ALLEN&HEATH XONE2:02 xone02ug_ap4500_2.pdf

P R O T U R N T A B L I S T D J M I X E R

USER GUIDE

Publication AP4500

Limited One Year Warranty

This product is warranted to be free from defects in materials or workmanship for a period of
one year from the date of purchase by the original owner.

To ensure a high level of performance and reliability for which this equipment has been
designed and manufactured, read this User Guide before operating.

In the event of a failure, notify and return the defective unit to ALLEN & HEATH or its
authorised agent as soon as possible for repair under warranty subject to the following
conditions

Conditions Of Warranty

1. The equipment has been installed and operated in accordance with the instructions in
this User Guide

2. The equipment has not been subject to misuse either intended or accidental, neglect, or
alteration other than as described in the User Guide or Service Manual, or approved by
ALLEN & HEATH.

3. Any necessary adjustment, alteration or repair has been carried out by ALLEN &
HEATH or its authorised agent.

4. This warranty does not cover fader wear and tear.

5. The defective unit is to be returned carriage prepaid to ALLEN & HEATH or its
authorised agent with proof of purchase.

6. Units returned should be packed to avoid transit damage.

In certain territories the terms may vary. Check with your ALLEN & HEATH agent for any
additional warranty which may apply.

This product complies with the European Electromagnetic
Compatibility directives 89/336/EEC & 92/31/EEC and the
European Low Voltage Directives 73/23/EEC & 93/68/EEC.

This product has been tested to EN55103 Parts 1 & 2 1996 for use in
Environments E1, E2, E3, and E4 to demonstrate compliance with the
protection requirements in the European EMC directive 89/336/EEC. During
some tests the specified performance figures of the product were affected. This
is considered permissible and the product has been passed as acceptable for
its intended use.

Allen & Heath has a strict policy of ensuring all products are tested to the latest
safety and EMC standards. Customers requiring more information about EMC
and safety issues can contact Allen & Heath.

NOTE: Any changes or modifications to the console not approved by Allen &
Heath could void the compliance of the console and therefore the users
authority to operate it.

XONE:02 User Guide AP4500 Issue 2

Copyright © 2004 Allen & Heath Limited. All rights reserved

Whilst we believe the information in this guide to be reliable we do not assume
responsibility for inaccuracies. We also reserve the right to make changes in the
interest of further product development.

Allen & Heath Limited
Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK

http://www.allen-heath.com

2 XONE:02 User Guide

Important Safety Instructions – Read First

Read instructions: Retain these safety and operating instructions for future reference. Adhere to all

warnings printed here and on the console. Follow the operating instructions
printed in this User Guide.

Do not open: Operate the console with its front and crossfader panels correctly fitted.

Disconnect mains power by unplugging the power cord if a panel needs to be
removed for servicing. Refer this work to competent technical personnel only.

Power sources: Connect the console to a mains power only of the type described in this User

Guide and marked on the rear panel. The power source must provide a good
ground connection.

Power cord: Use the power cord with sealed mains plug appropriate for your local mains

supply as provided with the console. If the provided plug does not fit into your
outlet consult your service agent. Route the power cord so that it is not likely to
be walked on, stretched or pinched by items placed upon or against it.

Grounding: Do not defeat the grounding and polarisation means of the power cord plug. Do

not remove or tamper with the ground connection in the power cord.

Ventilation: Do not obstruct the ventilation slots or position the console where the air flow

required for ventilation is impeded. If the console is to be operated in a rack unit
or flightcase ensure that it is constructed to allow adequate ventilation.

Moisture: To reduce the risk of fire or electric shock do not expose the console to rain or

moisture or use it in damp or wet conditions. Do not place containers of liquids
on it which might spill into any openings.

Heat: Do not locate the console in a place subject to excessive heat or direct sunlight

as this could be a fire hazard. Locate the console away from any equipment
which produces heat such as power supplies, power amplifiers and heaters.

Environment: Protect from excessive dirt, dust, heat and vibration when operating and storing.

Avoid tobacco ash, drinks spillage, and smoke, especially that associated with
smoke machines.

Handling: To prevent damage to the controls and cosmetics avoid placing heavy objects

on the control surface, scratching the surface with sharp objects, or rough
handling and vibration. Protect the controls from damage during transit. Use
adequate packing if you need to ship the unit.

Servicing: Switch off the equipment and unplug the power cord immediately if it is exposed

to moisture, spilled liquid, objects fallen into the openings, the power cord or
plug become damaged, during lightening storms, or if smoke, odour or noise is
noticed. Refer servicing to qualified technical personnel only.

Installation: Install the console in accordance with the instructions printed in this User Guide.

Do not connect the output of power amplifiers directly to the console. Use audio
connectors and plugs only for their intended purpose.

Important Mains Plug Wiring Instructions

The console is supplied with a moulded mains plug fitted to the AC mains power
lead. Follow the instructions below if the mains plug has to be replaced.

The wire which is coloured Green/Yellow or Green must be connected to the
terminal in the plug which is marked with the letter E or with the Earth symbol.

This appliance must be earthed.

The wire which is coloured Blue or White must be connected to the terminal in
the plug which is marked with the letter N.

The wire which is coloured Brown or Black must be connected to the terminal in
the plug which is marked with the letter L.

Ensure that these colour codes are followed carefully in the event of the plug
being changed.

XONE:02 User Guide 3

Contents

Important Safety Instructions ...................... 3

Introduction and Quick Start ....................... 4

Connectors and Panel Controls.................. 6

Installation and Cable Diagrams ............... 10

Operating Instructions............................... 12

Replacing the Faders ................................ 15

Repositioning the Transform Switches ..... 15

Introduction

Welcome to the XONE:02 professional DJ mixer. This stylish and solidly built dual channel
performance mixer presents a unique combination of creative tools for the professional turntablist or
battle DJ. Above all, it features a sound quality second to none. XONE:02 has been designed and
constructed using the same rigorous standards we apply to our large format professional consoles used
and respected by top engineers and performers throughout the world. We have had great fun designing
this new range. We are sure you will get even more enjoyment using it.

We know you want to get started right away. For this reason we have kept this user guide concise and
to the point. We recommend you read it through first. However, if even that is too much then at least
read the QUICK START page before you plug up and go. This user guide refers to the XONE:02. For
further information on the basic principles of audio system engineering and mixing technique please
refer to one of the specialist publications available from bookshops and audio equipment dealers.

We are able to offer further product support through our world-wide network of approved dealers and
service agents. You can also access our Web site on the Internet for information on our product range,
assistance with your technical queries or simply to chat about matters audio. To help us provide the
most efficient service please keep a record of your console serial number, and date and place of
purchase to be quoted in any communication regarding this product.

Using Effects..............................................16

Linking Consoles .......................................17

Recording ..................................................17

Specification ..............................................18

Glossary.....................................................20

Order Codes ..............................................22

Tips and Troubleshooting..........................23

Check out our home site
our full product range and our design philosophy. We also have a site dedicated to the exciting XONE

console range

Key Features

• Dual stereo channels with mixable A and B inputs featuring independent level control and channel

reverse

• A inputs switchable for line and RIAA phono sources

• 2 microphone inputs with vocal EQ, effect in/out and independent level control

• Balanced XLR main mix output with VCA master level control

• Booth output for local stereo monitoring

• EFFECT loop with silent FET switching to add external effects

• Link in and out connections for daisy chaining mixers, recording or booth output

• 3 Band +6/-26 asymmetric EQ with extended cut

• VCA PAN controls to adjust LR balance or for performance effect

• Ultra smooth gold contact dual rail conductive plastic VCA crossfader and channel faders

• All faders are VCA for noise free operation and have reverse and variable contour controls

• Rotatable TRANSFORM switches for stutter effects

• Removable face plate for fader servicing and user preferred transform switch positioning

• Advanced headphones cue system with cue/mix select, cue crossfader and large meters

• Sensible performance control layout makes it very easy to use

• Universal internal power supply for any worldwide mains voltage

www.allen-heath.com for information on the company and its pedigree,

www.xone.co.uk.

