Behringer X1222 User Manual

User Manual

X1222

Premium 16-Input 2/2-Bus Mixer with XENYX Mic Preamps
& Compressors, British EQs, 24-Bit Multi-FX Processor and
USB/Audio Interface

2 XENYX X1222USB User Manual

Table of Contents

Thank you .......................................................................2

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

Legal Disclaimer ............................................................. 3

Limited Warranty ...........................................................3

1. Introduction ............................................................... 5

1.1 General mixing console functions ............................... 5

1.2 The user’s manual ............................................................... 6

1.3 Before you get started ...................................................... 6

2. Control Elements and Connectors .......................... 6

2.1 Mono channels .................................................................... 6

2.2 Stereo channels ................................................................... 8

2.3 Connector panel and main section ............................. 8

2.4 Graphic 7-band equalizer .............................................. 11

2.5 Rear view of X1222USB ................................................... 12

3. Digital Eects Processor and

XPQ Surround Function ............................................... 12

3.1 Digital eects processor ................................................. 12

3.2 XPQ surround function .................................................. 13

4. Installation ............................................................... 13

4.1 Rack mounting ................................................................... 13

4.2 Cable connections ........................................................... 13

5. Specications ........................................................... 14

Thank you

Congratulations! In purchasing the BEHRINGER XENYX you have acquired a
mixer whose small size belies its incredible versatility and audio performance.
The XENYX Series represents a milestone in the development of mixing console
technology. With the new XENYX microphone preamps including phantom power
as an option, balanced line inputs and a powerful eects section, themixing
consoles in the XENYX Series are optimally equipped for live and studio
applications. Owing to state-of-the-art circuitry, your XENYX console produces
a warm analog sound that is unrivalled. With the addition of the latest digital
technology, these best-in-class consoles combine the advantages of both analog
and digital technology.

3 XENYX X1222USB User Manual

9. Do not defeat the safety purpose of the polarized

UNDERTAKING OR REPRESENTATION. THIS MANUAL

ce

electronic components of this product to be free of defects

period is mandated by applicable local laws. If the product

Incase MUSICGroup decides to replace the entire product,

Important Safety Instructions

Terminals marked with this symbol carry
electrical current of su cient magnitude

to constitute risk of electric shock.
Use only high-quality professional speaker cables with
¼" TS or twist-locking plugs pre-installed. Allother
installation or modi cation should be performed only
by quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the
enclosure-voltage that may be su cient to constitute a
risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the
accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, donot

remove the top cover (or the rear section).
No user serviceable parts inside. Refer servicing to
quali ed personnel.

Caution

To reduce the risk of  re or electric shock,

do not expose this appliance to rain and
moisture. The apparatus shall not be exposed to dripping
or splashing liquids and no objects  lled with liquids,
suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed ser vice personnel only.
Toreduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by quali ed
servicepersonnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including ampli ers) that produce heat.

or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. Ifthe
provided plug does not  t into your outlet, consult an
electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.

11. Use only attachments/accessories speci ed by
themanufacturer.

12. Use only with the
cart, stand, tripod, bracket,
or table speci ed by the
manufacturer, orsold with
the apparatus. When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid

injury from tip-over.

13. Unplug this apparatus during lightning storms or
when unused for long periods of time.

14. Refer all servicing to quali ed service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has
beendropped.

15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.

LEGAL DISCLAIMER

TECHNICAL SPECIFICATIONS AND APPEARANCES
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND
ACCURACY IS NOT GUARANTEED. BEHRINGER IS
PART OF THE MUSIC GROUP MUSICGROUP.COM.
ALL TRADEMARKS ARE THE PROPERTY OF THEIR
RESPECTIVE OWNERS. MUSICGROUP ACCEPTS NO
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED
BY ANY PERSON WHO RELIES EITHER WHOLLY OR
IN PART UPON ANY DESCRIPTION, PHOTOGRAPH
OR STATEMENT CONTAINED HEREIN. COLORS AND
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.
MUSIC GROUP PRODUCTS ARE SOLD THROUGH
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.
FULLFILLERSAND RESELLERS ARE NOT AGENTS OF
MUSICGROUP AND HAVE ABSOLUTELY NO AUTHORITY
TO BIND MUSICGROUP BY ANY EXPRESS OR IMPLIED

IS COPYRIGHTED. NO PART OF THIS MANUAL MAY
BE REPRODUCED OR TRANSMITTED IN ANY FORM
OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,
INCLUDING PHOTOCOPYING AND RECORDING OF ANY
KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS
WRITTEN PERMISSION OF MUSICGROUPIPLTD.

ALL RIGHTS RESERVED.
© 2012 MUSICGroupIPLtd.
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands

LIMITED WARRANTY

§ 1 Warranty

(1) This limited warranty is valid only if you purchased
the product from a MUSIC Group Authorized Reseller in
the country of purchase. A list of authorized resellers can
be found on BEHRINGER’s website behringer. com under
“Where to Buy”, or you can contact the MUSIC Group o
closest to you.

(2) MUSICGroup* warrants the mechanical and

in material and workmanship if used under normal
operating conditions for a period of one (1) year from
the original date of purchase (see the Limited Warranty
terms in §4 below), unless a longer minimum warranty

shows any defects within the speci ed warranty period
and that defect is not excluded under §4, MUSICGroup
shall, at its discretion, either replace or repair the product
using suitable new or reconditioned product or parts.

thislimited warranty shall apply to the replacement
product for the remaining initial warranty period, i.e.,
one (1) year (or otherwise applicable minimum warranty
period) from the date of purchase of the original product.

(3) Upon validation of the warranty claim, the repaired
or replacement product will be returned to the user
freight prepaid by MUSICGroup.

(4) Warranty claims other than those indicated above
are expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF
OF PURCHASE COVERING YOUR LIMITED WARRANTY.
THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF
OFPURCHASE.

§ 2 Online registration

Please do remember to register your new BEHRINGER
equipment right after your purchase at behringer. com
under “Support” and kindly read the terms and conditions
of our limited warranty carefully. Registeringyour
purchase and equipment with us helps us process
your repair claims quicker and more e ciently.
Thankyouforyour cooperation!

