USER'S MANUAL
LYNX-MIX USB SERIES
12/16/20/24-CH COMPACT INTEGRATED LIVE SOUND
MIXER WITH DIGITAL EFFECTS
www.altoproaudio.com
Version 1.0 MAR. 2009
English
IMPORTANT SAFETY INSTRUCTION
CAUTION
RISK OFELECTRIC SHOCK
DO NOTOPEN
TO REDUCE THE RISK OF ELECTRIC SHOCK
PLEASE DO NOT REMOVE THE COVER OR
THE BACK PANEL OF THIS EQUIPMENT.
THERE ARE NO PARTS NEEDED BY USER
INSIDE THE EQUIPMENT. FOR SERVICE,
PLEASE CONTACT QUALIFIED SERVICE
CENTERS.
This symbol, wherever used, alerts you to the
presence of un insulated and dangerous voltages
within the product enclosure. These are voltages that
may be sufficient to constitute the risk of electric
shock or death.
This symbol, wherever used, alerts you to
important operating and maintenance instructions.
Please read.
Protective Ground Terminal
AC mains (Alternating Current)
Hazardous Live Terminal
ON: Denotes the product is turned on.
OFF: Denotes the product is turned off.
CAUTION
Describes precautions that should be observed to
prevent damage to the product.
1.
Read this Manual carefully before operation.
Keep this Manual in a safe place.
2.
Be aware of all warnings reported
3.
with this symbol.
4.
Keep this Equipment away from water and
moisture.
5.
Clean it only with dry cloth. Do not use
solvent or other chemicals.
6.
Do not damp or cover any cooling opening.
Install the equipment only in accordance with
the Manufacturer's instructions.
Power Cords are designed for your safety. Do
7.
not remove Ground connections! If the plug
does not fit your AC outlet, seek advice from
a qualified electrician. Protect the power
cord and plug from any physical stress to
avoid risk of electric shock. Do not place
heavy objects on the power cord. This could
cause electric shock or fire.
Unplug this equipment when unused for long
8.
periods of time or during a storm.
Refer all service to qualified service personnel
9.
only. Do not perform any servicing other than
those instructions contained within the
User's Manual.
To prevent fire and damage to the product,
10.
use only the recommended fuse type as
indicated in this manual. Do not short circuit
the fuse holder. Before replacing the fuse,
make sure that the product is OFF and
disconnected from the AC outlet.
WARNING
To reduce the risk of electric shock
and fire, do not expose this equipment
to moisture or rain.
Dispose of this product should
notbeplacedinmunicipalwaste
and should be separate collection.
MovethisEquipmentonlywithacart,
11.
stand, tripod, or bracket,
specified by the
manufacturer, or
sold with the
Equipment. When
a cart is used, use
caution when
moving the cart /
equipment
combination to
avoid possible
injury from tip over.
12.
Permanent hearing loss may be caused by
exposure to \ extremely high noise levels.
The US. Government's Occupational Safety
and Health Administration (OSHA) has
specified the permissible exposure to noise
level.
These are shown in the following chart:
HOURS X DAY SPL EXAMPLE
Small gig
8
6
4
3
2
1,5
1
0,5
0,25 or less
According to OSHA, an exposure to high SPL in
excess of these limits may result in the loss of
heat. To avoid the potential damage of heat, it is
recommended that Personnel exposed to
equipment capable of generating high SPL use
hearing protection while such equipment is
under operation.
The apparatus shall be connected to a mains
socket outlet with a protective earthing
connection.
The mains plug or an appliance coupler is used
as the disconnect device, the disconnect device
shall remain readily operable.
90
train
92
Subway train
95
High level desktop monitors
97
Classic music concert
100
102
105
110
115
Rock concert
IN THIS MANUAL
1. INTRODUCTION................................................................................1
2. FEATURES.......................................................................................1
3. QUICK START..................................................................................6
4. CONTROL ELEMENTS......................................................................8
5. INSTALLATION & CONNECTION......................................................19
6. PRESET LIST..................................................................................22
7. BLOCK DIAGRAM..........................................................................23
8. TECHNICAL SPECIFICATIONS..........................................................24
9. WARRANTY..................................................................................26
1. INTRODUCTION
Thank you for purchasing the LTO LYNX-MIX USB series compact integrated
mixers,which available for 12/16/20/24 channels. Your LYNX-MIX USB Series
is a remarkable compact mixer that doesn't find many equals in the market
today. With 6/10/14/18 MIC and 4 Stereo Line-level inputs for serious live
performances. Your LYNX-MIX USB Series also includes a 24-bit digital
multieffect with 16 Factory Presets and 16 variations for every preset,
for a total of 256 different digital effects. There is a 3-band EQ on mono
input channels, 4-band EQ on stereo input channels. Use it for large GIGs,
and for fixed PA installation.
Enjoy your LYNX-MIX USB Series and make sure to read this Manual carefully
before operation!
2. FEATURES
6/10/14/18 MIC inputs with gold plated XLR and balanced TRS jack
4 Stereo input channels with balanced TRS jacks
Ultra-low noise discrete MIC preamps with +48 V Phantom Power
SUB1-2, SUB3-4 & MAIN L-R signal assignment switches
4 AUX Sends per channel: 2 PRE/POST faders switchable for monitoring
application effects & sound processor input; 2 POST faders as external send
or for internal digital DFX
3-band EQ with sweepable MID on mono inputs; 4-band EQ on stereo inputs
Channel Inserts and Direct Outputs on each mono channel plus Main Insert
for flexible connection of outboard equipment
24-bit internal DSP with 256 effects, 16 presets by 16 variations with DSP
Mute switch and Peak LED
2-TRACK IN assignable to Main Mix, Control Room/Headphone outputs
With USB port
1
SPOTLIGHT
124
DIGITAL STEREO EFFECTS PROCESSOR
s
24BIT
12-CH COMPACT INTEGRATED LIVE SOUND MIXER WITH DIGITAL EFFECTS
LAMP
12V 0.5A