4 XONE:02 User Guide

Quick Start 

1 Ensure your safety First read and understand the Important Safety Instructions printed earlier.
Make sure that all your equipment is set for your local mains supply voltage and correctly grounded to
ensure your safety. Do not turn anything on until you have checked your wiring and control settings.

2 Set all controls to their starting position Set channel FADERS, LEVELS, HEADPHONES,
BOOTH and VCA MASTER controls minimum (anti-clockwise). Set PAN, EQ and CONTOUR controls
centre. Set the CROSSFADER to CH1 and CUE fader to CH1. Set all switches up or out.

3 Plug in your sources and outputs Plug in two music sources, one to CH1 the other to CH2
inputs A. Set the rear switches according to line or RIAA turntable source. Plug the LEFT and RIGHT
OUT into the amplifiers feeding the main speakers, the LINK (BOOTH) OUT into the amps feeding the
local DJ speakers, and plug in your stereo headphones. It is very important that the amplifier levels are
turned right down at this stage.

4 Turn the system on Switch on the mixer and music sources first. Check that the blue POWER
indicator turns on. The meters may pulse as the power rails stabilise. This is quite normal. Finally
switch on the amplifiers with their level controls turned down. The system should be quiet.

5 Adjust the level trims Start the music playing and raise the INPUT A level control for each
channel until its meter reads an average ‘0’ with loud moments at ‘+5’. If the red ‘PEAK’ indicator
flashes then back off the trim slightly. Slowly raise the headphones level control. You should hear the
CH1 music signal. Slide the CUE fader across to CH2. You should now hear the CH2 music signal. If
it sounds distorted, bassy or thin check that you have plugged it into the correct Line or Phono inputs.

6 Route the music to the main speakers With music playing and crossfader set to CH1, raise the
CH1 fader to its top ‘0’ position. Next, raise the VCA MASTER control to maximum. Now slowly raise
the amplifier level trim. You should start to hear the music through the main speakers. If you do not
then check that the TRANSFORM switches are in their normal off position. Set the amplifiers for the
loudest volume you want to allow in the room with console meters reading as described above. Now
turn back the master for normal listening level. Move the CROSSFADER to the right and check the
CH2 music signal. If you hear any hum or buzz check the system for bad wiring, ground loops or
missing grounds, in particular those connecting to turntables.

7 Check the microphone If you are using a microphone then plug it into MIC 1. We recommend
you use a cardioid vocal dynamic type. Switch it on by pressing MIC ON and raise its LEVEL control
until you hear it in the mix. Turn back the level if the mic starts to feed back.

8 Route the music to the booth monitor speakers Now set the BOOTH level control to maximum
and slowly turn up its amplifier level trim until the monitor is as loud as you need it to be relative to the
main speakers. Setting the levels in this way prevents the DJ exceeding the allowed maximum by
setting all controls to maximum. The meters provide an accurate display of the system capability.

9 Experiment with the channel faders and crossfader With the two music sources playing you
can experiment with these important performance controls. Adjust the fader CONTOUR control from a
gentle fade to very steep cut to suit your mixing style. Press REVERSE to change the way the fader
works. Try the PAN fader to move the sound between the left and right speakers. Also experiment with
the small CUE fader which lets you preview your mix in the headphones first.

10 Experiment with the EQ Now the creative fun bit. With one channel playing, listen to the effect
of cutting or boosting the three EQ slider controls. Boost is restricted to +6dB to prevent system
overload but you can cut up to a massive –26dB which almost completely sucks out or ‘kills’ the
selected frequency band. Watch the meters and pull back the input level if it peaks. Experiment with
the mic EQ which is optimised for vocal adjustment. Some LO cut helps reduce the annoying popping
noise when you talk close to the mic. A little mid boost may help warm up a dull sounding mic, some HI
boost can help cut through the mix, or use cut if you are plagued by feedback.

11 Experiment with the TRANSFORM switches The transform switch simply turns the channel on
or off. Use this for ‘stutter’ effects popular with performance DJs.

12 Now that you have started… Experiment further with all the controls, keeping the volume at a
low level until you are sure what each does. Refer to the section on using the EFFECTS LOOP later in
this guide for details on how to add external effects such as delay and reverb. To find out more about
each control continue to read through this guide. HAPPY MIXING !

Important Note about Hearing : To avoid damage to your

hearing do not operate any sound system at excessively high volume. This also
applies to any close-to-ear monitoring such as headphones. Continued

82!

XONE:02 User Guide 5

exposure to high volume sound can cause frequency selective or wide range
hearing loss. Make sure that your system complies with any venue sound level
and noise regulations which may apply.

SERIAL No:

AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.

100 - 240V~

47-63Hz ~ 30W MAX

P R O T U R N T A B L I S T D J M I X E R

6 XONE:02 User Guide

Connectors and Panel Controls

1 MIC input 2x XLR. Plug in one or two microphones for the DJ and/or MC. Use a rugged cardioid
dynamic type intended for vocals. Do not use phantom powered microphones. Make sure you connect
using good quality balanced microphone cables.

2 INPUT A Dual RCA phono. Plug in your stereo music sources. This input can be switched for
RIAA equalised turntable or non-equalised sources such as CD.

3 INPUT B Dual RCA phono. Plug in additional line level stereo sources such as CD, MD, DAT,
drum machines, keyboards or other instruments. Do not connect turntables which require RIAA
equalisation.

4 INPUT SELECT switch Selects either PHONO or LINE input source. Press for LINE, release for
PHONO. For turntables with magnetic cartridges requiring RIAA equalisation select PHONO. For non­RIAA turntables select LINE instead. For other non-RIAA sources such as CD select LINE. These
switches are positioned on the rear panel to prevent accidental operation during performance.

Do not plug in line level sources with PHONO selected as these will overload the preamp and
cause severe high level distortion.

5 CHASSIS earth A screw terminal is provided for connecting the earth straps from turntables. This
connection earths (grounds) the metal parts of the turntable to reduce hum, buzz or similar audible
noise getting into the system. Make sure the terminal is fully tightened once the strap is in place.

6 EFFECT send and return 2x dual TRS jack. Selecting a channel EFFECT LOOP ON switch
routes its signal out of the EFFECT SEND sockets to an external effects processor such as delay or
sampler unit instead of direct to the mix. The processed signal is returned to the mix through the
EFFECT RETURN sockets. Plug in your favourite line level effects processor. With nothing plugged in
the channel send is automatically routed through switching contacts in the return sockets back to the
mix.

7 LEFT and RIGHT MIX output 2x XLR. This is the main stereo output that feeds the house PA.
The output is electronically balanced so it can drive long cable runs to balanced equipment without
interference pickup. It can also be wired to connect to unbalanced equipment.

8 LINK (BOOTH) output Dual RCA phono. This additional stereo output is derived from the main
mix and can be used in several different ways. You can link consoles together, for example when battle
mixing by connecting it to the LINK input on the next XONE:02. You can record your performance by
connecting to a 2-track recorder such as MD or DAT. You can feed an independent DJ’s local monitor
by connecting it to a booth amplifier input. You can provide a separately controlled zone output.

9 LINK input Dual RCA phono. Stereo line input that connects directly to the main mix. It is not
affected by the VCA MASTER LEVEL or any other control. Use this input when linking another console
to the XONE:02.

10 POWER ON switch This rear panel push switch turns the console on or off.

To avoid loud thumps or damage to your speakers always turn amplifiers off before turning the
console or other equipment in the signal chain on or off. Turn amplifiers on last and off first.

