks before the signal hits its maximum CLIPPING voltage and distorts.
It also achieves the best SIGNAL-TO-NOISE RATIO by keeping the signal well above the residual NOISE FLOOR (system hiss).
The DYNAMIC RANGE is the maximum signal swing available between the residual noise floor and clipping.

An important note...
The human ear is a remarkable organ with the ability to compress or 'shut down' when sound levels become too high. Do not interpret this natural response as a reason to turn the system volume up further! As the session wears on ear fatigue may set in, and the speaker cones may become hot, increasing distortion and reducing the ability of listeners to gain any benefit from increased volume.

EARTHING

The connection to earth (ground) in an audio system is important for two reasons:

SAFETY - To protect the operator from high voltage electric shock, and
AUDIO PERFORMANCE - To minimise the effect of earth (ground) loops which result in audible hum and buzz, and to shield the audio signals from interference.
For safety it is important that all equipment earths are connected to mains earth so that exposed parts are prevented from carrying high voltage which can injure or even kill the operator. It is recommended that a qualified system engineer check the continuity of the safety earth from all points in the system including microphone bodies, turntable chassis, equipment cases, and so on.
The same earth is also used to shield audio cables from external interference such as the hum fields associated with power transformers, lighting dimmer buzz, and computer radiation. Problems arise when the signal sees more than one path to mains earth. An 'earth loop' (ground loop) results causing current to flow between the different earth paths. This condition is usually detected as a mains frequency audible hum or buzz.
To ensure safe and trouble-free operation we recommend the following:
Have your mains system checked by a qualified electrician. If the supply earthling is solid to start with you are less likely to experience problems.
Make sure that turntables are correctly earthed. A chassis earth terminal is provided on the console rear panel to connect to turntable earth strips.
Use low impedance sources such as microphones and line level equipment rated at 200 ohms or less to reduce susceptibility to interference. The console outputs are designed to operate at very low impedance to minimise interference problems.
Use balanced connections for microphones and mix output as these provide further immunity by cancelling out interference that may be picked up on long cable runs.
Do not unbalance the Xone: 23C XLR outputs by shorting pin 3 to ground as this may damage the circuitry; for unbalanced operation connect the hot signal to pin 2 and the ground to pin 1. Leave pin 3 floating.
Use good quality cables and connectors and check for correct wiring and reliable solder joints. Allow sufficient cable loop to prevent damage through stretching.
If you are not sure... Contract your service agent or local dealer for advice.

SERVICING

How to replace the crossfader
If the crossfader is subject to a lot of use it will, in time wear out and need replacing. Intermittent or noisy operation is an indication that it is becoming worn. Using a propriety fader cleaner such as CaigLube might temporarily restore use, but DO NOT use on a new fader as it will wash away the factory applied grease.

Dismantling your mixer could invalidate the warranty; if you are unsure of your ability to safely carry out this work then it is advised that you leave it to a qualified service technician.
Tools you will need are T10, and T8 Torx screwdrivers. Ensure that the power supply has been turned off and disconnected from the unit. Using the T10 torxdriver remove the three screws located in the centre of the channel input and FX loop connectors (see illustration), then using the T8 torxdriver remove the 8 screws that hold the front panel to the chassis. Now carefully lift the front edge of the panel up until the PCBs clear the chassis and pull the whole assembly forward slightly until the connectors at the rear are free from the chassis. You can now lift the front panel up to gain sufficient access to replace the crossfader.
If you wish to completely remove the front panel assembly you will need to unscrew the 1/4" headphone bezel using an 11mm or 7/16 AF socket, and remove the T10 screw that secures the headphone PCB to the chassis. Carefully unplug the multi-way harness from the connector PCB and lift the front panel away from the chassis.
Reassembly is a reverse of this procedure. Take great care to ensure that no harnesses become trapped and that all connectors are fully pushed home. Replace the screws and test the mixer for correct operation.