TAPE OUT
2-TRACK IN/OUT
TAPE IN
L
R
12
3
12
3
12
3
12
3
12
3
12
3
MIC1 MIC2 MIC3 MIC4 MIC5 MIC6
PHONES
LINE IN
LINE IN
LINE IN
LINE IN
LINE INLINE INLINE INLINE IN
LYNX-MIX124 USB
16K
8K4K
9. SPRING REVERB
1. VOCAL 1
LEFT
LEFT
LEFT
LEFT
A
10. MONO DELAY
2. VOCAL 2
(MONO)
(MONO)
(MONO)
(MONO)
11. STEREO DELAY
12. FLANGER
3. LARGE HALL
4. SMALL HALL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
13. CHORUS
5. LARGE ROOM
LINE IN
LINE IN
LINE IN
LINE ININSERTINSERTINSERTINSERT
14. REVERB + DELAY
15. REVERB + FLANGER
16. REVERB + CHORUS
6. SMALL ROOM
7. PLATE
8. TAPEREVERB
B
LINE
GAIN
RIGHT
LINE
GAIN
RIGHT
RIGHT
MIC
LINE
TRIM TRIM
RIGHT
MIC
LINE
TRIMTRIMTRIMTRIM
M C
LINE
MIC
L NE
MIC
LINE
MIC
LINE
2K
1K
DFX2(INT)RETURNS
EFFECTSTO MONITOR
63 500250125
SET
LEVEL
HI
12kHz
+15
+20
LINE
USB
-15
- 0
SET
LEVEL
HI
12kHz
20
+15
15
20
SET
LEVEL
HI
12kHz
40
+15
75Hz
-2
OWCUT
18dB/Oct
dB
+20
-15
0
EVEL
SET
HI
EQ EQ EQ EQ
12kHz
40
+15
20
75Hz
LOWCUT
18dB/O t
dB
20
-15
0
SET
LEVEL
HI
EQEQEQEQ
12kHz
50
+15
75Hz
-35
LOWCUT
18dB/Oct
dB
15
-15
0
SET
LEVEL
HI
12kHz
50
+15
75Hz
-35
LOWCUT
18dB/Oct
dB
+15
-15
0
SET
LEVEL
HI
12kHz
50
+15
75Hz
-3
LOWCUT
18dB/O t
dB
15
-15
0
SET
LEVEL
HI
12kHz
50
+15
35
75Hz
LOWCUT
18dB/Oct
dB
15
-15
0
15
10
0
-5
+5
+15
+10
0
-5
+5
+15
+10
3kHz
500Hz
H -M D
MID- OW
+15
-15
3kHz
500Hz
HI-MID
M D LOW
+15
15
3kHz
500Hz
HI-MID
MID-LOW
+15
-15
3kHz
500Hz
H -M D
MID-LOW
+15
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MAX
MAX
7
0
2
4
-7
-2
-4
8
PHONES
-
MAINMIX
CTRL ROOM SOURCE
SEND1
TOAUX
1
STEREOGRAPHIC EQ
1
STEREO AUX RETURNS
SOLO
-15
-10
EQOFF
EQON
1
AUX SENDS
LOW
80Hz
+15
+15
-15
-15
LOW
80Hz
+15
+15
15
15
LOW
80Hz
+15
+15
-15
-15
LOW
80Hz
AUX AUX AUX AUX
+15
+15
-15
-15
1 1 1 1
LOW
80Hz
AUXAUXAUXAUX
+15
8KHz
-15
100Hz
1111
LOW
80Hz
+15
8KHz
-15
100Hz
LOW
80Hz
+15
8KHz
-15
100H
LOW
80Hz
+15
8KHz
-15
100Hz
10
8
CLIP
-
CTRLROOM
2TKIN
SUB1-2
SUB3-4
2TKTO MIX
SEND2
TOAUX
+15
+15
8
8
CTRL/R
MAINMIX
2
+15
8
-
+15
8
+15
8
+15
8
+15
8
-
+15
8
-
+15
8
+15
8
-
+15
8
-
+15
8
+158+15
+15
8
-
3
2
2
2 2 2 2
2222
4
SOLO
SOLO
+158+15
+15
8
3
4
PRE
POST
DFX1
(EXT)
+15
+15
8
8
PRE
POST
DFX1
(EXT)
+15
+15
8
8
PRE
POST
DFX1
(EXT)
+15
+15
8
8
-
-
PRE
POST
DFX1
(EXT)
+15
+15
8
8
-
-
3 3 3 3
4 4 4 4
PRE
POST
DFX1
(EXT)
+15
+15
8
8
3333
4444
PRE
POST
DFX1
(EXT)
+15
+15
8
8
-
-
PRE
POST
DFX1
(EXT)
+15
+15
8
8
-
-
PRE
POST
DFX1
(EXT)
+15
+15
8
8
-30
-10
-20
L R
0
5
-5
10
dB
OUTPUT LEVEL
AFL
PFL
LEVELSET
SOLOMODE
SOLOACTIVE
MAINMIX
AUXRETURNS SOLO
RIGHTRIGHT
5
10
SUB1/2
SUB3/4
8
4-DFX2RETURN
SOLO
8
4-DFX2SEND
DFX2
(INT)
+15
8
DFX2
(INT)
+15
8
DFX2
(INT)
+15
8
-
DFX2
(INT)
BAL BAL BAL BAL
+15
8
-
DFX2
(INT)
PANPANPANPAN
+15
8
DFX2
( NT)
+15
8
-
DFX2
(INT)
+15
8
-
DFX2
(INT)
+15
8
dB
5
10
dB
5
10
dB
SUBGROUPS ASSIGN TO MAIN MIX
LEFT LEFT LEFT LEFT
RIGHT RIGHT
5
10
dB
MUTE
MUTE
R GHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LE T
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5 5
MUTE
MUTE
R GHT
PEAK
PEAK
LEFT
5
10 0
dB B
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
0
B
LEFT
55
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
-25
-10
-20
-30
-40
-60
MAIN MIX LEVEL
5
0
-25
-10
-20
-30
-40
-60
40
25
20
30
0
0
0
0
SUB1-2 SUB1-2
0
0
SUB1-2 SUB1 2
0
SUB1-2SUB1 2
0
0
SUB1-2SUB1-2
0
0
60
-5
-10
-5
-25
-10
-20
-30
-40
-60
-5
-10
-20
-5
-10
-20
SUB3-4 SUB3-4
MAINL R MAINL-R
10
20
-5
10
20
-5
SUB3-4 SUB3-4
MAINL-R MAINL-R
-5
-10
-20
SUB3-4SUB3 4
MAINL RMAIN L-R
10
20
-5-5
10
20
SUB3-4SUB3-4
MAINL-RMAIN L-R
-5
-10
-20
10
20
-5
SUB1 SUB2 SUB3 SUB4
-25
-30
-40
-60
11/12
40
-25
-30
-60
SOLO SOLO
9/10
40
25
30
60
7/8
40
25
30
60
SOLO SOLO
5/6
-25
-30
-60
-40
SOLOSOLO
4
40
25
30
60
3
40
25
30
60
SOLOSOLO
2
-25
-30
-40
-60
1
40
25
30
60
2
SPOTLIGHT
EFFECTS
164
LIVE SOUND MIXER WITH DIGITAL
16-CH COMPACT INTEGRATED
LAMP
12V 0.5A
IN/OUT
2-TRACK
R
L
1
3
2
MIC10
1
3
MIC9
2
1
3
MIC8
2
1
3
2
MIC7
1
3
MIC6
2
1
3
MIC5
2
1
3
MIC4
2
1
3
MIC3
2
1
3
MIC2
2
1
3
MIC1
2
TAPE OUT
TAPE IN
S PROCESSOR
EFFECT
DIGITAL STEREO
s
24BIT
PHONES
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LYNX-MIX164 USB
+15
16K
8K
4K
2K
1K
RETURNS
500
TOMONITOR
250
DFX2(INT)
EFFECTS
125
63
+15
HI
EQ
12kHz
+15
LINE
USB
-15
HI
EQ
12kHz
+15
-15
HI
EQ
12kHz
+15
75Hz
-20
LOWCUT
18dB/Oct
20
-15
HI
EQ
12kHz
+15
75Hz
-20
LOWCUT
18dB/Oct
20
-15
HI
EQ
12kHz
+15
35
75Hz
LOWCUT
18dB/Oct
15
-15
HI
2kHz
EQ
+15
35
75Hz
LOWCUT
18dB/Oct
15
-15
HI
2kHz
EQ
+15
35
75Hz
LOWCUT
18dB/Oct
15
-15
HI
EQ
12kHz
+15
35
75Hz
LOWCUT
18dB/Oct
15
-15
HI
2kHz
EQ
+15
35
75Hz
LOWCUT
18dB/Oct
15
-15
HI
EQ
12kHz
+15
35
75Hz
LOWCUT
18dB/Oct
15
-15
HI
EQ
12kHz
+15
35
75Hz
LOWCUT
18dB/Oct
15
-15
HI
EQ
12kHz
+15
35
75Hz
LOWCUT
18dB/Oct
15
-15
REVERB
9. SPRING
1
1. VOCAL
Y
Y
Y
DELA
+ DELA
+ FLANGER
+ CHORUS
11. STEREO
12. FLANGER
13. CHORUS
14. REVERB
10. MONO DELA
15. REVERB
16. REVERB
2
HALL
ROOM
2. VOCAL
3. LARGE
4. SMALL HALL
5. LARGE
6. SMALL ROOM
7. PLATE
8. TAPEREVERB
B
A
SET
LEVEL
LINE
LEFT
MONO)
LINE IN
LEFT
MONO)
LINE IN
LEFT
(MONO)
BAL/UNBAL
LINE IN
BAL
LEFT
(MONO)
BAL/UN
LINE IN
BAL/UNBAL
INSERT
BAL/UNBAL
INSERT
BAL/UNBAL
INSERT
BAL/UNBAL
INSERT
BAL/UNBAL
INSERT
BAL/UNBAL
INSERT
BAL/UNBAL
INSERT
BAL
BAL/UN
INSERT
GAIN
RIGHT
RIGHT
RIGHT
RIGHT
+20
-20
SET
LEVEL
LINE
GAIN
+20
-20
SET
LEVEL
TRIM
40
dB
M C
LINE
0
SET
LEVEL
TRIM
40
dB
M C
LINE
0
SET
LEVEL
TRIM
50
dB
MIC
LINE
0
SET
LEVEL
TRIM
50
dB
MIC
LINE
0
SET
LEVEL
TRIM
50
dB
MIC
LINE
0
SET
LEVEL
TRIM
50
dB
MIC
LINE
0
SET
LEVEL
TRIM
50
dB
MIC
LINE
0
SET
LEVEL
TRIM
50
dB
MIC
LINE
0
SET
LEVEL
TRIM
50
dB
MIC
LINE
0
SET
LEVEL
TRIM
50
dB
MIC
LINE
0
10
15
0
-5
+5
+10
0
-5
+5
+10
3kHz
500Hz
HI-MID
M D-LOW
+15
-15
3kHz
500Hz
HI-MID
M D-LOW
+15
-15
3kHz
500Hz
HI-MID
M D LOW
+15
-15
3kHz
500Hz
HI-MID
M D LOW
+15
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MID
FREQ
+15
800
-15
MAX
MAX
7
2
4
PHONES
SOLO
10
8
CLIP
-
CTRLROOM
2TKIN
SUB1-2
SUB3-4
SEND2
TOAUX
+15
8
-
2
+15
8
-
2
+15
8
-
2
+15
8
2
+15
8
2
+15
8
2
+15
8
2
+15
8
2
+15
8
2
+15
8
2
+15
8
2
+15
8
2
+15
8
2
+15
8
2
+15
8
-
2
S SOLO
2TKTO MIX
AUXRETURN
+15
8
CTRL/R
MAINMIX
-
SUB1/2
+15
+15
8
8
-
-
3
4
SOLO
SOLO
+15
+15
8
8
-
-
3
4
OST
RE
DFX1
DFX2
( NT)
(EXT)
+15