11 MAINS input IEC socket. Plug the AC mains supply in here. A country dependent mains lead
with moulded plug is provided with the console.

Ensure the local mains voltage is within the range specified on the panel and that the connection
is correctly grounded.

12 FUSE This is the mains input protection fuse for the internal power supply. In the unlikely event
of it failing make sure you replace it with the same type and rating. If the replacement fails get the
console checked by your service agent.

13 MIC level controls Trims the gain of each input preamp to match the connected microphone to
the operating level of the console. Turn back the level control If the PEAK indicator flashes. The two
mic inputs have independent level control and sum together into the equaliser.

14 MIC EQ The equaliser provides three controls to let the DJ adjust the tone of the microphone
either to enhance the sound or to deal with problems such as acoustic feedback. HI and LO have a
shelving response that boosts or cuts the high (treble) or low (bass) frequencies. Use HI boost to add
vocal ‘bite’ around 6.5kHz, cut to reduce harshness or high frequency feedback. It is best to use the
120Hz LO cut to reduce the popping effect when speaking close to a dynamic mic. MID has a bell
shaped response that boosts and cuts frequencies around 2.5kHz which helps to enhance vocal
intelligibility or control feedback.

XONE:02 User Guide 7

15 EFFECT switch Press this switch to route the mic signal through the effects loop instead of direct
to the mix. This lets you send the signal to an external processing device such as a sampler or echo
unit before returning it to the mix.

16 MIC ON switch Use this to turn the mic signal on or off. The green indicator lights when the mic
is on.

17 MIC PEAK indicator Lights to warn you when the mic signal is within 6dB of clipping. Turn back
the MIC LEVEL control if it lights.

18 CHANNEL INPUT level controls Independently adjusts the level of the INPUT A and INPUT B
signals for each stereo channel. Adjust these so that the CUE meters read around ‘0’ with loudest
moments around ‘+6’. If the red ‘PEAK’ indicators light then turn back the level control.

19 REVERSE switch Reverse the CH1 and CH2 inputs to move the signal to the opposite channel
controls. This effectively puts the crossfader into hamster mode and gives the DJ even greater
performance flexibility.

20 EFFECT LOOP switch Use this during performance to toggle the effect in or out for the channel.
This routes the music signal to an external signal processor to add effects such as sampler or echo
before returning it to the mix.

21 Channel EQ The equaliser has three controls to let the DJ creatively alter and shape the sound
during live performance. The music frequency spectrum is divided into 3 bands. HI (10kHZ) has a
shelving response and affects the high frequency (treble) sounds, MID (1kHz) has a peak/dip bell
shaped response and affects mid range (presence) sounds, and LO (100Hz) has a peak/dip bell shaped
response and affects low (bass) sounds. The HI and LO bands feature sharp 12dB/octave response
which enhances their effect on the music. This type of equaliser is known as ‘asymmetric’ because the
amount of boost and cut is not the same. Boost is restricted to a safe +6dB to highlight selected sounds
while preventing system overload through heavy use. Cut on the other hand, is increased to a huge –
26dB to completely suck out affected frequencies dramatically changing the effect. Use cut rather than
boost to create your dramatic performance effects.

22 VCA PAN slider Adjusts the balance between the channel left and right stereo signals. Each
side ranges from fully off to fully on. The control has unity gain in the centre equal and extreme full on
positions. At the extreme ends the opposite signal is fully off. This slider can be used to create
dramatic panning effects during performance.

23 TRANSFORM switch This hard wearing control lets you create cut effects by instantly muting the
music signal. Flick the switch lightly with the fingers in time to the beat to create the popular ‘transform’
or ‘stutter’ effects. The switches can be repositioned upside down or sideways to suit the preference of
the DJ.

24 Channel FADER Also known as the ‘up fader’ this controls the music level from fully off to on. It
is used by the DJ to select the channel to the crossfader and as a performance control to create exciting
finger operated effects. Long life is assured as the XONE:02 uses high quality dual rail gold contact
faders together with VCA circuitry which means that no audio is passed through the fader itself. Its
response can be finely tuned to the mixing style of the DJ using the CONTOUR and REVERSE
functions 36 . It can be easily replaced if it becomes damaged or worn through exceptional mechanical
operation.

25 Channel METER When the CUE switch 30 is in its up position these meters display the CH1
and CH2 signal levels. The left and right signals are summed to display the channels in mono. When
pressed the meters display the left and right main mix outputs instead. Each meter has 12 LEDs to
indicate signal levels from a low –30dB. Green and yellow LEDs indicate normal operating levels. The
top red PEAK led lights at +15dB giving you plenty of warning that you are within 7dB of clipping. Meter
‘0’ represents +4dBu at the XLR outputs. The meters are peak responding with a fast attack and are
therefore able to display fast transients accurately. This makes it easier to keep track of the highest
levels and transient peaks.

Do not operate the console with these meters lighting red more than the occasional flash.
Failure to observe this can result in severe signal distortion which may damage equipment.

26 CROSSFADER The crossfader lets you smoothly fade from one track into another using a single
fader. It is also used as a creative performance tool to layer or interact between two sounds when cut
or scratch mixing. It can be easily replaced if it becomes damaged or worn through exceptional
mechanical operation. Long life is assured as the XONE:02 uses a high quality dual rail gold contact
crossfade type together with VCA circuitry which means that no audio is passed through the fader itself.
The response of the crossfader can be adjusted to match your mixing style using the CONTOUR and
REVERSE controls 37 .

8 XONE:02 User Guide

27 VCA MASTER level A rotary master control adjusts the output level feeding the house PA. This
is a stereo control which adjusts the left and right signals at the same time. It affects the stereo MIX and
booth / link outputs. Note that it does not affect the cue signal feeding the headphones. The maximum
position represents unity (0dB) gain. If you find yourself normally setting the control in the lower part of
its travel then the connected equipment may be too sensitive for the operating level of the console.
With the control set to its maximum position adjust the input level trim of connected equipment for the
loudest level allowed.

In a club or similar installation strict sound level and noise regulations may apply. Check that
your system levels are set up to comply.

28 BOOTH / LINK OUT level Adjusts the level of the signal to the stereo booth monitor or level
feeding another console when linking. It is affected by the VCA MASTER level control. It does not
affect the level in the headphones.

29 Power indicator The cool blue LED lights when the console is powered.

30 CUE / MIX switch In its normal up position the output of the CUE fader is sent to the stereo
headphones. The meters display the CH1 and CH2 signals summed in mono. When pressed the MIX
output signal is sent to the headphones and the stereo signal displayed on the meters. Use the
CUE/MIX switch and CUE fader to check and preview your mix before going live.

31 PHONES MUTE switch Turns off the signal to the headphones. Use this when you want to
check the sound of the house or booth system without distraction from the headphones. The red LED
lights when the signal is muted.

32 PHONES LEVEL control Adjusts the level of the signal in the stereo headphones. This does not
affect the level of the booth monitor.

WARNING: Some headphones are more sensitive than others and can produce higher output
levels. To avoid damage to your hearing start with the level control at minimum and turn up only
as much as is needed to maintain comfortable listening level. Do not drive headphones at high
listening levels for long periods of time.

33 CUE slider This affects what you hear in the headphones when the CUE/MIX switch is in its up
position. When fully left only the CH1 signal is routed. When fully right only the CH2 signal is routed.
Move the slider to hear the effect of mixing or cross fading the signals. This lets you preview the mix in
your headphones before going live. It does not affect the booth or house mix.

34 Top panel The top panel can be removed to allow fader access and repositioning of the
TRANSFORM switches. This is done by removing fader knobs and the 8 fixing screws.

35 Mounting holes Use these to fix the XONE:02 into a plinth, rack or other equipment furniture.
Note the dimensions in the specification section later in this user guide. M6 pan head screws with
protective plastic cups are recommended.