§ 3 Return materials authorization

(1) To obtain warranty service, please contact the
retailer from whom the equipment was purchased.
Should your MUSIC Group Authorized Reseller not be
located in your vicinity, you may contact the MUSICGroup
Authorized Ful ller for your country listed under

4 XENYX X1222USB User Manual

“Support” at behringer. com. Ifyour country is not

• connection or operation of the unit in any way

This warranty does not detract from the seller’s

Warranty service conditions are subject to change without

listed, please check if your problem can be dealt with
by our “OnlineSupport” which may also be found under
“Support” at behringer. com. Alternatively,please submit
an online warranty claim at behringer. com BEFORE
returning the product. All inquiries must be accompanied
by a description of the problem and the serial number
of the product. Afterverifying the product’s warranty
eligibility with the original sales receipt, MUSICGroup
will then issue a ReturnMaterials Authorization
(“RMA”)number.

(2) Subsequently, the product must be returned in
its original shipping carton, together with the return
authorization number to the address indicated by
MUSICGroup.

(3) Shipments without freight prepaid will not
beaccepted.

§ 4 Warranty Exclusions

(1) This limited warranty does not cover consumable
parts including, but not limited to, fuses and batteries.
Where applicable, MUSICGroup warrants the valves or
meters contained in the product to be free from defects
in material and workmanship for a period of ninety (90)
days from date of purchase.

(2) This limited warranty does not cover the product
if it has been electronically or mechanically modi ed
in any way. If the product needs to be modi ed or
adapted in order to comply with applicable technical
or safety standards on a national or local level, inany
country which is not the country for which the
product was originally developed and manufactured,
thismodi cation/adaptation shall not be considered a
defect in materials or workmanship. Thislimited warranty
does not cover any such modi cation/adaptation,
regardless of whether it was carried out properly or not.
Under the terms of this limited warranty, MUSICGroup
shall not be held responsible for any cost resulting from
such a modi cation/adaptation.

(3) This limited warranty covers only the product
hardware. It does not cover technical assistance for
hardware or software usage and it does not cover
any software products whether or not contained in
the product. Any such software is provided “AS IS”
unless expressly provided for in any enclosed software
limitedwarranty.

(4) This limited warranty is invalid if the
factory- appliedserial number has been altered or
removed from theproduct.

(5) Free inspections and maintenance/repair work
are expressly excluded from this limited warranty,
inparticular, if caused by improper handling of the
product by the user. This also applies to defects caused
by normal wear and tear, in particular, of faders,
crossfaders, potentiometers, keys/buttons, guitar strings,
illuminantsand similar parts.

(6) Damage/defects caused by the following conditions
are not covered by this limited warranty:

• improper handling, neglect or failure to operate the
unit in compliance with the instructions given in
BEHRINGER user or service manuals;

that does not comply with the technical or safety
regulations applicable in the country where the
product is used;

• damage/defects caused by acts of God/Nature
(accident,  re,  ood, etc) or any other condition that
is beyond the control of MUSICGroup.

(7) Any repair or opening of the unit carried out by
unauthorized personnel (user included) will void the
limitedwarranty.

(8) If an inspection of the product by MUSICGroup
shows that the defect in question is not covered by the
limited warranty, the inspection costs are payable by
thecustomer.

(9) Products which do not meet the terms of this
limited warranty will be repaired exclusively at the buyer’s
expense. MUSICGroup or its authorized service center will
inform the buyer of any such circumstance. If the buyer
fails to submit a written repair order within 6 weeks after
noti cation, MUSICGroup will return the unit C.O.D. with
a separate invoice for freight and packing. Such costs will
also be invoiced separately when the buyer has sent in a
written repair order.

(10) MUSIC Group Authorized Resellers do not sell new
products directly in online auctions. Purchasesmade
through an online auction are on a “buyer beware” basis.
Online auction con rmations or sales receipts are not
accepted for warranty veri cation and MUSICGroup will
not repair or replace any product purchased through an
online auction.

§ 5 Warranty transferability

This limited warranty is extended exclusively to the
original buyer (customer of authorized reseller) andis
not transferable to anyone who may subsequently
purchase this product. No other person (reseller,etc.)
shallbe entitled to give any warranty promise on behalf
of MUSICGroup.

§ 6 Claim for damage

Subject only to the operation of mandatory applicable
local laws, MUSICGroup shall have no liability to the buyer
under this warranty for any consequential or indirect
loss or damage of any kind. In no event shall the liability
of MUSICGroup under this limited warranty exceed the
invoiced value of the product.

§ 7 Limitation of liability

This limited warranty is the complete and exclusive
warranty between you and MUSICGroup. It supersedes
all other written or oral communications related to this
product. MUSICGroup provides no other warranties for
this product.

§ 8 Other warranty rights and
nationallaw

(1) This limited warranty does not exclude or limit the
buyer’s statutory rights as a consumer in any way.

(2) The limited warranty regulations mentioned herein
are applicable unless they constitute an infringement of
applicable mandatory local laws.

(3)

obligations in regard to any lack of conformity of the
product and any hidden defect.

§ 9 Amendment

notice. For the latest warranty terms and conditions
and additional information regarding MUSICGroup’s
limited warranty, please see complete details online at
behringer. com.

* MUSICGroup Macao Commercial O shore Limited of
RuedePequim No. 202-A, Macau Finance Centre 9/J, Macau,
including all MUSICGroup companies

5 XENYX X1222USB User Manual

1. Introduction

FBQ Feedback Detection System

The FBQ Feedback Detection System, integrated into the graphic equalizer, is one
of the most outstanding characteristics of this mixing console. This ingenious
circuitry lets you immediately recognize and eliminate feedback frequencies.
The FBQ Feedback Detection System uses the LEDs in the frequency band faders
of the graphic EQ to indicate the critical frequencies. This way, what once used to
be a labor-intensive search for feedback frequencies is now an activity that even
a child could master.

The microphone channels feature high-end XENYX Mic Preamps that compare
well with costly outboard preamps in terms of sound quality and dynamics and
boast the following features:

• 130 dB dynamic range for an incredible amount of headroom

• A bandwidth ranging from below 10 Hz to over 200 kHz for crystal-clear

reproduction of even the nest nuances

• The extremely low-noise and distortion-free circuitry guarantees

absolutely natural and transparent signal reproduction

• They are perfectly matched to every conceivable microphone with

up to 60 dB gain and +48 volt phantom power supply

• They enable you to use the greatly extended dynamic range of

your 24-bit/192 kHz HD recorder to the full, thereby maintaining
optimal audio quality

“British EQ”

The equalizers used for the XENYX Series are based on the legendary circuitr y of
top-notch consoles made in Britain, which are renowned throughout the world
for their incredibly warm and musical sound character. Even with extreme gain
settings these equalizers ensure outstanding audio properties.