+15
8
8
3
4
OST
RE
DFX1
DFX2
( NT)
(EXT)
+15
+15
8
8
3
4
OST
RE
DFX1
DFX2
(INT)
(EXT)
+15
+15
8
8
3
4
OST
RE
DFX1
DFX2
(INT)
(EXT)
+15
+15
8
8
3
4
POST
PRE
DFX1
DFX2
(INT)
(EXT)
+15
+15
8
8
3
4
POST
PRE
DFX1
DFX2
(INT)
(EXT)
+15
+15
8
8
3
4
POST
PRE
DFX1
DFX2
(INT)
(EXT)
+15
+15
8
8
3
4
POST
PRE
DFX1
DFX2
(INT)
(EXT)
+15
+15
8
8
3
4
PRE
POST
DFX1
DFX2
(INT)
(EXT)
+15
+15
8
8
3
4
PRE
POST
DFX1
DFX2
(INT)
(EXT)
+15
+15
8
8
3
4
PRE
POST
DFX1
DFX2
(INT)
(EXT)
+15
+15
8
8
3
4
PRE
POST
DFX1
D X2
(INT)
(EXT)
+15
+15
8
8
-
-
3
4
8
-
MAINMIX
CTRL ROOM SOURCE
SEND1
EQ
TOAUX
GRAPHIC
1
STEREO
AUX RETURNS
1
STEREO
-15
-10
EQOFF
EQON
1
AUX SENDS
LOW
80Hz
AUX
15
+15
-15
- 5
1
LOW
80Hz
AUX
15
+15
-15
- 5
1
LOW
80Hz
AUX
15
+15
-15
- 5
1
LOW
80Hz
AUX
15
+15
-15
- 5
1
LOW
80Hz
AUX
15
8KHz
- 5
00Hz
1
LOW
80Hz
AUX
15
8KHz
- 5
00Hz
1
LOW
80Hz
AUX
15
8KHz
- 5
1 0Hz
1
LOW
80Hz
AUX
15
8KHz
-
1 0Hz
1
LOW
80Hz
AUX
15
8KHz
- 5
1 0Hz
1
LOW
80Hz
AUX
15
8KHz
-
1 0Hz
1
LOW
80Hz
AUX
+15
8KHz
-
1 0Hz
1
LOW
80Hz
AUX
+15
8KHz
-1
10 H
1
LEVEL
0
-7
-2
-4
-10
-20
-30
L R
0
5
-5
10
dB
OUTPUT
AFL
PFL
LEVELSET
SOLOMODE
SOLOACT VE
MAINMIX
LEFT
RIGHT
5
1010
SUB3/4
RE URN
4-DFX2
SOLO
4 DFX2 SEND
BAL
+15
8
BAL
+15
8
BAL
+15
8
BAL
+15
8
PAN
+15
8
PAN
+15
8
PAN
+15
8
PAN
+15
8
PAN
+15
8
PAN
+15
8
PAN
+15
8
PAN
+15
8
-
dB
LEFT
RIGHT
5
10
dB
LEFT
UPS ASSIGN TO MAIN MIX
RIGHT
5
10
dB
SUBGRO
LEFT
RIGHT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
R GHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
RIGHT
PEAK
PEAK
LEFT
5
1010
dB
MUTE
MUTE
R GHT
PEAK
PEAK
LEFT
5
10
dB
MUTE
MUTE
R GHT
PEAK
PEAK
LEFT
5
10
dB
-25
-10
-20
-30
-40
-60
MAIN MIX LEVEL
SUB4
40
25
20
60
0
0
0
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
SUB1-2
0
30
-5
-10
SUB3
40
25
10
20
60
30
-5
-5
-10-10
-20-20
-5
-10
-20
SUB3 4
MAINL-R
10
20
-5
SUB3-4
MAINL-R
10
20
-5
SUB3-4
MAINL-R
20
-5
-10
SUB3-4
MAINL-R
20
-5
-10
SUB3-4
MAINL R
20
-5
-10
SUB3-4
MAINL R
-5
-10
-20
SUB3-4
MAINL R
-5
-10
-20
SUB3-4
MAINL R
-5
-10
-20
SUB3-4
MAINL R
-5
-10
-20
SUB3-4
MAINL R
-5
-10
-20
SUB3-4
MAINL-R
-5
-10
-20
SUB3-4
MAINL-R
-5
-10
-20
SUB2
-25
-30
-40
-60
SUB1
-25
-30
-40
-60
SOLO
15/16
40
25
30
60
SOLO
13/14
40
25
30
60
SOLO
11/12
40
25
30
60
SOLO
9/10
40
25
30
60
SOLO
8
40
60
-25
-30
SOLO
7
40
-25
-30
-60
SOLO
6
-25
-30
-40
-60
SOLO
5
-25
-30
-40
-60
SOLO
4
40
-25
-30
-60
SOLO
3
-25
-30
-40
-60
SOLO
2
-25
-30
-40
-60
SOLO
1
-25
-30
-40
-60
3
SPOTLIGHT
2-TRACK IN/OUT
MIC14
MIC13
MIC12
MIC11
MIC10
MIC9
MIC8
MIC7
MIC6
MIC5
MIC4
MIC3
MIC2
MIC1
L
204204
LAMP
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
LYNX-MIX204 USB
ER
Y
Y
Y
DELA
+ DELA
+ FLANG
+ CHORUS
S PROCESSOR
REVERB
GER
RUS
EFFECT
11. STEREO
12. FLAN
13. CHO
14. REVERB
15. REVERB
16. REVERB
9. SPRING
10. MONO DELA
T RE URNS
TOMON TOR
DF 2(
EFFECTS
SET
LEVEL
HI
LINE
GAIN
EQ
12kHz
20
LINE
USB
-
SET
LEVEL
HI
LINE
GAIN
EQ
12kHz
20
-
EVEL
SET
HI
TRIM
EQ
12kHz
0
75Hz
-2
8dB/Oct
B
LOWCUT
LINE
20
EVEL
SET
HI
TRIM
EQ
12kHz
0
75Hz
-2
B
LOW UT
1 dB/Oct
LINE
20
0
EVEL
SET
HI
TRIM
EQ
12kHz
0
75Hz
-3
LOW UT
1 dB/Oct
dB
LINE
15
0
EVEL
SET
HI
2kHz
TRIM
EQ
0
75Hz
-3
LOWCUT
1 dB/Oct
dB
5
LINE
0
EVEL
SET
HI
2kHz
TRIM
EQ
0
75Hz
-3
LOWCUT
18 B/Oct
dB
5
LINE
0
SET
LEVEL
HI
2kHz
TRIM
EQ
0
75Hz
-3
LOWCUT
18 B/Oct
dB
LINE
+ 5
0
SET
LEVE
HI
TRIM
EQ
12kHz
50
35
75Hz
OWCUT
INE
18dB/Oct
dB
15
0
SET
LEVE
HI
TRIM
EQ
12kHz
50
35
75Hz
OWCUT
INE
18dB/Oct
dB
15
0
SET
LEVE
HI
TRIM
EQ
12kHz
50
35
75Hz
OWCUT
INE
18dB/Oct
dB
15
0
SET
LEVE
HI
TRIM
EQ
12kHz
50
35
75Hz
OWCUT
INE
18dB/Oct
dB
15
0
EVEL
SET
HI
TRIM
EQ
12kHz
0
75Hz
-3
LOW UT
1 dB/Oct
dB
LINE
15
0
EVEL
SET
HI
2kHz
TRIM
EQ
0
75Hz
-3
LOWCUT
1 dB/Oct
dB
5
LINE
0
EVEL
SET
HI
2kHz
TRIM
EQ
0
75Hz
-3
LOWCUT
18 B/Oct
dB
5
LINE
0
SET
LEVEL
HI
2kHz
TRIM
EQ
0
75Hz
-3
LOWCUT
18 B/Oct
dB
LINE
+ 5
0
COMPACT INTEGRATED LIVE SOUND MIXER WITH DIGITAL EFFECTS
20-CH
12V 0.5A
DIG TAL STEREO
E ROOM
E HALL
s
24BIT
7. PLATE
8. TAPEREVERB
5. LARG
6. SMALL ROOM
3. LARG
4. SMALL HALL
2. VOCAL 2
1. VOCAL 1
B
A
PHONES
LEFT
RIGHT
MONO)
LINE IN
LINE IN
TAPE OUT
LEFT
RIGHT
(MONO)
TAPE IN
R
LINE IN
LINE IN
LEFT
RIGHT
(MONO)
BAL UNBAL
LINE IN
LINE IN
LEFT
RIGHT
(MONO)
BAL/UNBAL
LINE IN
LINE IN
BAL/UNBAL
INSERT
LINE IN
BAL/UNBAL
INSERT
LINE IN
NBAL
BAL/U
INSERT
LINE IN
BAL/UNBAL
INSERT
LINE IN
AL/UNBAL
INSERT
LINE IN
AL/UNBAL
INSERT
LINE IN
AL/UNBAL
INSERT
LINE IN
NBAL
BA /U
INSERT
LINE IN
BAL/UNBAL
INSERT
LINE IN
BAL/UNBAL
INSERT
LINE IN
BAL/UNBAL
INSERT
LINE IN
NBAL
BAL/U
INSERT
LINE IN
0
-5
+5
-10
-15
+15
+10
16K
8K
4K
2K
1K
500
250
125
63
0
+5
+15
+10
kHz
H -MID
+15
+15
-15
-15
kHz
H -MID
+15
+15
-15
-15
3 Hz
HIMID
+15
+15
-15
-15
3 Hz
HIMID
+15
+15
-15
-15
MID
+15
+15
800
-15
-15
MID
+15
+15
800
-15
-15
MID
+15
+15
800
-15
-15
MID
+15
+15
800
-15
-15
MID
+15
+15
800
15
15
MID
+15
+15
800
- 5
- 5
MID
+15
+15
800
- 5
- 5
MID
+15
+15
800
-15
-15
MID
+15
+15
800
-15
-15
MID
+15
+15
800
-15
-15
MID
+15
+15
800
-15
-15
MID
+15
+15
800
-15
-15
MAX
MAX
7
4
10
8
8
CL P
PHONES
-
-
CTRLROOM
2TK N
SUB1-2
SUB3-4
MAINMIX
CTRLROOM SOURCE
SEND1
TOAUX
1
STEREOGRAPHIC EQ
1
STEREOAUX RETURNS
5
-15
-10
EQOFF
EQON
1
AUXSENDS
500Hz
MIDLOW
LOW
80Hz
AUX
+15
+15
-15
-15
1
500Hz
MIDLOW
LOW
80Hz
AUX
+15
+15
-15
-15
1
500Hz
MID- OW
LOW
80Hz
AUX
+15
+15
-15
-15
1
500Hz
MID- OW
LOW
80Hz
AUX
+15
+15
-15
-15
1
LOW
80Hz
FR Q
AUX
+15
8KHz
-15
100 z
1
LOW
80Hz
FREQ
AUX
+15
8KHz
-15
100 z
1
LOW
80Hz
FREQ
AUX
+15
8KHz
-15
100H
1
LOW
80Hz
FREQ
AUX
+15
8KHz
-15
100H
1
LOW
80Hz
FREQ
AUX
+15
8KHz
15
00Hz
1
LOW
80Hz
FREQ
AUX
+15
8KHz
- 5
00Hz
1
OW
80Hz
FREQ
AUX
+15
8KHz
- 5
1 0Hz
1
OW
80Hz
FREQ
AUX
+15
8KHz
-15
1 0Hz
1
LOW
80Hz
FR Q
AUX
+15
8KHz
-15
100 z
1
LOW
80Hz
FREQ
AUX
+15
8KHz
-15
100 z
1
LOW
80Hz
FREQ
AUX
+15
8KHz
-15
100H
1
LOW
80Hz
FREQ
AUX
+15
8KHz
-15
100H
1
SEND2
TOAUX
15
15
-
-
2
5
5
-
-
2
SOLO
SOLO
5
+ 5
-
-
2
PRE
POST
15
15
-
-
2
PRE
POST
15
15
-
-
2
PRE
POST
15
15
-
-
2
PRE
POST
15
15
8
8
-
-
2
PRE
POST
15
15
8
8
-
-
2
RE
POST
15
15
-
-
2
RE
POST
15
15
-
-
2
RE
POST
15
15
-
-
2
RE
OST
15
15
-
-
2
RE
OST
15
15
-
-
2
OST
RE
15
15
-
-
2
P E
P ST
15
15
-
-
2
PRE
POST
15
15
88
88
-
-
2
RE
POST
15
15
-
-
2
RE
POST
15
15
-
-
2
RE
POST
15
15
-
-
2
2TKTO MIX