36 CROSSFADE REVERSE and CONTOUR controls The REVERSE switch swaps the X and Y
sides of the crossfader so that CH1 feeds the right side and CH2 feeds the left side. It is also known as
the ‘hamster’ effect. The CONTOUR control varies the law of the crossfader from a gentle fade with
6dB dip at centre position to a very sharp fade where full level is achieved just a few millimetres from
the end stop. These controls can be adjusted to suit the DJ’s preference or mixing style and further
enhance the creative performance flexibility of the XONE:02.

37 CHANNEL FADER REVERSE and CONTOUR controls These provide the same function as the
crossfade controls described above. The advanced VCA circuitry enables long life reliability and the
ability to fine tune the response of the performance controls to your exact needs.

38 PHONES socket This output is positioned on the front panel so that the DJ can plug favourite
headphones in without needing access to the rear. Headphones are available in many different styles,
impedances and volume ratings. To get the best from your system we recommend that you use high
quality closed-ear headphones around 70 ohms impedance, although 30 to 600 ohms will work. 8 Ohm
headphones are not recommended. Avoid using mini-jack to ¼” jack adapters as these may quickly
prove unreliable.

XONE:02 User Guide 9

Installation

AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.

Earthing

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

Connecting Mains Power Read

the SAFETY INSTRUCTIONS printed at the
front of this User Guide and on the rear

100 - 240V~

47-63Hz ~ 30W MAX

1. SAFETY - To protect the operator from high voltage electric shock, and

2. 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.

panel. Check that the correct mains lead
with moulded plug has been supplied with
your console. The power supply accepts
50/60Hz AC mains voltages within the range
100-240V without changing any fuses or
settings.

It is standard practice to turn connected
power amplifiers down or off before
switching the console on or off. This
prevents any audible switch-on thumps.
Ensure that the IEC mains plug is pressed
fully into the rear panel socket before
switching on.

For safety it is important that all equipment earths are connected to mains earth so that exposed metal
parts are prevented from carrying high voltage which can injure or even kill the operator. It is
recommended that the 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 earthing is solid to

start with you are less likely to experience problems.

• Do not remove the earth connection from the console mains plug The console chassis is

connected to mains earth through the power cable to ensure your safety. Audio 0V is connected to
the console chassis internally. If problems are encountered with earth loops operate the audio
‘ground lift’ switches on connected equipment accordingly, or disconnect the cable screens at one
end, usually at the destination.

• Make sure that turntables are correctly earthed A chassis earth terminal is provided on the

console rear panel to connect to turntable earth straps.

• Deal with ground loops Should you experience hum or buzz caused by ground loops, check first

that each piece of equipment has its own separate path to ground. If so, operate ground lift
switches on connected equipment in accordance with the instruction manuals. Alternatively
disconnect the cable screen at the destination end only. This breaks the offending loop while still
maintaining the signal shielding down the length of the cable.

• 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 the microphone and main outputs as these provide further

immunity by cancelling out interference that may be picked up on long cable runs. Refer to the
cable drawing for information on how to connect balanced and unbalanced equipment.

• Route cables to avoid interference To avoid interference pickup keep audio cables away from

mains power units and cables, thyristor dimmer units or computer equipment. Where this cannot be
avoided, cross the cables at right angles to minimise interference.

• 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 ... Contact your service agent or local Allen & Heath dealer for advice.

10 XONE:02 User Guide

Cables and Connections

The XONE:02 uses professional grade 3 pin XLR, 1/4" TRS jack and RCA PHONO sockets. The
following mating plugs may be used:

The XLR connector is 3 wire balanced. This has 3 connector pins: Pin 1 = ground (screen), Pin 2 =
signal hot (+), Pin 3 = signal cold (-). The jack sockets are the 3 pole TRS type. These are wired to
work with either the balanced TRS or the unbalanced 2 pole TS type plugs without cable modification.
The sockets have 3 connector pins: Inputs and outputs are Tip = signal hot (+), Ring = signal cold (-),
Sleeve = ground (screen). Headphones are Tip = left, Ring = right, Sleeve = ground. The RCA phono
connectors are 2 wire unbalanced to connect to equipment such as CD players, turntables and
domestic amplifiers.

To ensure best performance, we recommend that you use high quality audio cables and connectors,
and take time to check for reliable and accurate cable assembly. It is well known that many audio
system failures are due to faulty interconnecting leads. Avoid reversing + and - on balanced
connections as this will result in reverse polarity connections which may cause signal cancellation
effects. Refer to the cable diagram for how to wire unbalanced to balanced connections. It is fine to

use a Y-adapter to feed one output to several inputs, but never use a Y-adapter to sum two
outputs into one input.

XONE:02 User Guide 11

Operating Instructions

The QUICK START page near the beginning of this user guide gives you a quick introduction to using
the XONE:02 if you want to get going right away. You can achieve much simply by experimenting and
trying out different combinations of settings. The notes here provide further information to get the most
out of your console. It is not intended as a guide to how to mix or structure your performance. That is
your art…

Overview of the Application

This diagram shows an example hook-up to demonstrate how the XONE:02 can be connected in a
typical DJ application. Note that the connector types on the equipment you connect to may be different
to that shown. Use cables appropriate to your application. Please read the INSTALLATION section
before connecting to your equipment. The following describes this example application:

DJ Microphone and Headphones: The DJ plugs in the preferred headphones and microphone. A
second mic for the MC may also be required. The console cue system works with the headphones to
let the DJ cue tracks and preview the mix before going live.

Mix music sources: Two dual input channels are used for the mix music sources. Here, both a
turntable and a CD deck are plugged into each, one for each side of the crossfader. The turntable
magnetic cartridges plug into the RIAA equipped phono inputs, the CD into the line inputs. This gives
the DJ the choice of vinyl or CD mixing. Alternatively, the DJ could plug other sources such as a drum
machine into the line input.

Adding effects: The stereo effects send is used to route the channel to an external effects unit such
as a sampler or echo device. Its output is returned to the mix through the Effects return. This is known
as an ‘effects loop’. The effects unit can be switched in or out of each music channel and the mic
channel independently. Adding effects in this way greatly enhances the performance of the DJ helping
create a unique interpretation of the music.

Mix output: This stereo output feeds the house PA system to provide quality sound to the dance floor.
The connections are balanced to feed long cable runs to the amplifier system. They may plug into
system processors such as protection limiters, EQ and crossovers which connect to the amplifiers.

Booth monitor: A stereo speaker system provides the DJ with a local monitor. This has its own level
control so it can be adjusted to suit without affecting the house sound.

Recording the mix: Alternatively, the booth feed could be connected to a recorder such as the
MiniDisc shown to record the DJ’s set, or to both using a Y-adapter.

Linking consoles: The output of one XONE:02 can be linked into the input of another. This is
convenient for battle mixing where several DJs may be mixing together into the same system, each with
their own console.

12 XONE:02 User Guide

Gain and Operating Levels

It is most important that the system gain and level settings are correctly set. It is well known that many
DJs push the gain 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 the
VOLUME.

Use the LEVEL control to match the input source to the normal operating level of the console. Adjust
this so that the CUE METER averages 0dB with loudest moments reading +6. Listen to the signal on
headphones. Adjust the VCA MASTER LEVEL so that it normally operates near the top of its travel.
Make sure the amplifier/speaker system has been correctly calibrated for the loudest volume required at
the channel fader top position. Boosting the EQ also adds gain to the system. Reduce by turning back
the LEVEL control if the meter red peak LEDs flash. Adjust the HEADPHONES and BOOTH monitor
controls for safe listening levels.

The diagram 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. The

XONE:02 provides a massive 108dB dynamic range.

A final note … The human ear is a remarkable organ with

the ability to compress or ‘shut down’ when sound levels
become too high. Do not interprete 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 so reducing the effectiveness of the
system and listeners to gain any benefit from increased
volume.