To Replace the crossfader
Using the T8 driver, remove the 2 screws either side of the crossfader and lower the crossfader mounting plate - unplug the 4way harness from the crossfader PCB, and unscrew the fader from the mounting plate The mounting plate is designed to allow for fitment of the contactless Innofader and can be fitted in two different positions depending which fader is being fitted. The standard fader can be ordered under A&H part number 004-503JIT The Innofader can be ordered under part number 004-504JIT

RIAA input options

If the RIAA input level is too low, or you wish to convert them to Line level. To increase the gain by 6dB, remove the resistors arrowed and link the Pads with solder. These resistors are located on the underside of the front panel PCB, directly behind the Input RCA connectors To convert to Line level, remove the resistors and leave the Pads unsoldered.

The default routing for the soundcard sends (to the computer) is for USB channel 1-2 = record output and USB 3-4 = FX send.
This configuration allows you to record your set and add FX (see hints and tips).
The supplied DJ software can also be used with time-coded vinyl and to use this option the mixer soundcard routing will need to be internally reconfigured.
This job should be entrusted to an authorised service agent whilst the mixer is still under warranty as any damage due to incorrect procedure will not be covered.

To reconfigure the mixer to work with DVS software you need to route the audio signals from the turntable pre-amplifiers directly to the soundcard using the short three-way harnesses supplied with the mixer.
Undo the screws securing the top panel to the chassis and carefully lift up the panel to gain access.
The three-way harnesses plug into sockets located underneath the top PCB, and are then plugged into sockets located on the soundcard PCB, as shown in the picture below.
The harness from the left side of the top PCB plugs into the right hand side socket on the soundcard PCB.
The sockets are keyed and will only plug in one way, and will click into place securely.
Ensure that the harnesses will not get trapped between the chassis and top panel, and carefully reassemble the mixer.
Refer to the DJ Software documentation on how to configure the application when using encoded vinyl.

USER-REPLACEABLE PARTS

The diagram above shows all of the replacement parts.
When ordering please quote the part number(s) of the required parts.
See information on replacing the crossfader, and for replacement crossfader assembly numbers.

TIPS and FAULT FINDING

Tips
Using your computer for both track replay and FX
The default configuration for the internal soundcard on the Xone: 23C allows for two stereo channels from the computer and two stereo channels back. The channels from the computer are primarily used to replay audio files, and channel 1-2 to the computer us used to record the main mix. Channels 3-4 to the computer are, by default, connected to the mixers FX send output.
To configure the computer and mixer for both track replay and FX you need to aggregate the mixer's soundcard with the built-in soundcard on the computer. On a Mac this is done in the Audio MIDI utility - on a PC you will need to download and install the utility ASIO4ALL ( www.asio4all.com).
Using a 3.5mm to RCA stereo jack lead, connect the headphone socket on the computer to the FX return on the mixer. Download install the free demo of Ableton Live (www.ableton.com) - and configure it for FX send/return - input to Ableton from the mixer soundcard 3 - 4 and output to the computers headphone.
You can now play tracks into the mixer from your chosen DAW and use the effects in Ableton via the mixers FX send/return.

No sound from mixer

Check that the unit is powered on, and that an audio signal is connected to a channel input.
Check that the Input level controls are turned clockwise at least to the centre position and that the music sources connected are in the correct inputs (Inputs 1 - 3 for turntables, Inputs 2 - 4 for CD players).
Check that the EQ controls are in the centre position.
Turn On the Channel CUE switch and raise the input channel LEVEL control until you see the meters displaying the music signal.
Raise the channel fader, and ensure that the crossfader is towards the channel that is receiving the audio signal.
Turn up the MASTER, MONITOR or HEADPHONE level controls, depending on what output your amplifier is connected to, or if you are monitoring through headphones.

External effects unit can't be heard

Check that the Effects unit is connected correctly and switched on - the SND on the rear panel of the mixer should be connected to the input socket on the external effects unit, and the output from the effects unit should be connected to the RTN.
Check that the EXT - ON switch is on (illuminated RED) and that the channel FILTER switch is ON (illuminated BLUE).

Signal is loud and distorted

Check that you are using the correct input; i.e. don't plug a CD player into the PHONO input....
Adjust the channel input LEVEL so that the meters peak the +3 or +6 LEDs. If the red +10 meter LED comes on, turn down the channel LEVEL control.

SPECIFICATIONS

Connections
Inputs

Outputs

Performance

Dimensions
Weight 2.7kg (6lb)
Weight Packed 4kg (8.8lb)

BLOCK DIAGRAM

PRODUCT REGISTRATION

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