CTRL/R
MAINMIX
+15
8
-
3
4
SOLO
+15
8
-
3
4
DFX1
(EXT)
+15
8
-
3
4
DFX1
(EXT)
+15
8
-
3
4
DFX1
(EXT)
+15
8
-
3
4
DFX1
(EXT)
+15
8
-
3
4
DFX1
( XT)
+15
8
-
3
4
DFX1
( XT)
+15
8
-
3
4
DFX1
( XT)
+15
8
-
3
4
DFX1
( XT)
+15
8
-
3
4
D X1
(EXT)
+15
8
-
3
4
D X1
(EXT)
+15
8
-
3
4
D X1
(EXT)
+15
8
-
3
4
D X1
(EXT)
+15
8
-
3
4
DFX1
( XT)
+15
-
3
4
DFX1
( XT)
+15
8
-
3
4
DFX1
( XT)
+15
8
-
3
4
DFX1
( XT)
+15
8
-
3
4
R
LEVEL
0
2
-7
-2
-4
-10
-20
-30
L
5
10
dB
OUTPUT
SET
AFL
PFL
LEV L
SOLOMODE
SO O ACTIVE
MA N MIX
LEFT
RIGHT
5
10
SUB1/2
SUB3/4
+15
8
-
4-D X2 R TURN
SOLO
+15
8
-
4 DFX2 SEND
DFX2
(INT)
+15
8
-
DFX2
(INT)
+15
8
-
DFX2
(INT)
+15
8
-
DFX2
( NT)
+15
8
-
DFX2
( NT)
+15
8
-
DFX2
( NT)
+15
8
-
DFX2
( NT)
+15
8
-
DFX2
( NT)
+15
8
-
D X2
(INT)
+15
8
-
D X2
(INT)
+15
8
-
D X2
(INT)
+15
8
-
D X2
(INT)
+15
8
-
DFX2
( NT)
+15
-
DFX2
( NT)
+15
8
-
DFX2
( NT)
+15
8
-
DFX2
( NT)
+15
8
-
dB
LEFT
RIGHT
5
10
dB
LEFT
RIGHT
5
10
dB
SUBGROUPS ASSIGN TO MAIN MIX
LEFT
RIGHT
5
10
dB
MUTE
MUTE
BAL
BAL
BAL
BAL
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
SUB1-2
GHT
PEAK
PEAK
0
B
LE
5
MUTE
MUTE
SUB1-2
GHT
PEAK
PEAK
0
B
LE
5
MUTE
MUTE
SUB1-2
GHT
PEAK
PEAK
0
B
LE
5
MUTE
MUTE
SUB1-2
GHT
PEAK
PEAK
0
B
LEF
5
MUTE
MUTE
SUB1-2
GHT
PEAK
PEAK
0
B
LEF
5
MUTE
MUTE
SUB1-2
GHT
PEAK
PEAK
0
B
LEF
5
MUTE
MUTE
SUB1-2
IGHT
PEAK
PEAK
B
LEF
5
10
MUTE
MUTE
SUB1-2
IGHT
PEAK
PEAK
LEF
5
10
dB
MUTE
MUTE
SUB1 2
IGHT
PEAK
PEAK
LE
5
10
dB
MUTE
MUTE
SUB1 2
IGHT
PEAK
PEAK
LE
5
10
dB
MUTE
MUTE
SUB1 2
IGHT
PEAK
PEAK
LE
5
10
dB
MUTE
MUTE
SUB1 2
IGHT
PEAK
PEAK
LE
5
10
dB
MUTE
MUTE
SUB1-2
GHT
PEAK
PEAK
0
B
LEF
5
MUTE
MUTE
SUB1-2
GHT
PEAK
PEAK
0
B
LEF
5
MUTE
MUTE
SUB1-2
IGHT
PEAK
PEAK
B
LEF
5
10
MUTE
MUTE
SUB1-2
IGHT
PEAK
PEAK
LEF
5
10
dB
40
25
10
20
60
30
0
-5
0
-5
-20
-10
0
-5
-20
-10
0
-5
-20-20
-10
0
-5
-20
-10
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
SUB3 4
0
-5
-10
-20
SUB3 4
0
-5
-10
-20
SUB3 4
0
-5
-10
-20
SUB3 4
0
-5
-10
-20
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
SUB3-4
10
20
0
-5
MAIN MIX LEVEL
SUB4
-25
-30
-40
-60
SUB3
-25
-30
-40
-60
SUB2
-25
-30
-40
-60
SUB1
-25
-30
-40
-60
SOLO
MAINL R
19/20
40
25
30
60
SOLO
MAINL R
17/18
40
25
30
60
SOLO
MAINL R
15/16
40
25
30
60
SOLO
MAINL R
13/14
40
25
30
60
SOLO
MAINL R
12
40
25
30
60
SOLO
MAINL R
11
40
25
30
60
SOLO
MAINL R
10
40
25
30
60
SOLO
MAINL-R
9
40
25
30
60
SOLO
MAINL-R
8
40
-25
-30
-60
SOLO
MAINL-R
7
-25
-30
-40
-60
SOLO
MAINL-R
6
-25
-30
-40
-60
SOLO
MA N L-R
5
-25
-30
-40
-60
SOLO
MAINL R
4
40
25
30
60
SOLO
MAINL R
3
40
25
30
60
SOLO
MAINL R
2
40
25
30
60
SOLO
MAINL-R
1
40
25
30
60
4
SPOTLIGHT
LYNX-MIX244 USB
5
0
+5
-15
-10
+10
SOR
Y
Y
Y
S PROCES
244244
2-TRACKIN/OUT
L
1
2
MIC18
1
2
MIC17
1
2
MIC16
1
2
MIC15
1
2
MIC14
1
2
MIC13
1
2
MIC12
1
2
MIC11
1
2
MIC10
1
MIC9
2
1
MIC8
2
1
MIC7
2
1
MIC6
2
1
MIC5
2
1
MIC4
2
1
MIC3
2
1
MIC2
2
1
MIC1
2
16.REVERB + CHORUS
12.FLANGER
13.CHORUS
14.REVERB + DELA
15.REVERB + FLANGER
10.MONO DELA
11.STEREO DELA
9.SPRING REVERB
DIGITAL STEREO EFFECT
s
24BIT
1.VOCAL 1
2.VOCAL 2
3.LARGE HALL
4.SMALL HALL
5.LARGE ROOM
6.SMALL ROOM
7.PLATE
8.TAPE REVERB
24-CHCOMPACT INTEGRATED LIVE SOUND M XER WITH D GITAL EFFECTS
B
A
LAMP
PHONES
12V0 5A
L NE IN
TAPEOUT
TAPEIN
R
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
3
LINEIN
LINE
LEFT
RIGHT
(MONO)
L NE IN
LINE
LEFT
RIGHT
(MONO)
LINEIN
TRIM
LEFT
RIGHT
(MONO)
AL/UN AL
MC
LINEIN
EFT
TRIM
RIGHT
(MONO)
AL/UNB L
E
MIC
LINEIN
TRIM
B L/UNBA
E
MIC
INSERT
TRIM
BA /UNBA
MIC
L E
INSERT
TRIM
BA /UNBAL
MIC
L E
INSERT
TRIM
BAL UNBAL
MC
L
NSERT
TRIM
AL UNBAL
MC
LN
INSERT
TRIM
AL/U BAL
MC
L
INSERT
TRIM
AL/UN AL
MC
INSERT
TRIM
B L/UNB L
MIC
INSERT
TRIM
B L/UNB L
E
MIC
INSERT
TRIM
BA /UNBA
E
MIC
INSERT
TRIM
BA /UNBAL
MIC
L E
INSERT
TRIM
BAL UNBAL
MIC
L E
INSERT
TRIM
BAL UNBAL
MIC
L E
INSERT
TRIM
AL UNBAL
MC
LN
INSERT
TRIM
AL/ NBAL
MC
L
INSERT
TRIM
AL/UN AL
MC
INSERT
+15
16K
8K
4K
2K
1K
500
250
DFX2(INT)RETURNS
E FECTS TO MONITOR
125
63
5
0
+5
-15
-10
+15
+10
EQO F
ET
L VEL
GAIN
20
LINE
USB
S T
LE EL
GAIN
0
0
EV L
SET
40
5Hz
2
OWCUT
18 B/Oc
dB
20
0
EVE
SET
0
5Hz
2
OW UT
18d /Oc
dB
20
0
SET
L VE
0
3
7 Hz
OWC T
18dB Oc
dB
15
0
ET
L VE
0
35
75 z
8dB Oc
B
L W CUT
+ 5
0
S T
LE EL
0
5
75Hz
8dB/Oc
B
LOWCUT
+ 5
0
S T
LE EL
50
5
75Hz
LOWCUT
1 dB/Oc
dB
15
S T
LE EL
0
5
75Hz
LOWCUT
1 dB/Oc
dB
15
SET
LEV L
50
3
75Hz
LOWCUT
18 B/Oc
dB
15
EV L
SET
50
5Hz
3
OWCUT
18 B/Oc
dB
15
EVE
SET
0
5Hz
3
OW UT
18d /Oc
dB
15
0
EVE
SET
0
5Hz
3
OW UT
18d /Oc
dB
15
0
EVE
SET
0
3
7 Hz
OW UT
18dB Oc
dB
15
0
ET
L VE
0
35
75 z
OWCUT
8dB Oc
B
+ 5
0
ET
L VEL
0
5
75Hz
8dB/ c
B
LOWCUT
+ 5
0
S T
L VEL
0
5
75Hz
8dB/ c
B
LOWCUT
+ 5
0
S T
LE EL
0
5
75Hz
LOWCUT
1 dB/Oc
dB
+15
SET
LEV L
50
3
75Hz
LOWCUT
1 dB/Oc
dB
15
EV L
SET
50
5Hz
3
OWCUT
18 B/Oc
dB
15
EQON
3kHz
50 Hz
HI
HIM D
2kHz
MD LOW
EQ
15
15
15
kHz
500 z
HI
HIMID
2kHz
MD LOW
EQ
5
5
5
5
5
5
3 Hz
500Hz
HI
HIMID
MD LOW
EQ
1 kHz
5
5
5
3 Hz
500Hz
HI
HIMID
MD OW
EQ
12 Hz
15
15
15
HI
MD
EQ
FREQ
12 Hz
15
15
8KHz
800
1
1
00 z
HI
REQ
MID
EQ
12k z
15
15
8KHz
800
1
1
00H
I
REQ
2kHz
MID
EQ
15
15
8KHz
800
1
1
1 0H
HI
2kHz
MID
EQ
F EQ
15
15
8KHz
00
1 0H
HI
2kHz
MID
EQ
F EQ
15
15
8KHz
00
1 0H
HI
2kHz
MID
EQ
FR Q
5
5
8KHz
00
5
5
10 H
HI
MID
EQ
FR Q
1 kHz
5
5
KHz
8 0
10 Hz
HI
MD
EQ
FREQ
1 kHz
15
15
8 Hz
800
10 Hz
HI
MD
EQ
FREQ
1 kHz
15
15
8 Hz
800
10 Hz
HI
MD
EQ
FREQ
12 Hz
15
15
8K z
800
1
1
00 z
HI
REQ
MID
EQ
12k z
15
15
8KHz
800
1
1
00H
I
REQ
2kHz
MID
EQ
15
15
8KHz
800
1
1
1 0H
I
REQ
2kHz
MID
EQ
15
15
8KHz
800
1
1
1 0H
HI
2kHz
MID
EQ
F EQ
15
15
8KHz
00
1 0H
HI
2kHz
MID
EQ
FR Q
5
5
8KHz
00
5
5
10 H
HI
MID
EQ
FR Q
1 kHz
5
5
KHz
8 0
10 Hz
X
MA
CTRLROOM SOURCE
1
STEREOGRAPHIC EQ
1
STEREOAUX RETURNS
1
AUXSENDS
LOW
8 Hz
AUX
15
1
LOW
80Hz
AUX
5
5
1
LOW
80Hz
AUX
5
1
LOW
80Hz
AUX
15
1
OW
80Hz
AUX
15
1
1
OW
0Hz
AUX
15
1
LOW
8 Hz
AUX
15
1
1
LOW
8 Hz
AUX
15
1
LOW
8 Hz
AUX
15
1
LOW
80Hz
AUX
5
5
1
LOW
80Hz
AUX
5
1
LOW
80Hz
AUX
15
1
LOW
80Hz
AUX
15
1
OW
80Hz
AUX
15
1
1
OW
0Hz
AUX
15
1
0Hz
L W
AUX
15
1
1
L W
8 Hz
AUX
15
1
1
LOW
8 Hz
AUX
15
1
LOW
80 z
AUX
5
5
1
LOW
80Hz
AUX
5
1
MAX8MAX
8
PHONES
C RL ROOM
2TKIN
SUB1-2
SUB3-4
S ND2
S ND1
TOAUX
TOAUX
5
5
2
15
15
3
2
SOLO
SOLO
15
15
3
2
P E
P ST
15
15
3
2
P E
PO T
5
5
3
2
RE
O T
5