BE SENSIBLE, BE SAFE WITH SOUND LEVELS



Using the Channel EQ

With the 3 EQ controls set to their centre detented position the EQ has no affect on the sound. The
asymmetric EQ design provides a huge amount of cut to suck out selected frequencies for dramatic
effect, and a restricted amount of boost to enhance frequencies without overloading the system. Move
the sliders up to boost the selected band of frequencies by up to 6dB. Pull them back to cut the
frequencies by up to 26dB.

Cutting low, mid or high frequency bands can be very effective when layering one track on another.
This lets you enhance the sounds you want while cutting those you don’t want. For example, you could
fade in the high frequency cymbal line of the CH2 track on top of the currently playing CH1 track by
cutting the MID and LO EQ on CH2. Learn what the EQ can do by playing a selection of tracks and
experimenting with the controls.

+10

+5

0dB

-5

-10

-15

-20

-25

-30
10 100 1kHz 10k 20k

HIMIDLO

+6dB BOOST

-26dB CUT

XONE:02 User Guide 13

Using the Crossfader

The crossfader is the one feature that instantly sets the DJ mixer apart from a conventional mixer. It
lets you smoothly fade from one track into another using a single fader. It is also used as a creative
performance tool to layer or interact between two sounds when cut or scratch mixing . A high grade
dual rail fader with long lasting gold contacts is used. The ultra high quality Penny & Giles type can be
fitted as an option if preferred.

The XONE:02 uses four high performance voltage controlled amplifiers (VCAs), a pair for each side of
the stereo crossfader. The robust 45mm fader produces a DC control voltage which determines the
signal level of the VCAs. The voltage is filtered to prevent any audible noise, clicks or scratchiness
resulting should the fader track become worn. This benefit would not be possible if the signal were
routed through a conventional audio fader. Using the fader as a controller also means that its response
can be easily tailored to suit the mixing style.

CH1 feeds the left side of the crossfader so that all the signal is routed when the fader is at its fully left
position. CH2 feeds the right side of the crossfader.

Use the CONTOUR control to adjust the way the fader responds as you move it. You can adjust from a
very gentle fade with 6dB dip in the middle suitable for smoothly fading in one track as the other fades
out, to a very sharp response where the signal reaches full level within a few millimetres of the start of
travel, suitable for fast cut or scratch mixing. Adjust as required.

Use the REVERSE switch to swap the CH1 and CH2 sides of the crossfader so that CH1 feeds the right
hand side and CH2 feeds the left hand X side. Use this function if it better suits your mixing style.

DIP CUT

0dB

0dB

0dB

0dB

Off

Off

Off

Using the Channel Faders

The two channel faders, also known as ‘up faders’, control the level of the music signal feeding the
crossfader. They are part of the console VCA system and are used for performance in much the same
way as the crossfader. They are not used to balance the level of one channel against the other as in a
conventional live sound mixer. Instead, the fader is fully up (on) or fully down (off). It also provides
dynamic level effects similar to the nimble fingered effects typically performed on the crossfader.

Use the CONTOUR and REVERSE controls in the same way as those associated with the crossfader to
suit your mixing style. The fader scale is printed in two colours, blue showing normal scale and red
showing reversed scale. The response is similar to that of the crossfader.

DIP CUT

0dB

Off

0dB

Off

0dB

Off

14 XONE:02 User Guide

Replacing the Faders

The faders on a DJ mixer are heavily used and can suffer considerable wear and tear. The audio
design using VCAs prevents clicks and scratchiness as the fader wears. However, the movement can
become mechanically stiff or sloppy in time, or become ingrained with dirt. Should this be the case the
fader may need replacement. The XONE:02 channel faders and crossfader are removable and can
easily be replaced in a few minutes. There are two versions available, the standard type and the higher
grade Penny & Giles type. Make sure you order the correct version from your Allen & Heath dealer.

Before you start make sure you turn off the console and disconnect the mains power cord. The
top plate must not be removed with power applied.

First prize off the fader knobs. Next, use a small cross-point (Pozidriv) screwdriver to undo and remove
the 8 top plate screws. Lift the plate off to gain access to the fader assemblies. While supporting the
fader with your fingers through the top opening unscrew the two fader mounting screws. Remove the
fader assembly out of the console being careful not to damage any internal components. Unplug the
cable from the old fader and plug in the new assembly. Check that the connector is correctly aligned
and pushed on. Replace the assembly making sure the cable faces the front or left side of the console.
Holding the new fader in position refit the mounting screws. Replace the top plate and fit the fader
knobs.

Make sure you replace the assembly with the correct fader type.

Repositioning the Transform Switches

The CH1 and CH2 TRANSFORM toggle switches can be repositioned to reverse their operation or
rotate them to operate sideways.

Disconnect power and remove the console top plate as described above. Support the toggle switch
with your fingers through the access hole while removing the switch mounting screws. Rotate the
switch assembly into the new position required. Refit the screws into the appropriate holes. Replace
the top panel.

XONE:02 User Guide 15

Using Effects

You can patch in an external effects processor such as a sampler or echo unit. The XONE:02 front
panel EFFECT ON/OFF toggle switches let you punch the effect in and out of the music channels
during performance. You can also route the microphone channel through the effects by pressing its
EFFECT switch.

This routing is known as the ‘effects loop’. Here’s why:

When EFFECT is selected the signal is routed to the EFFECT SEND sockets on the rear panel instead
of to the mix. Plug these into your stereo effects unit. The output of the effects unit should be plugged
into the XONE:02 rear panel EFFECTS RETURN sockets. These route the signal back to the mix after
effects processing. The effects send is affected by the VCA MASTER LEVEL control. The effects
return is not affected by this control.

If nothing is plugged into the EFFECTS RETURN sockets then the signal is routed through the
normalising contacts of the TRS jacks back to the mix. In this case switching the effects in and out does
not change the signal heard at the mix output.

Matching Effect Levels

The effects loop operates at 0dBu line level. It is important that the external effects unit operates at
similar line level. Set its level trimmers for unity (0dB) gain through the device. If the effects gain is not
unity then you may hear level differences as you switch the effects in and out.

The diagram below shows the signal path of the channel routed out to the effects device and back in to
the mix. Also note the contacts in the TRS jack sockets that pass the signal through when nothing is
plugged in.

MIX

EFFECT

L

INPUT A

R

CH1

L

INPUT B

R

EXTERNAL PROCESSING DEVICE

PHONO/LINE

RIAA

EFFECT

STEREO

MIX

+

EFFECT SEND

EFFECT RETURN

LINK IN

3 BAND EQ

EFFECT LOOP

OFF

LO MID HI

L

R

L

R

L

R

EFFECT

MIX

ON

BAL

MIX

BAL

LEFT

MIX OUT

RIGHT

Using Channel Reverse

The summed INPUT A and INPUT B signals of CH1 and CH2 are fed to the CHANNEL REVERSE
switch. Pressing this switch swaps these signals so that the CH1 input feeds the CH2 signal path and
vice versa.

The channel faders and other performance controls have swapped position so you can now scratch on
one turntable and operate the channel fader that controls the sound for the opposite deck using just one
hand because that fader is more within reach. For example, you could have your small finger on the left
turntable and thumb on the fader. It is all about positioning the controls for the sounds playing just
where you want them. It puts the controls of the opposite deck more in reach of the DJ. And it gives
you the edge when doing battle!

Quite a new feature, but then creativity is what mixing is all about...

16 XONE:02 User Guide

Linking Consoles

XONE:02 consoles can be linked together so that several can feed the same system, for example when

battle mixing. The LINK OUTPUT of one console connects to the LINK INPUT of the next. The MIX
OUTPUT and LINK OUTPUT of the last is used to feed the house PA and booth systems. Any number
of consoles can be connected in this way. The signal is simply added to the mix and passed through
each.