1.1 General mixing console functions

A mixing console fulls three main functions:

• Signal processing:

Preamplication

Microphones convert sound waves into voltage that has to be amplied
several-fold; then, this voltage is turned into sound that is reproduced
in a loudspeaker. Because micro phone capsules are very delicate in their
construction, output voltage is very low and therefore susceptible to
interference. Therefore, mic signal voltage is amplied directly at the mixer
input to a higher signal level that is less prone to interference. This higher,
interference-safe signal level has to be achieved through amplication using
an amplier of the highest quality in order to amplify the signal and add
as little noise to it as possible. The XENYX Mic Preamp performs this role
beautifully, leaving no traces of noise or sound coloration. Interference that
could take place at the preamplication level could aect signal quality
and purity, and would then be passed on to all other devices, resulting in
inaccurate sounding program during recording or playback.

Level-setting

Signals fed into the mixer using a DI-box (Direct Injection) or the output
of a sound card or a keyboard, often have to be adjusted to the operating
level of your mixing console.

Frequency response correction

Using the equalizers found in each channel strip, you can simply,
quickly and eectively adjust the way a signal sounds.

Eects mixing

In addition to the eec ts processor contained in your mixer, using the
insert connectors on the mono channels and both aux busses lets you
insert additional signal processors into your signal path.

Multi-eects processor

Additionally, your XENYX mixing console has an eects processor with
24-bit A/D and D/A converters included, which gives you 16 presets producing
rst-class reverb, delay and modulation eects plus numerous multi-eects in
excellent audio quality.

The XENYX mixing consoles are equipped with a state-of-the-art switched-mode
power supply (SMPS). Unlike conventional circuitry an SMPS provides
an optimum supply current regardless of the input voltage. And thanks to its
considerably higher eciency a switched-mode power supply uses less energy
than conventional power supplies.

 CAUTION!

◊ We would like to draw your attention to the fact that extreme volumes

may damage your hearing and/or your headphones or loudspeakers.
Turn the MAIN MIX faders and the PHONES control in the main section
fully down before you switch on the unit. Always be careful to set the
appropriate volume.

• Signal distribution:

Individual signals adjusted at each channel strip are laid out at the aux sends
and returns, and are either fed into external eects processors or fed back
to the internal eects processor. Then, the signals are brought back into the
main mix either via the aux return connectors or via direct internal wiring.
The mix for the on-stage musicians is also created using the aux sends
(monitor mix). Similarly, for example, signals for recording equipment,
power ampli ers, headphones and 2-track outputs can also be taken.

• Mix:

All other mixing console functions fall under this vital categor y. Creating a
mix means primarily adjusting the volume levels of individual instruments
and voices to one another as well as giving them the appropriate weight
within the overall frequency spectrum. Likewise, you’ll have to sensibly
spread individual voices across the stereo image of a signal. At the end
of this process, adjusting the level of the entire mix to other equipment
in the signal path is required (e.g. recorder/crossover/amplier).

The interface of BEHRINGER mixing consoles is optimized for these tasks,
enabling you to easily keep track of the signal path.

6 XENYX X1222USB User Manual

1.2 The user’s manual

The user’s manual is designed to give you both an overview of the controls,
as well as detailed information on how to use them. In order to help you
understand the links between the controls, we have arranged them in
groups according to their function.

1.3 Before you get started

1.3.1 Shipment

Your mixing console was carefully packed in the factory to guarantee
safe transport. Nevertheless, we recommend that you carefully examine
the packaging and its contents for any signs of physical damage, which may
have occurred during transit.

◊ If the unit is damaged, please do NOT return it to us, but notify your

dealer and the shipping company immediately, otherwise claims
for damage or replacement may not be granted.

1.3.2 Initial operation

Be sure that there is enough space around the unit for cooling purposes
and to avoid over-heating. Please do not place your mixing console on
high-temperature devices such as radiators or power amps. The console is
connected to the mains via the supplied power cable. The console meets the
required safety standards. Blown fuses must only be replaced by fuses of the
same type and rating.

2. Control Elements and Connectors

This chapter describes the various control elements of your mixing console.
All controls, switches and connectors will be discussed in detail.

2.1 Mono channels

2.1.1 Microphone and line inputs

Fig. 2.1: Connector s and controls of mic /line inputs

◊ Please note that all units must be properly grounded. For your own

safety, you should never remove any ground connectors from electrical
devices or power cables, or render them in operative.

◊ Please ensure that only qualified people install and operate the

mixing console. During installation and operation, the user must have
sufficient electrical contact to earth, otherwise electrostatic discharges
might affect the operation of the unit.

1.3.3 Online registration

Please do remember to register your new BEHRINGER equipment right af ter your
purchase by visiting behringer.com (alternatively behringer.de) and kindly read
the terms and conditions of our warranty carefully.

Should your BEHRINGER product malfunction, our goal is to have
it repaired as quickly as possible. To arrange for warranty service,
please contact the retailer from whom the equipment was purchased.
Should your BEHRINGER dealer not be located in your vicinity, you may directly
contact one of our subsidiaries. Corresponding contact information is included
in the original equipment packaging (Global Contact Information/European
Contact Information). Should your country not be listed, please contact the
distributor nearest you. A list of distributors can be found in the support area
of our website (behringer.com).

Registering your purchase and equipment with us helps us process your repair
claims quicker and more eciently.

Thank you for your cooperation!

MIC

Each mono input channel oers a balanced microphone input via the
XLR connector and also features switchable +48 V phantom power supply for
condenser microphones. The XENYX preamps provide undistorted and noise-free
gain as is typically known only from costly outboard preamps.

◊ Please mute your playback system before you activate the phantom

power supply to prevent switch-on thumps being directed to your
loud speakers. Please also note the instructions in chapter 2.5
“Rear view of X1222USB”.

LINE IN

Each mono input also features a balanced line input on a ¼" connector.
Unbalanced devices (mono jacks) can also be connected to these inputs.