5
3
2
RE
O T
15
15
3
2
RE
OST
15
15
88 88
3
2
RE
OST
15
15
RE
OST
15
15
3
2
P E
P ST
15
15
3
2
P E
P ST
15
15
3
2
P E
P ST
5
5
3
2
RE
O T
5
5
3
2
RE
O T
15
15
3
2
RE
O T
15
15
3
2
RE
OST
15
15
88 88
3
2
RE
OST
15
15
RE
OST
15
15
3
2
RE
OST
15
15
3
2
P E
P ST
15
15
3
2
P E
P ST
5
5
3
2
PRE
PO T
5
5
3
2
CL P
DFX1
( XT
DFX1
( XT
DFX1
(E T
DFX1
(EXT
D X1
(EXT
D X1
(EXT
DF 1
(EXT
DFX1
(EXT
DF 1
(EXT
DFX1
( XT
DFX1
( XT
DFX1
(E T
DFX1
(E T
FX1
(EXT
D X1
(EXT
D X1
(EXT
D X1
(EXT
DF 1
(EXT
DFX1
( XT
DFX1
( XT
L
1010
dB
OUTPUT
AFL
P L
LEV L ET
2TK OMIX
SOLOMODE
SOLOACT VE
INM X
LEFT
R GHT
CTRL R
MAINM X
UB1/2
15
4
SOLO
15
4
DFX2
15
4
DFX2
5
4
DFX2
5
4
DFX2
15
4
D X2
15
4
D X2
15
DF 2
15
4
DF 2
15
4
DF 2
15
4
DFX2
5
4
DFX2
5
4
DFX2
15
4
DFX2
15
4
FX2
15
4
D X2
15
D X2
15
4
D X2
15
4
DF 2
15
4
DFX2
5
4
DFX2
5
4
1010
dBdB
UB3/4
15
LEFT
RIGHT
0
BB
4 FX2 R TUR
EFT
RIGHT
SOLO
1010
dBdB
15
SUBGROUPS ASSIGN TO MA NMIX
L FT
RIGHT
4DFX2 S ND
1010
dBdB
MUT
MUT
(NT
BAL
15
RIGHT
PEAK
PEAK
0
BB
LE T
MUT
MUT
(NT
BAL
5
IGHT
PEAK
PEAK
00
B
B
LEFT
MUTE
MUTE
(NT
BAL
5
RGHT
PEAK
PEAK
EFT
1010
dB
MUTE
MUTE
(INT
BAL
15
RGHT
PEAK
PEAK
EFT
1010
dB
MUTE
MUTE
(INT
PAN
15
RGHT
EAK
EAK
L FT
1010
dBdB
TE
TE
(INT
PAN
15
RIG T
P AK
P AK
0
BB
L FT
MU E
MU E
(INT
PAN
15
RIGHT
PEAK
PEAK
00
B
LE T
MUT
MUT
(NT
PAN
15
RIGHT
PEAK
PEAK
00
B
LE T
MUT
MUT
(NT
PAN
15
RIGHT
PEAK
PEAK
00
BB
LE T
MUT
MUT
(NT
PAN
5
IGHT
PEAK
PEAK
00
B
LEFT
MUTE
MUTE
(NT
PAN
5
RGHT
PEAK
PEAK
B
LEFT
1010
MUTE
MUTE
(I T
PAN
15
RGHT
PEAK
PEAK
EFT
10
dBdB
MUTE
MUTE
(I T
PAN
15
RGHT
PEAK
PEAK
EFT
1010
dBdB
MUTE
MUTE
(INT
PAN
15
RGHT
EAK
EAK
EFT
1010
dB
MUTE
MUTE
(INT
PAN
15
RI HT
P AK
P AK
00
BB
L FT
U E
U E
(INT
PAN
15
RIGHT
PE K
PE K
0
BB
L FT
MU E
MU E
(INT
PAN
15
RIGHT
PE K
PE K
00
B
LE T
MUT
MUT
(NT
PAN
15
RIGHT
PEAK
PEAK
00
B
LE T
MUT
MUT
(NT
PAN
5
IGHT
PEAK
PEAK
00
BB
LE T
MUTE
MUTE
(NT
PAN
5
RGHT
PEAK
PEAK
BB
LEFT
10
40
2525
6060
2020
3030
0
5
-5
- 0
- 0
5
0
5
-10-10
0
5
-5
-10
10
0
5
-5
1010
0
5
-5
SUB1 2
SUB3 4
5
10
0
5
SUB1 2
SUB3 4
1010
0
5
-5
SUB1 2
SUB3 4
1010
0
5
-5
UB1-2
UB3-4
1010
0
5
-5
SUB1-2
SUB3-4
0
5
-5
- 0
SUB1-2
SUB3-4
00
5
0
5
SUB1-2
SUB3-4
5
1010
0
5
SUB -2
SUB -4
5
1010
0
5
SUB -2
SUB -4
5
1010
0
5
SUB1 2
SUB3 4
5
1010
0
5
SUB1 2
SUB3 4
1010
0
5
-5
SUB1-2
SUB3 4
10
0
5
-5
SUB1-2
SUB3-4
1010
0
5
-5
SUB1-2
SUB3-4
0
5
-5
- 0- 0
SUB1-2
SUB3-4
00
5
0
5
SUB1-2
SUB3-4
5
10
0
5
SUB1-2
SUB3-4
5
1010
0
5
SUB -2
SUB3-4
5
1010
0
5
SUB1 2
SUB3 4
5
10
0
5
SUB1 2
SUB3 4
1010
0
5
-5
MAIN MIX LEVEL
SUB4
-25
-20-20
-30-30
-40
-60-60
SUB3
-25-25
-20
-30
-40
-60
SUB2
40
2525
60
30
20
40
2525
6060
2020
3030
SUB1
O O
MAINL-R
23/24
40
2525
60
30
20
SOLO
MAINL-R
21/22
40
25
6060
3030
2020
SOLO
MAINL-R
19/20
40
2525
6060
3030
2020
SOLO
MAIN -R
17/18
40
2525
6060
3030
2020
SOLO
MAINL R
16
40
60
30
20
-25-25
SOLO
MA N L R
15
40
25
6060
3030
2020
OLO
MA N L R
14
40
2525
6060
3030
2020
OLO
MAINL-R
13
40
2525
6060
3030
2020
OLO
MAINL-R
12
40
25
20
20
3030
6060
O O
MAINL-R
11
40
2525
2020
3030
6060
SOLO
MAINL-R
10
40
2525
2020
3030
6060
SOLO
MAIN -R
9
40
2525
20
30
60
SOLO
MAIN -R
8
40
25
25
20
20
30
30
6060
SOLO
MAINL R
7
40
2525
2020
3030
6060
SOLO
MA N L R
55
00
6
40
2020
3030
SOLO
MA N L R
5
40
25
20
30
60
OLO
MA N L R
4
40
2525
2020
30
30
6060
OLO
MAINL-R
3
40
2525
2020
3030
6060
O O
MAINL-R
2
40
2525
20
30
60
SOLO
MAINL-R
1
40
25
2020
3030
6060
R
LEVEL
7
2
4
7
0
2
4
10
-10
-30
-20
5
3. QUICK START
This is the fastest way to get something out from your LYNX-MIX USB , if you
have a keyboard and a microphone.
a. Plug the microphone into Channel 1 MIC IN.
b. Turn down AUX and LEVEL controls on the input channel.
c. Put the EQ controls on center position.
d. Turn on your LYNX-MIX USB mixer.
e.
Sing or speak into the microphone with normal volume and adjust the channel
LEVEL control to half.
f. If you like, you can adjust the EQ at this stage.
g.
The LED on the Master LED meter should flash only occasionally, otherwise
you will hear distortion. If this LED is not active and you still hear distortion,
please turn down a little the input LEVEL control or reduce the output level
of your source instrument.
h.
Connect your stereo keyboard into one of the s channel of yourtereo line inputs
LYNX-MIX USB mixer.
Here you are. It is your first GIG with your LYNX-MIX USB series.
series
6
HOOK
LARGE GIG HOOKUP DIAGRAM
UP
MIC 1 MIC 2 MIC 3 MIC 4
M C1 MI 2 MI 3 MI 4
12 12 12 12
GUITAR
3
LINE INLINEINLINE INLINE IN
BAL/UNBALBAL/UNBALBAL/UNBALBA /UNBAL
INSERTINSERTINSERTINSERT
D/I BOX
COMPUTER
WIRELESS
MICROPHONE 1
WIRELESS
MICROPHONE 2
MIC5 MIC6 MIC7 MIC8 MIC9 MIC10
2
3123123123123123
LINE IN
LINE INLINEINLINE INLINE IN
LEFT
(MONO)
BAL/UNBALBA NBALBA NBALAL/UNBAL
BAL/UNBAL
LINE ININSERTINSERTINSERTINSERT
RIGHT RI T B
BASS
DRUM MACHINE
ACTIVE SPEAKERS
CD PLAYER
2 TRACK IN/OUT
TAPE
LINE IN
LINE IN
LEFT
MO
BAL/ BAL
LINE IN
LINE IN
IN TAPE OUT
LINE IN
LEFT
(MO
LINE IN
RI T
KEYBOARD
LAMP
16 CH COMPACT INTEGRATED LIVE SOUND MIXER WITH DIGITAL EFFECTS
12V 0 5A
PHONES
LEFT
A
MONO)
R GHT
DIGITAL STEREO EFFECTS PROCESSOR
24BIT
s
1 VOCAL1
9 SPRINGREVERB
2 VOCAL2
10 MONODELAY
3 LARGEHALL
11 STEREODELAY
4 SMALLHALL
12 FLANGER
5 LARGEROOM
13 CHORUS
6 SMALLROOM
14 REVERB+ DELAY
7 PLATE
15 REVERB+ FLANGER
8 TAPEREVERB
16 REVERB+ CHORUS
HEADPHONE
164
MAN M X OU PUT BAL UNBAL)
PHA TOMPOW R
ON
O F
Apa aen k la s u
tl odt tag de
as u s il t e k
DS GNED NT L
R
U l h 0V f
10 2 0V 56 H
us: 16AL
RAED P WER
C NSU PTO : 7
ACTIVE SPEAKERS
USB
+dBu
3dBu
MAN
OUPUT
EVL
MAIN NSER
L
R
IPS ND
RI G ETUR
/2 2 /4 M XMX
CTRLOUT DFX OUTMONO
8
15
-
RR
BA / NBAL
1
2
K
P
LL
RR
FOO IT H
AUXRETU NS
AUXSEN S
LL
IRECTOUTS BAL UNBAL)
43
SUBGROUPSOUT
RR
SUBGROUPSIN ERT
STAGE MONITOR
DRECT OUTS BAL/ NBAL)
CH13CH14CH15CH16
4321
CH9CH10CH11CH12
DRECT OUTS BAL UNBAL)
CH5CH6CH7CH8
DRECT OUTS BAL UNBAL)
CH1CH2CH3CH4
CD PLAYER
7
SPOTLIGHT
4. CONTROL ELEMENTS
1 MONO MIC/LINE Channels
MIC 1
Your LYNX-MIX124 USB is equipped with
4 (8 for LYNX-MIX164 USB, 12 for LYNXMIX204 USB,16 for )
LYNX-MIX244 USB
low-noise microphone preamplifier with
optional phantom power, 50 dB of Gain
and over 115 dB of S/N ratio. You can
connect almost any type of microphone.