Recording the Mix

Use the LINK / BOOTH OUTPUT to record your mix. If you are already using this output to feed the
booth monitor or another console you can use a Y-adapter to split the signal into two feeds. Two are
required for a stereo signal. RCA phono Y-adapters are readily available from most audio suppliers.

XONE:02 User Guide 17

Specifications

0dBu = 0.775 Volts rms, +4dBu = 1.23V rms 0dBV = 1 Volt rms, -10dBV = 316mV rms

Max output level XLR +23dBu into >2k load

RCA +15dBu into >10k ohm
Headroom Channels +21dB
Mix to output +23dB
Freq response +0/-1dB 10Hz to 30kHz
Distortion < 0.04% THD+N @1kHz +10dBu
Crosstalk < 90dB Channel shutoff @1kHz

MIC EIN 22-22kHz -128dB 150 ohm source
Residual noise < -88dBu
Mix noise < -81dBu

Meters Peak reading 12 led

Mic Peak Within 6dB of clipping

Power Supply

TRS +21dBu into >2k ohm

-30 to +9, +15 (PK)

Mix System VCA

Music EQ 3-Band +6/-26dB
100Hz, 1kHz, 10kHz
12dB/oct slope

Mic EQ 3-Band +/-12dB
120Hz, 2.5kHz, 6.5kHz

Channel Faders 45mm stereo VCA

Dual rail, gold contacts
Replaceable
Penny & Giles option

Crossfader 45mm stereo VCA
Dual rail, gold contacts
Replaceable
Penny & Giles option

Transform Fast action toggle
Rotatable

Internal switch mode power unit with auto sensing mains input.
MAINS IN socket IEC 3 pin
Power lead Country dependent with moulded mains plug supplied
AC mains 100 to 240V AC @ 50/60Hz
Consumption 30W max
Mains fuse rating 100-240V AC T500mA 20mm

Dimensions and Weights

The console is fitted with rubber feet for desktop operation. It also has integral rack ears so that it can
be fitted into a plinth, rack or other equipment furniture. Note that it is narrower than the standard 19”
equipment rack system. Use M6 screws with plastic protective cups to mount the console into the
furniture.

Width Height Depth Weight

Unpacked 262 mm (10.3”) 90 mm (3.5”) 320 mm (12.6”) 4.5 kg (10 lbs)
Packed 475 mm (18.7”) 210 mm (8.3”) 395 mm (15.6”) 5 kg (12 lbs)

18 XONE:02 User Guide

XONE:02

MIC1

MIC2

L

INPUT A

R

CH1

L

INPUT B

R

L

INPUT A

R

CH2

L

INPUT B

R

EXTERNAL PROCESSING DEVICE

PHONO/LINE

RIAA

PHONO/LINE

RIAA

EFFECT

BLOCK DIAGRAM

GAIN

GAIN

+

MIX

MIX

STEREO

+

REVERSE

MIX

STEREO

+

EFFECT SEND

EFFECT RETURN

LINK IN

3 BAND EQ

MID

L

R

L

R

L

R

HI

LO

LO MID HI

LO MID HI

3 BAND EQ

3 BAND EQ

PEAK

MIC ON

CH1 CH2

+

+

EFFECT

MIX

EFFECT LOOP

EFFECT LOOP

CUE FADER

SUM

EFFECT LOOP

OFF

ON

ON

ON

OFF

OFF

VCA MASTER LEVEL

MIX

EFFECT

MIX

VCA CONTROL

PAN

FADER

TRANSFORM

CROSSFADER

CH1 CH2

CONTOUR

REV

CUE/MIX

REV

LEVEL

CH1/L CH2 /R

METERS

LEVEL

CONTOUR

BAL

BAL

MUTE

PAN

FADER

CONTOUR

REV

PHONES

L
R

L

BOOTH / LINK OUT

R

LEFT

MIX OUT

RIGHT

Connector Types

XLR connector : Pin 2 = hot (+) Pin 3 = cold (-) Pin 1 = GND
TRS input and output connectors : Tip = hot (+) Ring = cold (-) Sleeve = GND
RCA PHONO pin connectors

Input Connections Type Impedance Sensitivity

MIC IN Balanced XLR female 2k ohm -50 to –10dBu

Stereo LINE IN RCA phono >10k ohm -22 to +15dBu

Stereo PHONO IN RCA phono RIAA 47kohm/330pF 2 to 140mV
EFFECT RETURN TRS jack >10k ohm 0dBu
LINK/BOOTH IN RCA phono >10k ohm 0dBu

Output Connections Type Impedance Level

MIX OUT L,R Electronically balanced TRS jack <75 ohm 0dBu
LINK/BOOTH OUT RCA phono <75 ohm 0dBu
EFFECT SEND Impedance balanced TRS jack <75 ohm 0dBu

HEADPHONES Tip = L Ring = R 30 to 600 ohm, 70 ohms recommended

XONE:02 User Guide 19

Glossary

The following section is included to help you understand some of the technical terms and jargon
referred to with consoles of this type. It is by no means a complete reference. Please refer to specialist
audio publications should you wish to know more.

Amplitude Another term used for signal level.

Asymmetric EQ An equaliser with a different amount

of cut and boost of the frequency bands. This is used
to restrict the available boost so preventing system
overload while providing extended cut to allow
dramatic performance effects by ‘killing’ selected
frequencies.

Attenuate Reduce the signal level.

Aux Auxiliary. An independent mix derived from the

channels for various functions. This can be set pre
(before) or post (after) the channel fader. Pre-fade
sends are often used for foldback monitor feeds. Post­fade sends are often used for sampler, reverb and
other effects, zone and special recording feeds.

Balanced, Unbalanced Refers to the type of input or
output signal connection. An unbalanced connection
has two signal carrying conductors, one of which is the
cable shield. A balanced connection has three
conductors, two for signal and a shield which is
connected to earth. Because the signal conductors
are at the same impedance and of opposite polarity
they are better able to cancel and therefore reject
interference and noise pickup. It is standard practice
to use balanced connections for long cable runs, for
example to amplifiers, or cables carrying sensitive or
low level signals, for example microphones.

Battle Mixing The competitive sport where DJs try to
kill each other with their performance…

Beat Mixing Using the variable pitch controls on
turntables/CD players to synchronise the rhythm track
of two separate songs, so that the beat remains
constant when smoothly cross-fading from one to the
other.

Bi-amping Providing separate amplifiers to drive the
high and low frequency units in a loudspeaker. This
requires a crossover processor that splits the
frequency band into low and high. Bi-amping usually
produces a cleaner and more controllable sound in
larger systems.

BPM Beats Per Minute. The measurement of the
rhythmic beat or tempo of the music.

Booth The area, often enclosed, where the DJ
operates. Usually provided with local booth monitor
loudspeakers.

Cardioid The response of a microphone which is
more sensitive in front than behind. This is generally
used for vocal miking to reduce acoustic feedback.

Cartridge The pickup in a turntable. Uses a needle
to pick up vibrations from the record (vinyl) and
convert this to electrical signals that feed the console.
The cartridge is usually fitted to a removable headshell
that plugs into the turntable arm.

Clipping The harsh distorted sound that results when
the signal hits the maximum level possible. This is set
by the power rail voltage. Above this there is simply
no more voltage available so the signal is ‘clipped’.

Compact Disc (CD) Well established stereo player
using digitally mastered pre-recorded flat discs.
Becoming popular with DJs as a replacement or
alternative to vinyl mixing. Recordable CDs are now
available.

Contour The term used to describe the ‘law’ of a
fader, how quickly it responds as it is moved, or the
amount of fade per unit of movement. The contour
control associated with a crossfader lets the DJ tailor
its response to suit the preferred mixing style.