◊ Please remembe r that you can only use either the micr ophone or the line

input of a channel at any one time. You can never use both simultaneously!

INSERT

Insert points enable the processing of a signal with dynamic processors or
equalizers. They are sourced pre-fader, pre-EQ and pre-aux send. Unlike reverb
or other eects devices, whose signals are usually added to the dry signal,
dynamic processors are most eec tive on the complete signal. In this case,
aux send paths are a less-than-perfec t solution. It is better to interrupt the
signal path and insert a dynamic processor and/or equalizer. After processing,
the signal is routed back to the console at precisely the same point it left.
However, the channel signal path is interrupted only if a plug is inserted into the
corresponding jack (stereo phone plug: tip = signal output; ring = return input).
All mono input channels are equipped with inserts.

Inserts can also be used as pre-EQ direct outputs, without interrupting the
signal path. To this end, you will need a cable tted with mono phone plugs on
the tape machine or eects device end, and a bridged stereo phone plug on the
console side (tip and ring connected).

7 XENYX X1222USB User Manual

LOW CUT

The mono channels of the mixing consoles have a high-slope LOW CUT lter for
eliminating unwanted, low-frequency signal components (80 Hz, 18 dB/octave).

GAIN

Use the GAIN control to adjust the input gain. This control should always be
turned fully counter-clockwise whenever you connect or disconnect a signal
source to one of the inputs.

The scale has 2 dierent value ranges: the rst value range (+10 to +60 dB)
refers to the MIC input and shows the amplication for the signals fed in there.

The second value range (+10 to -40 dB) refers to the line input and
shows its sensitivity. The settings for equipment with standard line-level
signals (-10 dBV or +4 dBu) look like this: While the GAIN control is turned all the
way down, connect your equipment. Set the GAIN control to the external devices’
standard output level. If that unit has an output signal level display, it should
show 0 dB during signal peaks. For +4dBu, turn up GAIN slightly, for -10 dBV
a bit more. Tweaking is done using the LEVEL SET LED.

LEVEL SET

This LED lights up when the optimum operating signal level is achieved.
During normal use, this LED should only light up during signal peaks.

COMPRESSOR

2.1.3 Aux sends (MON and FX)

Fig. 2.3: The AUX SEND co ntrols in the chann el strips

Aux sends take signals via a control from one or more channels and sum these
signals to a so-called bus. This bus signal is sent to an aux send connector and
then routed, for example, to an active monitor speaker or an ex ternal eects
device. The return from an external eects device can then be brought back
into the console via the aux return connectors.

For situations that require eects processing, the aux sends are usually switched
post-fader so that the eects volume in a channel corresponds to the position
of the channel fader. If this were not the case, the eects signal of the channel
would remain audible even when the fader is turned to zero.

When setting up a monitor mix, the aux sends are generally switched to
pre-fader; i.e. they operate independently of the position of the channel fader.

Both aux sends are mono, are sourced after the equali zer and oer up to +15 dB gain.

◊ If you press the MUTE switch of the respective channel, aux sends and

returns (MON and FX) are not being muted.

Each mono channel features a built-in compressor which lowers the dynamic
range of the signal and increases its perceived loudness. The loud peaks are
squashed down and the quiet sections are boosted.

Turn the COMP knob clockwise to add more compression eec t.
The adjacent LED with light when the eect is engaged.

2.1.2 Equalizer

All mono input channels include a 3-band equalizer. All bands provide boost
or cut of up to 15 dB. In the central position, the equalizer is inactive.

The circuitry of the British EQs is based on the technology used in the best-known
top-of-the-line consoles and providing a warm sound without any unwanted
side eects. The result are extremely musical equalizers which, unlike simple
equalizers, cause no side eects such as phase shifting or bandwidth limitation,
even with extreme gain settings of ±15 dB.

Fig. 2.2: The equalizer of the input channels

MON

In the X1222USB, aux send 1 (MON) is wired pre-fader and is thus particularly
suitable for setting up monitor mixes.

FX

The aux send labeled FX is for feeding external eects devices and is thus set up
to be post-fader.

In the X1222USB, the FX send is routed directly to the built-in eects processor.
To make sure that the eects processor receives an input signal, you shouldn’t
turn this control all the way to the left (-oo). Don’t have the FX MUTE switch
pressed, and you should also not have the FX SEND fader pulled down.

2.1.4 Pan, mute switch and channel fader

The upper (HIGH) and the lower band (LOW) are shelving lters that increase
or decrease all frequencies above or below their cut-o frequency. The cut-o
frequencies of the upper and lower band are 12 kHz and 80Hz respectively.
The mid band is congured as a peak lter with a center frequency of 2.5 kHz.
Unlike shelving lters, the peak lter processes a frequency range that ex tends
upwards and downwards around its middle frequency.

Fig. 2.4: Channel fader and additional control elements

8 XENYX X1222USB User Manual

PAN

The PAN control determines the position of the channel signal within the stereo
image. This control features a constant-power characteristic, which means the
signal is always maintained at a constant level, irrespective of position in the
stereo panorama.

MUTE

Use the MUTE switch to mute the channel. This means that the channel signal
is no longer present in the main mix. However, the aux sends (MON and FX)
remain active.

MUTE LED

The MUTE LED indicates that the relevant channel is muted.

CLIP LED

The CLIP LED lights up when the input signal is driven too high. In this case,
lower apparent frequenc y increase on the channel EQ to avoid distortion.
For example, lower the mids and the highs somewhat to emphasize the bass.
If you don’t wish to change the EQ settings under any circumstances, try lowering
the GAIN control somewhat (counterclockwise).

If you inserted an external eec ts processor via the insert connector
(e.g. a dynamic processor), then you should also control its output signal level.
It should not be higher than its input signal level (0 dB).

The channel fader determines the level of the channel signal in the main mix.

◊ Attention: Since the aux path for the effect processor is connected

post-fader, the channel fader has to be turned up in order to get this
channel’s signal to the effects processor!

All stereo channel strips have a GAIN control for level setting. In those channels
in which a mic input is present in the channel, the GAIN control has two scales:
just like in the mono channels, there is a 0 to +40 dB scale that shows the
preamplication of the mic signal; the +20 to -20 dB scale shows the sensitivity
for the corresponding input level that is applied to the line input.