Dynamic microphones do not need
phantom power. Use phantom power only
with condenser microphones but make
1
3
LINE IN
INSERT
12
3
BAL/UNBAL
sure that the phantom power button is
disengaged before connecting the
MIC10
microphone. Phantom power will not
damage your dynamic microphones, so
make sure to read the MIC instructions
manual before engaging phantom power.
12
3
Use switch (48) to activate/deactivate
phantom power. These channels are also
equipped with 1/4" TRS balanced/unbala
nced LINE-IN plugs to connect line-level
instruments such as keyboards, drum
machines and effect devices.
2
LINE IN
LINE IN
LEFT
(MONO)
BAL/UNBAL
RIGHT
2 STEREO INPUTS
These are channels 5 through 12 (9 through 16 for LYNX-MIX164 USB, 13
through 20 for LYNX-MIX204 USB,17 ).
through 24 for LYNX-MIX244 USB
They are organised in stereo pair and provided with XLR sockets (channels
5/6 for LYNX-MIX124 USB, 9/10 for LYNX-MIX164 USB, 13/14 for LYNXMIX204 USB) and 1/4" TRS phone jacks.If you connect only the left jack, the
input will operate in mono mode, that is the mono signal will appear on both
input channels. You can use these inputs with a stereo keyboard, drum
machine, etc.
3 MONO Channel INSERT
This is where you connect external sound processors such as compressorlimiter, equalizers, etc.. The insert point is available on the first 4 (8 for
LYNX-MIX164 USB, 12 for LYNX-MIX204 USB, ) MIC
16 for LYNX-MIX244 USB
channels only.
4 TRIM
The TRIM control is applied in the mono MIC and stereo input channels. It
provides with 2 different indications: One is for the MIC and the other for
LINE levels. When you use a microphone, you shall read the MIC ring (0~50
for mono MIC input, 0~40 for stereo channels); when you use a line level
8
SPOTLIGHT
4. CONTROL ELEMENTS
instrument, you shall read the LINE ring
(+15~-35 dB for mono MIC input, +20
-
~ 20 dB for stereo channels). For
optimum operation, you shall set this
control in a way that the PEAK LED(16)
blinks only occasionally in order to avoid
distortion on the input channel.
5 LINE GAIN
When you use a line level instrument, you
shall read the ring (-20~+20 dB). For
optimum operation, you shall set this
5
control in a way that the PEAK LED (16)
blinks only occasionally in order to avoid
distortion on the input channel.
6 LEVEL SET LED
This LED will help you to detect the input level immediately. In this case, the
research of the fault will become much faster!
7 LOW-CUT Button
By pressing this button, you will activate a 75 Hz low frequency filter with a
slope of 18 dB per octave. You can use this facility to reduce the hum noise
infected by the mains power supply, or the stage rumble while using a
microphone.
8 LINE/USB Button
By pressing this button, it will switch to the USB mode, then the USB signal
can be sent to this channel or the Main Mix channel; by releasing this button,
the LINE IN inputs signal will send to the line input channels.
EQUALISER
There are 3-band EQ with sweepable MID on all mono input channel1-4 (1-8 for
LYNX-MIX164 USB, 1-12 for LYNX-MIX204 USB, ):
1-16 for LYNX-MIX244 USB
HI, MID and LOW band. There are 4-band fixed frequency EQ on the stereo
channel 5-12 (9-16 for LYNX-MIX164 USB, 13-20 for LYNX-MIX204 USB,
-24 for LYNX-MIX244 USB
): HI, HI-MID, MID-LOW and LOW band. All bands
17
provide up to 15 dB of boost or cut.
9HI
If you turn this control up, you will boost all the frequencies above 12 kHz
(shelving filter). You will add transparency to vocals and guitar and also make
cymbals crispier.Turn the control down to cut all frequencies above 12 kHz.
In such way, you can reduce sibilances of human voice or reduce the hiss of a
Tape player.
4
6
7
6
8
9
SPOTLIGHT
4. CONTROL ELEMENTS
10 MID
This is a peaking filter and it will boost/cut frequencies from 100 Hz to 8 kHz
depending on the position of the MID freq control. This control will affect
especially upper male and lower female vocal ranges and also the harmonics
of most musical instruments.
11 HI-MID
This control gives you up to 15 dB boost
9
or cut at 3 kHz. It is useful for controlling
voice. It can accurately polish your perfo-
10
rmance via adjusting this knob.
13
12 MID-LOW
This control gives you up to 15 dB boost
or cut at 500 Hz.
14
13 LOW
If you turn this control up, you will boost
all frequencies below 80 Hz. You will give
more punch to bass drum and bass guitar
and make the vocalist more "macho". Turn
15
16
it down, you will cut all the frequencies
below 80 Hz. In this way, you can avoid
lowfrequency vibrations and resonance
19
thus preserving the life of your woofers.
14 AUX SENDS Level Control
These four controls are used to adjust the
level of the respective signal sent to AUX
bus, AUX1 and AUX2 can be switched to
PRE/POST-FADER via the PRE/POST button,
so, generally, they can be used for monitor
application and effects & sound processors input. AUX3 and AUX4 are
configured as POST-Faders. In this typical compact unit, excluding sending
out the signal directly to the external effect or processor equipment, AUX
SEND4 can also be assigned to the internal onboard effect module.
11
12
17
18
15 PAN/BAL Control
Abbreviation of PANORAMA control for mono channels, or the stereo channels,
always says, BALANCE control. Keep this control in center position, then the
signal will be positioned in the middle of stage.
10
SPOTLIGHT
4. CONTROL ELEMENTS
16 PEAK LED
Inside your LYNX-MIX USB mixer, the audio signal is monitored in several different
stages and then sent to the PEAK LED. When the LED is red illuminated, it warns
you that you are reaching signal saturation and possible distortion, then you should
reduce the input level for avoiding distortion.
17 MUTE Button & LED
Each channel is equipped with a MUTE button. Pressing this button is equal
to turning the fader down, which can mute the corresponding channel output
except for the channel INSERT send and SOLO (in PFL mode). And the MUTE
LED will illuminate.
18 ASSIGNMENT Controls
Each channel provides four push-buttons: SUB1-2, SUB3-4, MAIN L-R and SOLO.
Pressing the SOLO button, the corresponding SOLO LED will illuminate and
the SOLO signal will replace other signals send to the Headphone/Control
Room and Meters. Usually use the SOLO function in live work to preview
channels before they are let into the mix. It is useful to set an instrument's
input level and EQ, and you can also solo any channel that you want to. The
SOLO switch never affects any mix other than the Control Room. The other
three buttons can be considered as signal assignment switches. Pressing
the SUB1-2 will assign the channel signal to Subgroup1/2, you can depend on
the PAN switch to adjust the amount of channel signal sent to the SUB1
versus SUB2, when turns the PAN to completely left, then the signal can be
only controlled by Subgroup1 and viceversa. In the same way, pressing the
SUB3-4 or MAIN L/R will assign the channel signal to Subgroup3/4 or MAIN
MIX L/R, and will also be affected by PAN.
19 FADER
This fader will adjust the overall level of this channel and set the amount of signal
send to the main output.
20 Control Room Source
You can choose to monitor any combination of MAIN MIX, SUB1-2, SUB 3-4
and 2TK IN via these Matrix switches. Engaging these switches, the stereo
signals will be delivered to the Phones, Control Room and Meters display.
NOTE: When any SOLO switch was engaged, the SOLO signal will replace other
signals, and also be sent to the Control Room, Phones and Meters.
21 PHONES/CTRL ROOM Controls
Rotate these knobs to adjust the stereo level of CTRL ROOM and PHONES
outputs separately, which can be varied from - to MAX.
11
SPOTLIGHT
4. CONTROL ELEMENTS
22 Master AUX SENDS Controls
These four controls are used to determine the master AUX SEND levels,
which can be varied from - to +15
dB. When the external effect units
which
have no input gain control were
connected to mixer, you can get a
further +15 dB gain available from
these Aux Send outputs. As to the
AUX4, it can also provide the lovable
level adjustment for the internal
effect signal.
23 SOLO Button
The function of these SOLO buttons
are the same as the channel SOLO
button, they can also be affected by
the SOLO MODE switch. Press the
SOLO button, the corresponding AUX
send will be routed to the Ctrl Room/
Phones outputs and Meters display.
22
27
29
23 24
30
25
20 21
26
33
28
32
34
31
24 Master STEREO AUX RETURNS Controls
These four controls set the level of effects that received from the stereo
AUX RETURN connectors, which can be varied from - to +15 dB. They are
used to provide the further gain for low level effects.
25 TO AUX SEND1/2
The both rotary knobs assign the AUX RETURN signals to their respective
AUX SEND outputs: The "TO AUX SEND1" assign the signal from AUX
RETURN1 to AUX SEND1 bus, and "TO AUX SEND2" assign the signal from
AUX RETURN2 to AUX SEND2 bus. The adjustable range goes from - to
+15 dB.
26 MAIN MIX & CTRL/R Button
AUX RETURN3 is equipped with the Main Mix & Ctrl/R button. Release the
button to send the stereo signal from AUX RETURN3 to MAIN MIX buses;
Engage the button, then the stereo signal will be sent to CTRL/R output.
12
SPOTLIGHT
4. CONTROL ELEMENTS
27 SUB1-2/SUB3-4/MAIN MIX Buttons
These three buttons are configured for AUX RETURN4, they can be regarded
as the signal assignment switches. When engaging the SUB1-2, the stereo
signal from AUX RETURN4 will be assigned to Subgroup1/2; in the same way,
SUB3-4 for Subgroup3/4, MAIN MIX for MAIN MIX buses.