Crossfader A short horizontally mounted fader for
smoothly fading one music track in while fading the
other out. Often used by the DJ for cutting and
layering sounds while mixing.

Cue A monitor system provided for the DJ or console
operator to check individual channel signals using
headphones while lining up tracks ready to introduce
into the mix. This does not affect the main console
outputs.

Cut Mixing Moving the cross-fade control sharply
from one side to the other, to either pick out a sound, a
hi-hat, kick drum etc, or to drop straight into another
record. Also known as chopping.

DAT Digital Audio Tape. A type of digital 2 track
recorder that uses a small tape cartridge to produce
high quality recordings in a compact format.

dB Decibel. The unit of measurement for audio
signal level. This is logarithmic to follow the response
of the human ear. ‘dB’ is a relative measurement to
compare one level with another, for example gain from
input to output. ‘dBu’ is an absolute measurement
referenced to a voltage standard where 0dBu = 0.775V
rms. The console main outputs operate at 0dBu = ‘0’
reading on the meters. '’dBV’ is a similar
measurement but refers to a 1V standard. It is
common for consumer equipment to operate a the
‘low’ standard of –10dBV (316mV). ‘dBA’ refers to
sound pressure level and is measured using the ‘A’
scale that ‘hears’ in the same way as the human ear.

dB/octave Term used to specify the slope of an EQ
(equaliser) response. This is how quickly it cuts or
boosts relative to frequency.

DJ Disc Jockey. The console operator sequencing
and playing the music tracks. Some simply play the
tracks, others talk over with introductions and
announcements, and others provide an entertaining
performance by mixing and shaping sounds to create
a completely different musical experience.

Drum Machine An electronic drum simulator as used
by keyboard players and in electronic music. This now
provides another DJ tool to create an alternative beat
to mix in with the music.

Dynamic Range The difference expressed in dB
between the highest and lowest signal levels possible.
This is limited by the clipping level and residual noise
floor respectively.

Earth Also known as ‘ground’. The term for the
electronic signal reference. This connects to the
mains supply earth point and all cable shields and

20 XONE:02 User Guide

conductive equipment cases. It provides the return for
the signal voltage within the equipment. It also
ensures operator safety by removing the possibility of
electric shock should the mains voltage touch any
metal part.

Earth (ground) Loop The result when the equipment
sees more than one path to the system earth. Current
flows because a resistive loop susceptible to radio and
mains interference is formed. In severe cases this can
result in audible hum or buzz in the system. Breaking
the loop by removing all but one path to earth usually
solves the problem.

Effect Loop The signal path associated with patching
in an external effects processor such as sampler or
echo unit. The signal is routed to the effects send
instead of direct to main mix. It is returned through the
return input back into the mix. The XONE:02 lets you
switch the effects in or out during performance.

Equaliser (EQ) This provides cut or boost of selected
frequencies (equalisation) for tonal shaping of the
sound. This is similar to the bass and treble controls
of domestic hifi amplifiers. However, XONE:02
provides 3 independently controllable frequency bands
for corrective or effective sound shaping.

Feedback Also known as ‘howlround’ or ‘ringing’ this
is the rapidly increasing tone produced when a
microphone picks up its own signal from the speakers.
It is usually a shrill and annoying squeal that should be
quickly dealt with by repositioning the microphone or
speakers, reducing mic gain or equalising the system
to notch out the offending frequencies.

Gain This is the boost or attenuation applied to the
source signal in the channel preamp stage to match it
to the console operating level. For example, a large
amount of gain is need to match low microphone
signals. It is set using the console meters. Gain is not
used for level (volume) control.

Ground See ‘earth’.

Hamster The popular term for reversing crossfader

program. The XONE:02 does this using the channel
reverse switch.

Headroom The amount of level available expressed
in dB to handle peaks above the normal 0dB operating
level.

Hz Hertz. The measurement of frequency. The audio
spectrum ranges from a low (bass) frequency of 20Hz
to a high (treble) 20kHz. Not many sound systems
reproduce the full range. Average hearing does not
extend much beyond 15kHz or so. Response is
further impaired if the ear is subjected to continual high
sound pressure levels.

Hum Apart from not knowing the words… this is the
audible noise that usually results from mains
interference pickup, earth loops, bad interconnections
and induced power supply and lighting fields. It is
usually at mains frequency (50/60Hz) or a related
harmonic.

Impedance (Z) A technical term for the resistance of
a signal conductor to ground. Low impedance usually
refers to microphones of 200 ohms or less, and line
signals typically less than 100 ohms. Low Z sources
are less prone to interference pickup. Inputs are
usually high impedance so that one source can
connect to more than one channel without signal loss.
Note that the operating impedance of a connection is
set by the impedance of the source, not that of the
unconnected input.

Impedance balanced Refers to the type of output
signal connection. It has three conductors, two for
signal and a shield which is connected to earth.
Provides interference rejection similar to a fully
balanced connection because the two signal
conductors are matched at the same impedance.
However, the drive capability is less because the
signal is carried by only one conductor.

Limiter A signal processor that limits the maximum
level possible by preventing the signal going over a
predetermined threshold level. This is very useful in
club installations where it is inserted between the
console and house system amplifiers to prevent the DJ
exceeding the maximum allowable volume.

Link In and Out Lets you plug the output of one
console top the input of another for battle mixing.

MC Master of Ceremonies. The presenter who
introduces the performances and maintains the
running order. Also refers to a rapper who talks in
time to the beat.

MiniDisc A type of low cost digital 2-track recorder
that uses a disc similar to but smaller than that used
by computers. It uses a compression algorithm and is
able to record up to 74 minutes of stereo material. It is
regarded as the modern replacement for the audio
cassette recorder. It has the added facility to label and
edit tracks.

Mono A single source with no stereo content, or the
left and right stereo signals summed together as one.

Mute To turn off the signal. Transform is a mute
effect.

Noise Generic term for an unwanted signal. This
may be residual electronic hiss, hum, buzz, clicks and
pops, or simply loud undesirable music.

Noise Floor This is the term for the residual
electronic noise produced by all powered audio
equipment. It usually sounds like a constant hiss,
although some equipment may suffer from residual
hum as well.

Omni-directional The response of a microphone
which picks up sounds equally all round. Not suited to
live vocal applications as they are more prone to feed
back.

Pan Panoramic. A control that adjusts the balance of
the signal in the left and right speakers. Can be used
to create dynamic performance effects.

Peak Meter A type of signal meter that has a very
fast attack and slower release. This picks up the fast
signal transients and holds them long enough for the
operator to see the activity on the display. These
meters typically use led (light emitting diode) displays.

Phantom Power The DC voltage required by certain
microphones to power the capsule. These are usually
sensitive studio grade mics not suited to DJ mixing.
The power is provided by the console using the two
signal conductors in the balanced connection. There
is no provision on XONE:02 for this type of
microphone.

Phono Abbreviation for phonograph as in ‘turntable’.
Usually means RIAA equipped input when marked on
console inputs. Can also refer to the RCA ‘phono’
type pin jack connector found on turntables, CDs and
much domestic equipment.

Polarity Sometimes referred to as ‘phase’ this is the +
/ - sense of a balanced signal or loudspeaker

XONE:02 User Guide 21

connection. Reversed polarity should be avoided and
checked for as it can cause uncomfortable phasing
effects as the listener moves between the speakers.

Punch Performance effect popular with DJ’s.
Pressing a button next to the crossfader punches in
(turns on) the opposite track.

Reverse Associated with the fader this swaps its top
and bottom ends so that it is fully on when pulled back
and off when up. Associated with the input channels
this swaps the channel signals to associate each with
the opposite controls. These functions provide greater
performance flexibility to suit different performance
styles.