Both inputs can also be used with balanced or unbalanced connectors.

2.2.2 Equalizer stereo channels

The equalizer of the stereo channels is, of course, stereo. The lter characteristics
and crossover frequencies are the same as those of the mono channels. A stereo
equalizer is always preferable to two mono equalizers if frequency correction of a
stereo signal is needed. There is often a discrepancy between the settings of the
left and the right channels when using separate equalizers.

2.2.3 Aux sends stereo channels

In principle, the aux sends of the stereo channels function in just the same way
as those of the mono channels. As aux send paths are always mono, the signal
on a stereo channel is rst summed to mono before it reaches the aux bus.

2.2.4 Balance, mute switch and channel fader

BAL

The function of the BAL(ANCE) control corresponds to the PAN control in
the mono channels.

The balance control determines the relative proportion between the left and
right input signals before both signals are routed to the main stereo mix bus.

The MUTE switch, MUTE LED, CLIP LED and channel fader function in the same
way as the mono channels.

2.2 Stereo channels

2.2.1 Channel inputs

Fig. 2.5: Stereo channel inputs

Each stereo channel features two line-level inputs on ¼" connectors for left and
right channels. Channels 9/10 and 11/12 can also be used in mono if you only use
the connector labeled “L.”

Both channels 5/6 and 7/8 feature an additional balanced XLR input for
microphones with available +48 V phantom power.

2.3 Connector panel and main section

Whereas it was useful to trace the signal ow from top to bottom in order to gain
an understanding of the channel strips, we now look at the mixing console from
left to right. The signals are, so to speak, collected from one point on each of the
channel strips and then routed to the main section all together.

2.3.1 Monitor send and FX send channels

Fig. 2.6: Aux sen d controls of the mai n section

A channel signal is routed to the MON(ITOR) send bus if the MON control is turned
up on the corresponding channel.

9 XENYX X1222USB User Manual

MON SEND

The aux send control MON SEND acts as master control for the monitor bus
and determines the level of the summed signal that is taken from the mixer
via the MON SEND connector and that can for example be fed to an amplier
for monitor purposes.

Using the audio signal from this output, you can also feed a subwoofer if you
don’t require stage monitors. To this end, you should implement a crossover in
your signal path pre-subwoofer and pre-amplier, so that only low frequencies
are fed into the subwoofer. You can achieve the same eect by using the built-in
graphical equalizer. Lower all frequencies above 160 Hz and assign the equalizer
to “Moni to r”.

◊ When you use the MAIN MIX fader to reduce the overall volume,

keep in mind that the subwoofer is still receiving a signal!

FX TO MON

You can use this control to insert an eects signal from the built-in eects
processor to your monitor mix. Of course, to do this, your eects processor must
rst receive a signal, i.e. the FX controls in the channel strips must be turned up,
and the FX SEND fader (see g. 2.6) hast to be open.

MON MUTE

If the MON MUTE switch is pressed, the monitor bus is muted, i.e. there is
no signal at the MON SEND connector.

◊ If the connected effects processor receives no input signal,

the FX MUTE switch is probably pressed and/or the FX SEND control
is too low. This also goes for the built-in effects processor.

◊ Adjust your external effects processor to 100% wet (effects signal

only), because the effects signal is added to the main mix along with
the “dry” channel signals.

2.3.3 Aux return connectors

Fig. 2.8: Aux re turn connect ors

AUX RETURN 1

The AUX RETURN 1 connectors generally serve as the return path for the eects
mix generated using the FX send. This is where you connect the output signal
of the external eects device. If only the left connector is used, the aux return 1
automatically operates in mono.

◊ You can also use these connec tors as additional line inputs.

AUX RETURN 2

FX SEND

The FX SEND fader determines the overall level of the eects bus. Both external
eects processors (via the FX SEND connector) and the built-in processor only
receive an input signal if this control is open.

FX TO MAIN

Use the FX TO MAIN control to feed the eects signal into the main mix.
If the control is turned all the way to the left, no eects signal can be heard.

FX MUTE

If the FX MUTE switch is pressed, the eects channel is muted, i.e. no signal is
present at the FX SEND connec tor and the eects processor no longer receives
an input signal.

2.3.2 Monitor send and FX send connector

Fig. 2.7: Aux send co nnectors MON an d FX

MON SEND

The AUX RETURN 2 connector s are used exactly the same way as the AUX RETURN 1
connectors. If these connectors already function as additional inputs, you can
route the eects signal back into the console via a dierent stereo channel,
with the added benet that the channel EQ can be used to adjust the frequency
response of the eects return signal.

◊ In this instance, the FX control of the channel being used as an effects

return should be turned fully counter-clockwise, otherwise feedback
problems can occur!

2.3.4 CD/tape return channel, voice canceller and
connection socket

Connect the input of your monitor power amp or an active monitor system here
to make the monitor mix audible to the musicians on the stage. The signal mix is
created using the channels’ MON controls.

FX SEND

The FX SEND connector outputs the signal you picked up from the individual
channels using the FX controls. You can connect this to the input of an external
eects device in order to process the FX bus’ master signal. Once an eects mix is
created, the processed signal can then be routed from the eects device outputs
back into the AUX RETURN connectors.

Fig. 2.9: CD/tap e return channel

This channel, intended especially for connecting stereo signal sources
(CD players, DAT recorders or even sound cards) features a particularly
practical feature: the VOICE CANCELLER.

10 XENYX X1222USB User Manual

VOICE CANCELLER

Here, you have a lter circuitry that lets you almost entirely remove the
vocal portion of a recording. The lter is constructed in such a way that voice
frequencies are targeted without majorly aecting the rest of the signal.
Additionally, the lter seizes only the middle of the stereo image, exactly there
where the vocals are typically located.

Possible applications for the Voice Canceller are obvious: you can very simply
stage background music for Karaoke events. Of course, you can also do this at
home or at your rehearsal room before you hit the stage. Singers with their own
band can practice singing dicult parts using a complete playback from a tape
player or a CD, thus minimizing rehearsal time.

STANDBY

If the STANDBY switch is pressed, all input channels with a mic connector
(XLR connector) are muted. During breaks or stage conversion, you can prevent
noise from entering the sound system via the microphones. Such noise can in the
worst-case scenario even irreparably damage loudspeaker membranes. The cool
thing about this is that the main mix faders can remain open, so that you can play
music from a CD at the same time. Similarly, the faders for the muted channels
can also remain in their position.