28 AUX RETURNS SOLO Button
The function of AUX RETURN SOLO is like the channel SOLO button. Engaging
it sends the signal from AUX RETURN (1-4) to the CTRL OUT, PHONES outputs
and Meters display. It can also be affected by SOLO mode button, and the LED
next to the button will illuminate.
29 SUBGROUPS ASSIGN TO MAIN MIX
Through these switches, you can operate the subgroup faders as a master
control for assigning the subgroups to MAIN MIX. Engage the LEFT switch to
send the corresponding subgroup signal to MAIN MIX L, and the RIGHT
switch for MAIN MIX R. When engaging the both switches, the signal will be
sent to L/R of MAIN MIX.
30 SUBGROUPS Fader
These faders are used to control the levels of the signal send to the SUBGROUPS OUT, the adjustable range goes from - to +10 dB. Any channel
that is assigned to the subgroups, not muted and not turned down will be
assigned to the SUB OUTS.
31 MAIN MIX LEVEL Fader
This fader sets the amount of signal send either to the Main Mix Output or
to the Tape Output.
32 LED Meter
The stereo 12-segment LED Meter will indicate the signal level send to the
Ctrl Room and Phones outputs.
33 2TK TO MIX Button
Engaging this switch allows you to combine the 2-Track output with the Main
Mix. In other words, feeds the 2-Track In signals into Main L/R output.
34 SOLO MODE Button
This button provides two modes: up for PFL (Pre-Fader-Listen) mode, down
for AFL (After-Fader-Listen) mode. Engage the button, the soloed signal will
output after the Level control, otherwise, release the button will output the
13
SPOTLIGHT
4. CONTROL ELEMENTS
soloed signal before the Level control.
NOTE: The SOLO function can never affect the mix at main recording output,
and also can't be affected by channel's MUTE switch.
35 EQ Switch
Engage this button to add the stereo graphic EQ to the main mix output
circuit.It can be used to modify the frequency "contour" of a sound. If you
release the button, the stereo graphic EQ will be bypassed.
36 STEREO GRAPHIC EQ
Each one of these faders will boost or attenuate (+/-15 dB) the selected frequency
at a preset bandwidth. When all the faders are in the cent r position, the outpute
of the equalizer is flat response.
35
36
DSP SECTION
There is a powerful 24-bit/256 preset multi-effects included in your LYNX-MIX
USB Series. Effects include reverbs, chorus, flanger, delay and combinations of
the above.
37 PRESETS
Adjust this knob to select the right effect you wish to perform. There are a
total of 16 options for you: several kinds of reverb, mono and stereo delay,
effects with modulation, and versatile two-effect combination.
38 VARIATIONS
Since you have selected the preferable effect, the next step, please go with
the fine consideration, there are also a total of 16 variations for each preset,
and each variation may be managed by several different factors.
14
SPOTLIGHT
4. CONTROL ELEMENTS
39 DSP MUTE Switch & PEAK LED
This switch is used to activate/deactivate the effect facility. This LED lights
up when the input signal is too strong. In case of the digital effect module
being muted, this LED also lights up.
41
37 3840
42
43
39
40 EFFECTS OUT Control
Rotate this knob to adjust the level of effect signal that intercepted from
internal DSP processor and directly sent to DFX OUT, which can be varied
from - to +15 dB.
41 DFX2 (INT) RETURN EFFECTS TO MONITOR
The AUX1 and AUX2 controls are used to set the signal level from AUX
RETURN4, which signal will be sent to AUX SEND1 and AUX SEND2. The
adjustable range can be varied from - to +15 dB.
42 POWER LED
The LED indicates when the power is ON.
43 PHANTOM LED
This LED indicates when the phantom power is switched on.
44 2-TRACK IN/OUT
-TAPE IN
Use the Tape input if you wish to listen to your mix
from a Tape Recorder or DAT.
- TAPE OUT
These RCA jacks will route the main mix into a tape
recorder.
44
15
SPOTLIGHT
4. CONTROL ELEMENTS
45 PHONES Jacks
These jacks will be used to send the signal to a pair of
headphone or to powered studio monitors.
46 LAMP socket
This lovable LAMP is very convenient for your operation, it is located in the top right corner of the front
panel, and provides the 12V socket that can drive
standard BNC-type lamp.
REAR PANEL
47 48
52
54
61
51
53 59
46
45
63
ON
OFF
U l 5Vf
Apa aen k lan uas
tl od t u ag r en
as u stl tn e k
DE I NEDNI AY
10 24 V 500Hz
Fs :T1 AL
RAED POW R
CO SUM TON: 0W
L
R
AC NP T
MAN M X OUTPUT (BALUN AL)
P ANTOMPO R
SB
dBu
dBu
MAN
OUPUT
EV L
AN INSER
R
TPSEND
RNG RET RN
(BA /U BAL)
MONO
8
-
SUB12CH
RE ORD
+5
MAN
324
MIX
P AYBACK
CTRLOUT DFXOUT
R
FOOT WTCH
MAN
MIX
1
2
1
2
LLL
RR
AUXRETURNS
AUXSENDS
LL
DRECT OU S BALUNBAL)
43
SUBGROUPSOUT
413
RR
2
SUBGROUPSINSERT
4
3
4321
DIRECTOUTS (BA /UNBAL)
CH13CH14CH5C 16
CH9CH10CH11CH12
DRECT OUTS BAL UNBAL)
CH5CH6CH7CH8
DIRECTOUTS (BALUNBAL)
565758
60
50
49
55
47 POWER Switch
This switch is used to turn the main power on and off.
48 +48 Volt Phantom Power
It is available only to the XLR MIC sockets. Never plug in a microphone when
phantom power is already on. Before turning phantom power on, make sure
that all faders are totally down. In this way, you will protect your stage
monitors and main loudspeakers.
49 AC Inlet with FUSE Holder
Use it to connect your LYNX-MIX USB mixer to the main AC with the supplied
AC cord. Please check the voltage available in your country and how the
voltage for your LYNX-MIX USB mixer is configured before attempting to
connect your LYNX-MIX USB mixer to the main AC.
62
65
64
C 1CH2CH3CH4
16
SPOTLIGHT
4. CONTROL ELEMENTS
50 MAIN MIX OUTPUT
These stereo outputs are supplied with both the XLR and 1/4" phone jacks
and it is controlled by the Main Mix Level.
51 MAIN OUTPUT LEVEL Button
This button sets the main mix output level to match the input of the device
that you are ready to connect. Engage this button to reduce the output
level from MAIN MIX OUTPUT by 30 dBu, it is used to match the semipro -30
dBu device, on the contrary, to match the professional +4 dBu device.
52 USB PORT
This USB port is used to connect the unit to PC with a transmission line.
When it is in output mode, it can connect with the SUB1-2 or MAIN MIX
output; in the input mode, it can connect with the CH11/12 (for LYNX-MIX
124 USB, CH15/16 for LYNX-MIX164 USB, CH19/20 for LYNX-MIX204 USB,
CH23/24 for LYNX-MIX244 USB) or MAIN MIX output.
53 USB RECORD Switch
You can select SUB1/2 or MAIN MIX track to input the record signal to PC.
54 USB PLAYBACK Switch
You can select CH11/12 (CH15/16 for LYNX-MIX164 USB, CH19/20 FOR
LYNX-MIX204 USB, ) or MAIN MIX track to
CH23/24 for LYNX-MIX244 USB
output the audio signal from PC.
55 MAIN INSERT
These two 1/4" phone jacks are stereo insert points and used to connect
processors such as compressors, equalisers etc.. When insert a external
processor into the jack, the Main stereo signal will be taken out after the
EQ and returned into the MAIN MIX output before the MAIN MIX fader.
56 MONO Level Control
This knob sets the level of mono mix output signal, which can be varied from
- to +15 dB.
57 MONO OUTPUT Jack
This 1/4" phone jack is balanced/unbalanced mono mix output connector, it
can be regarded as a sum output of the left and right of MAIN MIX.
58 CTRL OUT Jacks
These 1/4" phone jacks will be used to send the Control Room signal to the
studio monitor speakers or a second set of PA.
17
SPOTLIGHT
4. CONTROL ELEMENTS
59 DFX OUT Jack
This 1/4" phone jack is used to output the effect signal that comes from
internal DSP module and the signal level can be controlled by the EFFECTS
OUT(40) control.
60 FOOTSWITCH Jack
This 1/4" phone jack can be used to connect an external footswitch to turn on/
off the onboard effect module.
61 AUX SENDS Jacks
These 1/4" phone jacks are used to send out the signal from the AUX Bus to
external devices such as effect units and/or stage monitors.
62 AUX RETURNS Jacks
Use these stereo 1/4" phone jacks to return the stereo signal of an effect unit
to the Main Mix. Alternatively you can also use them as an extra auxiliary input
via using the AUX RETURN level control as volume control. The signal will be
sent directly to MAIN MIX control.
63 DIRECT OUTS
Each Mono MIC/LINE Channel (CH1-CH4 for LYNX-MIX124 USB, CH1-CH8
for LYNX-MIX164 USB, CH1-12 for LYNX-MIX204 USB,
MIX244 USB
) is equipped with the 1/4" phone jack for directing output.
CH1-16 for LYNX-
These jacks are used to send the signal from the channel path to external
device for recording function etc..
64 SUBGROUPS OUT Jacks
These 1/4" phone jacks are used to connect the inputs of deck or secondary
in a complicated PA live sound system. You will find it is the best tool when
you operate the SUBGROUPS OUT.
65 SUBGROUPS INSERT
These 1/4" phone jacks are insert points. They are used to connect processors, such as compressor, limiter, EQ etc.. When insert external processor
into these jacks, the subgroup stereo signal will be taken out, then returned
to before subgroups fader. Of course, these jacks must be stereo (Tip
used
Send/Ring Return).
18
5. INSTALLATION AND CONNECTION
Ok, you have got to this point and you are now in the position to successfully operate
your LYNX-MIX USB series. However, we advise you to read the following section carefully
to be the real master of your own mix. Not paying enough attention to the input signal
level, the routing of the signal and the assignment of the signal will result in unwanted
distortion, a corrupted signal or no sound at all. So you should follow this procedure
for every single channel:
1. Turn down all input and output gain controls.
2. Connect phantom powered microphones before switching on the +48 Volt phantom
power switch.
3. Set the output level of your LYNX-MIX USB mixer or the connected power amplifier
at no more than 75%.
4.
Now, set the CONTROL ROOM/PHONES level at no more than 50%. In this way, you
will be able to hear later what you are doing connecting a pair of headphones or a
pair of powered studio monitor speakers.