RIAA Record Industry of America Association,
responsible for the long established equalisation
standard that is applied to the signal produced by a
turntable cartridge. Due to the physics of vinyl
reproduction the needle produces a reasonable high
frequency signal but much less low frequency. An
RIAA pre-amplifier compensates for this by inversely
attenuating the high and boosting the low frequencies.

Reverberation The way in which sound reflects and
bounces around the room after the source is removed.
This depends on the size and shape of the room as
well as the materials such as carpets, curtains and
clothing that absorb certain frequencies.

RPM Revolutions Per Minute. The measurement of
turntable speed, eg. 33, 45 RPM

Sampler Another performance effect popular with
DJs. The channel signal is sent to a digital processor
that samples (stores) a short duration of sound. The
output is returned through the effects loop return and
replayed by pressing a trigger. Many samplers
provide creative effects such as repeat and reverse.

Scratch Mixing The art of rhythmically rocking a
record back and forward on a turntable, to repeat a
certain sound, a vocal or tone, at the same time
operating the cross-fader to create a syncopated “wah
wah” chirp added over a bass heavy back beat.

Signal-to-Noise Ratio (SN) This is the difference
expressed in dB between the normal 0dB operating
level and the residual noise floor. It represents how far
above the equipment hiss level the signal operates.
More is better.

Slip mat A fabric turntable mat positioned under the
record so that the DJ can hold it stationary ready to let
go for a fast start at the point cued.

Sound-to-Light A processor that converts an audio
signal into a control voltage that triggers lighting

effects. This produces the popular disco effects with
lights flashing in time to the beat.

Sub Bass A loudspeaker designed to reproduce only
very low frequency sound, typically from around 30 to
120Hz. A crossover is used to route only the low
frequencies to the sub.

Tempo The rhythmic beat of the music, usually
referred to in BPM (Beats Per Minute). The DJ can
tap the tempo into the LFO so that its speed is in time
with the music.

Transform Performance effect popular with DJ’s.
Pressing a button next to the crossfader mutes (turns
off) the active music. Used for ‘stutter’ effects.

TRS Jack Refers to the 3-pole (stereo) ¼” jack plug
with Tip, Ring and Sleeve connections.

TS Jack Refers to the 2-pole (mono) ¼” jack plug with
Tip and Sleeve connections. TS cables can plug into
the XONE:02 impedance balanced outputs without
modification.

Turntable Also known as the ‘Ones and Twos’ or
‘Wheels of Steel’ or more conventionally a ‘record
deck’ this plays vinyl discs, still the most popular
source for DJ mixing. It is common for the cartridge to
plug directly into the mixing console ‘phono’ input
which provides the RIAA equalisation required. The
turntable usually has variable speed control so that the
DJ can synchronise the beat between tracks.

Up Fader Another term for the channel fader.

VCA Voltage Controlled Amplifier. An audio gain

element whose level is controlled by a remote DC
voltage rather than through a fader or rotary control.

VCA Crossfader Functions as an audio crossfader
but with the audio level controlled by a DC voltage
produced by the fader. This voltage can be
electronically filtered and is therefore able to remove
the clicks, scratches and drop-outs associated with
worn audio faders.

VCF Voltage Controlled Filter. An audio filter whose
cut-off frequency is controlled by a remote DC voltage
rather than a rotary or switched control. This provides
greater range and capability. This is available on other
XONE consoles and is used to produce the dramatic
sound of the classic analogue synthesiser filter.

XLR The professional standard 3 pin round
connector used for microphone and other balanced
connections. Equipment female sockets are for inputs,
male for outputs.

Order Codes

The following products and parts can be ordered from Allen & Heath or the approved dealer:

XONE:02/v XONE:02 2 channel DJ scratch mixer /v = specify voltage

XONE:32/v XONE:32 3 channel DJ mixer /v = specify voltage

XONE2:62/v XONE:62 6 stereo channel mixer /v = specify voltage

XONE2:464/v XONE:464 4 mic 6 stereo channel mixer /v = specify voltage

02-779 45mm Stereo Channel Fader for XONE:02

02-780 45mm Standard Crossfader for XONE:02

002-719 Optional P&G crossfader for XONE:02,32, 62 & 464

22 XONE:02 User Guide

Tips and Troubleshooting

For your safety do not remove the EARTH

(ground) connection in the power lead of the console
or connected equipment.

☺ Have your MAINS SYSTEM checked by a

qualified electrician. If the earthing is solid to start with
you are less likely to experience problems.

☺ Use high grade AUDIO CABLES and check them

for reliable connection. It is well known that many
audio system problems are due to faulty cables and
connectors.

In a club or similar installation strict SOUND
LEVEL and noise regulations may apply. Check that
your system levels are correctly set up to comply.

To avoid damage to your hearing start with the
HEADPHONES level control at minimum and turn up

only as much as is needed to maintain comfortable
listening level. Do not drive headphones at high
listening levels for long periods of time.

Always switch connected AMPLIFIERS on last
and off first to avoid thumps when the console and
connected equipment is turned on or off.

Reduce level if the red meter PEAK led
flashes. These warn you that you are near clipping
which may result in system overload and distortion.
The XONE:02 provides plenty of drive and headroom
when operated around the 0 to +6 meter points.
Check that the amplifier / speaker system is correctly
matched and set up for correct levels.

☺ If you suspect a console fault. The console is

the heart of the audio system and is often suspected
faulty when a problem occurs. Usually the fault is
found to be with other equipment in the system,
typically the interconnecting leads, input sources, or
level matching between equipment. Check for source
problems by unplugging each channel in turn listening
for a change in symptom. To check the console,
isolate it by unplugging all sources and outputs leaving
just headphones and a reference source such as a CD
player connected.

? I have plugged in a microphone but it does not

work. The XONE:02 is designed to operate with non-

phantom powered dynamic microphones such as the
popular vocal types. Do not use microphones which
require phantom power. If it has an on/off switch
check that it is turned on. Make sure the front panel
LEVEL control is turned up and MIC ON switch
pressed.

? The signal sounds very distorted with high

level and excessive bass. Only plug turntables

needing RIAA equalisation into the PHONO inputs with
RIAA selected.

? There is a hum on the turntable channels.

Check that the turntable earth strap has been correctly
connected to the console chassis earth post. Also
check that the turntable headshell and cartridge are
correctly aligned and plugged in.

? The MIX meters reads fine but the signal is

distorted. Switch the meters to CUE and check that

the channels are not peaking red. If they are, the
output meter may still read fine if the fader or master
level control is not set fully up. Reduce the input level
control if the channel meter reads too high.

? Only one side of the stereo mix is working.

Check that the VCA PAN control is not set fully to
either L or R. Also check for bad connections, in
particular RCA phono leads and turntable headshell
and cartridge pins.

? The channel is not working. Check that the

TRANSFORM switch is not selected. This mutes the
channel.

? There is feedback. Check that the microphone is

not placed next to the headphones or loudspeakers.
The mic may pick up its own signal and feed back.
Use the mic EQ to tune out the range of frequencies
likely to feed back. In loud listening conditions
feedback can sometimes be caused by mechanical
vibration through the turntables into the cartridge, or
even the needle resting on a cued turntable starting to
resonate in the groove of the record.

? The crossfader works backwards. Check that

the reverse switch has not been pressed and its red
LED on. If it is off then check that the crossfader has
been re-fitted the right way round if previously
removed.

? I have connected a stereo source to a single

input using a Y-adapter but it sounds bad. Do not

connect more than one output to the input. These
adapters are designed to feed one output to two
inputs, not the other way round.

? The level changes when I switch in the effects.

The effects loop operates at 0dBu line level. Make
sure the external effects device is set for similar line
level and 0dB unity gain.

? I can hear interference pickup in the mix. If

you are not using the LINK IN sockets then make sure
the shorting plugs supplied with the console are
plugged in. These short out the inputs to prevent
interference when not in use.

XONE:02 User Guide 23

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