To bring in other sound sources, you can use the CD/tape inputs, stereo input
channels 9 to 12 and the aux return inputs.

CD/TAPE MUTE

CD/TAPE OUTPUT

These connectors are wired pre graphic EQ and pre XPQ surround function.
They carry the main mix signal (unbalanced), eects mix included. Connect the
CD/TAPE OUTPUT to the inputs of your recording device. If you wish to use your
mixer solely for recording purposes, the main outputs are also an alternative.

2.3.5 Main mix, main out connectors
and headphone connector

Using this switch, the input signal from the CD/tape inputs is muted.

CD/TAPE RET(URN)

This stereo fader as signs the input signal from the CD/tape inputs into the main mix.

Fig. 2.10: 2-track conne ctors

CD/TAPE INPUT

The CD/TAPE INPUT RCA connectors are provided for connecting a 2-track machine
(e.g. DAT recorder) or also a CD player. They can also be used as stereo line input.
Alternatively, the output signal of a second XENYX or BEHRINGER ULTRALINK
PRO MX882 can also be connected. If you connect a hi- amplier with a source
selection switch to the CD/TAPE INPUT, you can easily switch between additional
sources (e.g. cassette recorder, MDplayer, sound card etc.).

Using the voice canceller function, you can process all signals being brought into
your mixing console via these connectors.

Fig. 2.11: Main mix fader

MAIN MIX

Use the high-precision quality faders to control the output level of the main mix.

Fig. 2.12: Main out connectors

MAIN OUT

The MAIN outputs carry the MAIN MIX signal and are on balanced XLR connectors
with a nominal level of +4 dBu. Depending on how you wish to use your mixer
and which gear you own, you can connec t the following equipment:

Live PA systems:

A stereo dynamics processor (optional), stereo equalizer (optional) and the stereo
power amplier for full-range loud-speakers with passive crossovers.

If you wish to use multi-way loudspeaker systems without an integrated
crossover, you have to use an active crossover and several power ampliers.
Often, limiters are already built into active crossovers (e.g. BEHRINGER SUPER-X
PRO CX2310 and ULTRADRIVE PRO DCX2496). Active crossovers are implemented
directly before the power amplier, and they divide the frequency range into
several segments that are rst amplied in the ampliers and then passed onto
the corresponding loudspeakers.

11 XENYX X1222USB User Manual

Recording:

For mastering, using a stereo compressor such as the COMPOSER PRO-XL MDX2600
can be recommended. Use it to custom-tailor the dynamic characteristics of your
signal to the dynamic range of the recording equipment you are using. The signal
is in this case passed on from the compressor into the recorder.

PHONES

The PHONES control adjusts the volume of the headphones connected to the
PHONS/CTRL connector. If you connect active monitors or an amplier, use this
connector to adjust the output signal level.

 CAUTION!

◊ We would like to draw your attention to the fact that extreme volumes

may damage your hearing and/or your headphones or loudspeakers.
Turn the MAIN MIX faders and the PHONES control in the main section
fully down before you switch on the unit. Always be careful to set the
appropriate volume.

Fig. 2.13: PHONS/CTRL connector

◊ Connect microphones before you switch on the phantom power

supply. Please do not connect microphones to the mixer (or the
stagebox/wallbox) while the phantom power supply is switched on.
In addition, the monitor/PA loudspeakers should be muted before you
activate the phantom power supply. After switching on, wait approx.
one minute to allow for system stabilization.

LEVEL METER/CLIP

The high-precision level meter accurately displays the appropriate signal level.

LEVEL SETTING:

When recording to a digital device, the recorder’s peak meter should not exceed
0 dB. This is because, unlike analog recordings, slightly excessive levels can create
unpleasant digital distortion.

When recording to an analog device, the VU meters of the recording machine
should reach approx. +3 dB with low-frequency signals (e.g. kick drum). Due to
their inertia VU meters tend to display too low a signal level at frequencies above
1 kHz. This is why, for example, a Hi-Hat should only be driven as far as -10dB.
Snaredrums should be driven to approx. 0 dB.

◊ The peak meters of your XENYX display the level virtually independent

of frequency. A recording level of 0 dB is recommended for all
signal types.

2.3.7 USB input/output

PHONS/CTRL connector

You can connect headphones to this ¼" TRS connector. The connector can also
be used for feeding active monitor loudspeakers (or an amplier) in your control
room. For this purpose, the signal is taken directly before it is passed on to the
main mix faders.

2.3.6 Level meter and level setting

Fig. 2.14: Level meter

POWER

The blue POWER LED indicates that the device is switched on.

Fig. 2.15: USB input/output

The XENYX mixer line has built-in USB connectivity, allowing stereo signals to
be sent to and from the mixer and a computer. The audio sent from the mixer to
a computer is identical to the MAIN MIX. Audio being sent to the mixer from a
computer can be routed to the main mix with the 2-TR/USB TO MAIN button.

Connect the USB type B plug into the USB jack on the mixer, and the other end
into a free USB port on your computer. There are no required drivers, but we
recommend that PC users install the included ASIO driver. The driver can also
be downloaded from behringer.com.

2.4 Graphic 7-band equalizer

+48 V

The red “+48 V” LED lights up when the phantom power supply is switched
on. The phantom power supply is necessary for condenser microphones and
is activated using the corresponding switch on the rear of the device.

Fig. 2.16: The graphic stereo equalizer

The graphic stereo equalizer allows you to tailor the sound to the room acoustics.

12 XENYX X1222USB User Manual

FBQ FEEDBACK DETECTION

The switch turns on the FBQ Feedback Detec tion System. It uses the LEDs in the
frequency band faders to indicate the critical frequencies. On a per-need basis,
lower the frequency range in question somewhat in order to avoid feedback.
Thegraphic stereo equalizer has to be turned on in order to use this function.

◊ Logically, at least one (ideally several) microphone channels have to be

open for feedback to occur at all!

Feedback is particularly common when stage monitors (“wedges”) are
concerned, because monitors project sound in the direction of microphones.
Therefore, you can also use the FBQ Feedback Detection for monitors by placing
the equalizer in the monitor bus (see MAIN MIX/MONITOR).