5. Position EQ controls on middle position.
6. Position panoramic (PAN/BAL) control on center position.
7. With a pair of headphone or studio monitor speakers are connected, apply a Line Level
input signal so that the PEAK LED does not light up.
8. Increase the input gain properly for maintaining the good headroom and ideal dynamic
range.
9. Depending on the actual application, turn slowly the input and output level controls
for obtaining the maximum gain before distortion.
Now repeat the same sequence for all input channels. The main LED meter could
10.
move up into the red section. In this case you can adjust the overall output level
through the main mix control.
Audio Connections
You can connect unbalanced equipment to balanced inputs and outputs. Simply follow
these schematics.
Tip
Strain Clamp
Sleeve
Ring
Use for Headphone
1/4" Stereo (TRS) Jack Plug
Ring Right Signal
Tip Left Signal
Sleeve Ground/Screen
19
5. INSTALLATION AND CONNECTION
Tip
Sleeve
Strain Clamp
Use for Mono Line In, Mono 1/4"Jack Plugs
Sleeve
Strain Clamp
2
2 Hot(+)
Use for Balanced Mic Inputs
(For unbalanced use, connect pin 1 to 3)
3
3 Cold(-)
1
1 Ground/Screen
3 pin XLR Male Plug
(seen from soldering side)
Sleeve Ground/Screen
1/4" Mono (TS) Jack Plug
Tip
Ring
Sleeve Ground/Screen
Use for Insert Points
Ring Return Signal
1/4" Stereo (TRS) Jack Plug
2 Hot(+)
(For unbalanced use, leave pin3 unconnected)
Tip Signal
Tip Send Signal
2
1
3
3 Cold(-)
Use for Main output
3 pin XLR Line Socket
(seen from soldering side)
1 Ground/Screen
20
5. INSTALLATION AND CONNECTION
Ring Return Signal (Connected together)
To Channel Insert
Sleeve Ground/Screen
Tip Signal
To Tape or FX Input
Sleeve Ground/Screen
'Tapped' Connection Direct Output Lead
(Enables the Insert to be used as a Direct Output
while maintaining the channel signal flow)
To Processor Input
USB Connection
Sleeve
Sleeve Ground/Screen
Tip
Ring
Ring Return Signal
Tip Send Signal
Y Stereo lead for insert Connection
(To be used when the processor does not employ a
single jack connection for the In/Out Connections)
To Channel Insert
To Processor Output
21
6. PRESET LIST
NO. Preset Description
1
VOCAL1 Simulate a room with small delay time
2
3
4
5
6
7
PLATE
TAPE REVERB
8
9
SPRING REVERB
10
MONO DELAY
11
STEREO DELAY
12
FLANGER
13
CHORUS
14
REV.+DELAY
15
REV.+FLANGER
REV.+CHORUS
16
Simulate a small space with slight decay timeVOCAL2
Simulate a large acoustic space of the soundLARGE HALL
Simulate a small acoustic space of the soundSMALL HALL
Simulate a studio room with many early reflectionsLARGE ROOM
Simulate a bright studio roomSMALL ROOM
Simulate the transducers sound like classic bright
vocal plate
Simulate a record head and multiple playback heads
at intervals along the tape
Simulate the analog transducers' springs lightly
stretched sound
Reproduce the sound input on the output after a
lapse of time
Recreate the input sound on the stereo output with
different time.
Simulate to play with another person carrying
out same the notes on the same instrument
Recreate the illusion of more than one instrument
from a single instrument sound
Delay with room effect
Stereo flanger and large room reverb
Stereo chorus and large room reverb
Controllable Parameter
Parameter Variable range
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Decay time
Pre delay
Period
Period
Feedback
Rate
Rate
Decay period
Rev.decay time
Flanger Rate
Rev.decay time
Chorus rate
Rev.decay time
0.8~1.1s
0~79ms
0.8~2.5s
0~79ms
3.6~5.4s
23~55ms
1.0~2.9s
20~45ms
2.9~4.5s
23~55ms
0.7~2.1s
20~45ms
0.6~6.1s
10ms
1.3~5.4s
0~84ms
1.3~5.4s
0~35ms
60~650ms
210~400ms
37~73%
0.16~2.79Hz
0.5~5Hz
211~375ms
1.0~2.9s
0.16~2.52Hz
1.5~2.9s
0.5~4.74Hz
1.5~2.9s
22
7. BLOCK DIAGRAM
23
8. TECHNICAL SPECIFICATION
Mono Input Channels
Microphone Input
Frequency Response
Distortion (THD & N)
Gain Range
SNR (Signal to Noise Ratio)
Line Input
Frequency Response
Distortion (THD & N)
Sensitivity Range
Stereo Input Channels
Line Input
FrequencyResponse
Distortion (THD & N)
Impedances
Microphone Input
Channel Insert Return
All Other Inputs
Tape Out
All Other Output
Equalization
Hi shelving
Mid bell (Mono)
Hi Mid (Stereo)
Mid Low (Stereo)
Low shelving
Low Cut Filter
DSP Section
A/D & D/A Converters 24 Bit
DSP Resolution
Type of Effects
Presets
Controls
Main Mix Section
Noise (Bus Noise)
Max Output
AUX Returns Gain Range
AUX Sends Max Out
Power Supply
Main Voltage
Power Consumption
Electronically balanced, discrete input configuration
10 Hz to 55 kHz, +/ 3 dB
0.005% at + 4 dBu, 1 kHz
0 dB to 50 dB (MIC)
115 dB
Electronically balanced
10 Hz to 55 kHz, +/ 3 dB
0.005% at +4 dBu, 1 kHz
+15 dBu to 35 dBu
Balanced/Unbalanced
10 Hz to 55 kHz,+/ 3 dB
0.005% at +4 dBu, 1 kHz
1.4 kOhm
2.5 kOhm
10 kOhm or greater
1 kOhm
120 Ohm
+/ 15 dB @12 kHz
+/ 15 dB frequency range 100 Hz~8 kHz
+/ 15 dB@3kHz
+/ 15 dB @ 500 Hz
+/ 15 dB @ 80 Hz
75 Hz, 18 dB/Oct.
24 Bit
Hall, Room, Vocal & Plate REVERBS
Mono & Stereo DELAY (Max DELAY TIME 650ms)
Chorus, Flanger & Reverb MODULATIONS
REVERB+DELAY, REVERB+CHORUS,
REVERB+FLANGER Combinations
256
16 Position PRESET Selector
16 Position VARIATION Selector
DSP MUTE SWITCH with PEAK LED Indicator
Fader 0 dB, Channels Muted: 100 dBr (ref.: +4 dBu)
Fader 0 dB, all input channels assigned and set to
UNITY Gain: 90 dBr (ref.:+4 dBu)
+22 dBu Balanced XLR
+22 dBu Unbalanced, 1/4" jacks
to +15 dB
+22 dBu
USA/Canada 100 120 VAC~60 Hz
Europe 210 240 VAC~ 50 Hz
U.K./Australia
LYNX 124 USBMIX
LYNX USBMIX164
LYNX USBMIX204
LYNX USBMIX244
240 VAC~ 50 Hz
40 Watts
50 Watts
60 Watts
70 Watts
24
8. TECHNICAL SPECIFICATION
Fuse
Main Connection
Physical
Dimension (W D H)
LYNX MIX124 USB
LYNX MIX164 USB
LYNX MIX204 USB
LYNX MIX244 USB
Net Weight
LYNX 124 USBMIX
LYNX USBMIX164
LYNX USBMIX204
LYNX USBMIX244
LYNX 124 USBMIX
LYNX USBMIX164
LYNX USBMIX204
LYNX USBMIX244
Standard IEC Receptacle
415 mm 400 mm 38/115 mm (16.34" 15.75" 1.49"/4.53")
525 mm 400 mm 38/115 mm (20.67" 15.75" 1.49"/4.53")
645 mm 400 mm 38/115 mm (25.39" 15.75" 1.49"/4.53")
765 mm 400 mm 38/115 mm (30.12" 15.75" 1.49"/4.53")
5.80 Kg (12.8 lb)
7.40 Kg (16.3 lb)
9.00 Kg (19.8 lb)
10.6 Kg (23.4 lb)
T1.25 AL
T1.25 AL
T1.6 AL
T1.6 AL
25
9. WARRANTY
1. WARRANTY REGISTRATION CARD
To obtain Warranty Service, the buyer should first fill out and return the enclosed
Warranty Registration Card within 10 days of the Purchase Date.
All the information presented in this Warranty Registration Card gives the
manufacturer a better understanding of the sales status, so as to provide a
more effective and efficient after-sales warranty service. Please fill out all the
information carefully and genuinely, miswriting or absence of this card will void
your warranty service.
2. RETURN NOTICE
2.1 In case of return for any warranty service, please make sure that the product
is well packed in its original shipping carton, and it can protect your unit from
any other extra damage.
2.2 Please provide a copy of your sales receipt or other proof of purchase with
the returned machine, and give detail information about your return address
and contact telephone number.
2.3 A brief description of the defect will be appreciated.
2.4 Please prepay all the costs involved in the return shipping, handling and
insurance.
3. TERMS AND CONDITIONS
3.1 LTO warrants that this product will be free from any defects in materials
and/or workmanship for a period of 1 year from the purchase date if you
have completed the Warranty Registration Card in time.
3.2 The warranty service is only available to the original consumer, who purchased
this product directly from the retail dealer, and it can not be transferred.
3.3 During the warranty service, LTO may repair or replace this product at its
own option at no charge to you for parts or for labor in accordance with the
right side of this limited warranty.
3.4 This warranty does not apply to the damages to this product that occurred
as the following conditions:
Instead of operating in accordance with the user's manual thoroughly, any abuse
or misuse of this product.
Normal tear and wear.
The product has been altered or modified in any way.
Damage which may have been caused either directly or indirectly by another
product / force / etc.
Abnormal service or repairing by anyone other than the qualified personnel or
technician.
And in such cases, all the expenses will be charged to the buyer.
3.5 In no event shall LTO be liable for any incidental or consequential damages.
Some states do not allow the exclusion or limitation of incidental or
consequential damages, so the above exclusion or limitation may not apply to
you.
3.6 This warranty gives you the specific rights, and these rights are compatible
with the state laws, you may also have other statutory rights that may vary
from state to state.
26
NO. 1, Lane 17, Sec. 2, Han Shi West Road, Taichung 40151, Taiwan
SEIKAKU TECHNICAL GROUP LIMITED
http://www.altoproaudio.com Tel: 886-4-22313737
email: alto@altoproaudio.com Fax: 886-4-22346757
All rights reserved to ALTO. All features and content might be changed
without prior notice. Any photocopy, translation, or reproduction of part of this
manual without written permission is forbidden. Copyright 2009 Seikaku Group
c
NF03280-1.0
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