EQ IN

Use this switch to activate the graphic equalizer. When activated, the fader LEDs
will illuminate.

MAIN MIX/MONITOR

This toggles the graphic equalizer between the main mix and the monitor mix.
With the switch up (not depressed), the equalizer is active in stereo on the main
mix, and inactive on the monitor mix.

When the switch is depressed the equalizer is active in mono on the monitor mix,
and inactive on the main mix.

2.5 Rear view of X1222USB

PHANTOM

The PHANTOM switch activates the phantom power supply for the XLR microphone
inputs, which is required to operate condenser microphones. The red +48 V LED
lights up when phantom power is on. As a rule, dynamic microphones can still
be used with phantom power switched on, provided that they are wired in a
balanced conguration. In case of doubt, contact the microphone manufacturer!

◊ Connect microphones before you switch on the phantom power supply.

Please do not connec t microphones to the mixer (or the stagebox/
wallbox) while the phantom power supply is switched on. In addition,
the monitor/PA loudspeakers should be muted before you activate the
phantom power supply. After switching on, wait approx. one minute to
allow for system stabilization.

◊ Caution! You must never use unbalanced XLR connectors

(PIN 1 and 3 connected) on the MIC input connectors if you want to use
the phantom power supply.

SERIAL NUMBER

Please note the impor tant information on the serial number given in chapter 1.3.3.

3. Digital Eects Processor and
XPQ Surround Function

3.1 Digital eects processor

Fig. 2.17: Voltage supply and f use

FUSE HOLDER/IEC MAINS RECEPTACLE

The console is connected to the mains via the cable supplied, which meets the
required safety standards. Blown fuses must only be replaced by fuses of the
same type and rating. The mains connection is made via a cable with IEC mains
connector. An appropriate mains cable is supplied with the equipment.

POWER

Use the POWER switch to power up the mixing console. The POWER switch
should always be in the “O” position when you are about to connect your
unit to the mains.

To disconnect the unit fro m the mains, pull out the main cord plug. When installing
the product, ensure that the plug is easily accessible. If mounting in a rack,
ensure that the mains can be easily disconnected by a plug pull or by an all-pole
disconnect switch on or near the rack.

◊ Attention: The POWER switch does not fully disconnect the unit from

the mains. Unplug the power cord completely when the unit is not used
for prolonged periods of time.

Fig. 3.1: Eects presets overview

24-BIT MULTI-EFFECTS PROCESSOR

Here you can nd a list of all presets stored in the multi-eec ts processor.
This built-in eects module produces high-grade standard eects such as
reverb, chorus, anger, delay and various combination eects. The integrated
eects module has the advantage of requiring no wiring. This way, the danger
of creating ground loops or uneven signal levels is eliminated at the outset,
completely simplifying the handling.

These eect presets are designed to be added to dry signals. If you move the
FX TO MAIN control, you mix the channel signal (dry) and the eect signal.

This also goes for mixing eects signals with the monitor mix. The main
dierence is that the mix ratio is adjusted using the FX TO MON control. Of course,
a signal has to be fed into the eects processor via the FX control in the channel
strip for both applications.

Fig. 3.2: Conne ction socket f or the footswi tch

13 XENYX X1222USB User Manual

FOOTSWITCH

Connect a standard footswitch to the footswitch connector; use this to switch the
eects processor on and o. A ashing dot at the bot tom of the display indicates
if the eects processor is muted via the footswitch.

◊ In chapter 4.2, you will find an illustration showing how to connect

your footswitch correctly.

Fig. 3.3: Digit al Eects modu le and XPQ Surround Fu nction contro l elements

LEVEL

The LED level meter on the eects module should display a suciently high level.
Take care to ensure that the clip LED only lights up at peak levels. If it is lit
constantly, you are overloading the eects processor and this could cause
unpleasant distortion. The FX SEND fader determines the level that reaches
the eects module.

PROGRAM

You can select the eect preset by turning the PROGRAM control. The display
ashes the number of the current preset. To recall the selected preset, pressthe
button; the ashing stops. You can also recall the selected preset using
thefootswitch.

¼" TS footswitch connector

strain relief clamp

sleeve

tip

sleeve

pole 1/ground

tip

pole 2

The footswitch connects both poles momentarily

Fig. 4.1: ¼" TS footswitch co nnector

4.2.1 Audio connections

Please use commercial RCA cables to wire the 2-track inputs and outputs.

You can, of course, also connect unbalanced devices to the balanced input/
outputs. Use either mono plugs, or ensure that ring and sleeve are bridged inside
the stereo plug (or pins 1 & 3 in the case of XLR connectors).

◊ Caution! You must never use unbalanced XLR connectors

(pins 1 and 3 connected) on the MIC inputs if you intend to use the
phantom power supply.

3.2 XPQ surround function

The surround func tion can be enabled/disabled with the XPQTOMAIN switch.
This is a built-in eect that widens the stereo width, thus making the sound more
lively and transparent. Use the SURROUND control to determine the intensit y of
this eect.

4. Installation

4.1 Rack mounting

The packaging of your mixing console contains two 19" rack mount brackets
which can be installed on the side panels of the console.

Before you can attach the rack mount brackets to the mixing console, you need
to remove the screws holding the left and right side panels. Use these screws to
fasten the two brackets onto the console, being careful to note that each bracket
ts a specic side. With the rack mount brackets installed, you can mount the
mixing console in a commercially available 19" rack. Be sure to allow for proper
air ow around the unit, and do not place the mixing console close to radiators or
power amps, so as to avoid overheating.

◊ Only use the screws holding the mixing console side panels to fasten

the 19" rack mounts.

4.2 Cable connections

You will need a large number of cables for the various connections to and from
the console. The following illustrations show the wiring of these cables. Be sure
to use only high-grade cables.

Balanced use with XLR connectors

12

3

input

1 = ground/shield
2 = hot (+ve)
3 = cold (-ve)

1

2

3

output

For unbalanced use, pin 1 and pin 3
have to be bridged

Fig. 4.2: XLR connections

Unbalanced ¼" TS connector

strain relief clamp

sleeve

tip

sleeve

(ground/shield)

tip

(signal)

Fig. 4.3: ¼" TS connec tor

14 XENYX X1222USB User Manual

Balanced ¼" TRS connector

strain relief clamp

sleeve
ring
tip

sleeve

ground/shield

ring

cold (-ve)

tip

hot (+ve)

For connection of balanced and unbalanced plugs,
ring and sleeve have to be bridged at the stereo plug.

Fig. 4.4: ¼" TRS connec tor

Insert send return ¼" TRS connector

strain relief clamp

sleeve
ring
tip

5. Specications

Mono Inputs

Microphone Inputs (XENYX Mic Preamp)

Type XLR, electronically balanced,

discrete input circuitry

Mic E.I.N. (20 Hz - 20 kHz)

@ 0 Ω source resistance -134 dB / 135.7 dB A-weighted

@ 50 Ω source resistance -131 dB / 133.5 dB A-weighted

@ 150 Ω source resistance -129 dB / 130.5 dB A-weighted

Frequency response <10 Hz - 150 kHz (-1 dB),

<10 Hz - 200 kHz (-3 dB)

Gain range +10 to +60 dB

Max. input level +12 dBu @ +10 dB Gain

Impedance approx. 2.6 kΩ balanced

Signal-to-noise ratio 110 dB / 112 dB A-weighted

(0 dBu In @ +22 dB Gain)

Distortion (THD + N) 0.005% / 0.004% A-weighted

sleeve

ground/shield

ring

return (in)

tip

send (out)

Connect the insert send with the input and the
insert return with the output of the eects device.

Fig. 4.5: Inser t send return ¼" TRS co nnector

¼" TRS headphones connector

strain relief clamp

sleeve

ring

tip

sleeve

ground/shield

ring

right signal

tip

left signal

Fig. 4.6: ¼" TRS connector for headphones

Line Input

Type ¼" TRS connector,

electronicallybalanced

Impedance approx. 20 kΩ balanced

approx. 10 kΩ unbalanced

Gain range -10 to +40 dB

Max. input level +22 dBu @ 0 dB Gain

Fade-Out Attenuation (Crosstalk Attenuation)

Main fader closed 98 dB

Channel muted 85 dB

Channel fader muted 85 dB

Frequency Response

Microphone input to main out

<10 Hz - 90 kHz +0 dB / -1 dB

<10 Hz - 160 kHz +0 dB / -3 dB

Stereo Inputs

Channels 5/6, 7/8

Microphone input

Type XLR microphone connec tor,

electronically balanced

Impedance approx. 2.6 kΩ balanced

Gain range 0 dB to +40 dB

Max. input level +2 dBu

15 XENYX X1222USB User Manual

Channels 9/10, 11/12

Stereo line inputs

Type 2 x ¼" TRS connector, unbalanced

Impedance approx. 40 kΩ @ 0 dB Gain

Gain range -20 dB to +20 dB

Max. input level +22 dBu @ 0 dB Gain

CD/Tape In

Type RCA connectors

Impedance approx. 10 kΩ

Max. input level +22 dBu

EQ Mono Channels

Low 80 Hz / ±15 dB

Mid 2.5 kHz / ±15 dB

High 12 kHz / ±15 dB

Low cut 80 Hz, 18 dB/oct.

EQ Stereo Channels

Low 80 Hz / ±15 dB

Mid 2.5 kHz / ±15 dB

DSP Texas Instruments

Converter 24-bit Sigma-Delta

64/128-times oversampling

Sampling rate 40 kHz

USB

Audio Stereo In/Out

Connector Type B

Converter 16-bit

Sample Rate 48 kHz

Main Mix System Data

Noise

Main mix @ -∞, -99 dB
Channel fader -∞ -101 dB A-weighted

Main mix @ 0 dB, -84 dB
Channel fader -∞ -87 dB A-weighted

Main mix @ 0 dB, -80 dB
Channel fader @ 0 dB -82 dB A-weighted

Power Supply

High 12 kHz / ±15 dB

MON/FX Send

Type ¼" TS connector, unbalanced

Impedance approx. 120 Ω

Max. output level +22 dBu

Aux Returns

Type ¼" TRS connector, unbalanced

Impedance approx. 10 kΩ

Max. input level +22 dBu

Main Outputs

Type XLR, electronically balanced

Impedance approx. 240 Ω balanced

approx. 120 Ω unbalanced

Max. output level +28 dBu

Headphone Output

Type ¼" TRS connector, unbalanced

Max. output level +19 dBu / 150 Ω (+25 dBm)

CD/Tape Out

Mains Voltage 100 - 240 V~, 50 - 60 Hz

Power consumption 40 W

Fuse T 1.6 A H 250 V

Mains connection Standard IEC receptacle

Physical

Dimensions (H x W x D) approx. 3 / x 13 / x 13 /"

approx. 97 x 345 x 334 mm

Weight (net) approx. 8.38 lbs.

approx. 3.80 kg

Measuring conditions:

1: 1 kHz re l. to 0 dBu; 20 Hz - 20 kHz; line inpu t; main output; uni ty gain.

2: 2 0 Hz - 20kHz; measure d at main output. Cha nnels 1 - 4 unity gain; EQ f lat; all channels on main mi x;

channels 1/3 as far l eft as possib le, channels 2/4 as far right a s possible. Refere nce = +6 dBu.

BEHRINGER i s constantly str iving to manintain th e highest profes sional standards . As a result of thes e effort s,

modific ations may be made f rom time to time to exi sting product s without prio r notice. Specif ications and

appearance m ay differ fro m those listed or illus trated.

Type RCA connectors

Impedance approx. 1 kΩ

Max. output level +22 dBu

16 XENYX X1222USB User Manual

FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION

XENYX X1222USB

Responsible Party Name: MUSIC Group Services US Inc.

Address: 18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,
USA

Phone/Fax No.: Phone: [phone]

Fax: [phone]

XENYX X1222USB

complies with the FCC rules as mentioned in the followingparagraph:

This equipment has been tested and found to comply with the limits for a ClassB
digital device, pur suant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a par ticular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment o and on, the user is encouraged to tr y to correct the
interference by one or more of the followingmeasures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit dierent from that to which the

receiver is connected.

• Consult the dealer or an experienced radio/T V technician forhelp.

This device complies with Part 15 of the FCC rules. Operation is subject to the
following two conditions:

(1) this device may not cause harmful interference, and
(2) this device must accept any inter ference received, including inter ference that may
cause undesired operation.

Important information:

Changes or modications to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.

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