Pronomic MX-1404FX User Manual

Page 1

Disposal / WEE declaration

Rechargeable Batteries and Batteries

The supplied rechargeable batteries or batteries are recyclable. Please dispose of them at special waste collection points or your local dealer. Only dispose of exhausted batteries or rechargeable batteries to ensure environmental protection.

WEEE-Declaration

Your product is designed and manufactured with materials and components of high quality, which are recyclable and can be reused. The symbol means that your product should be disposed of separately from household waste when it reaches its end of life. Please dispose of this equipment at your local collection point or recycling center. Please help to protect the environment in which we all live.

All specifications and appearances are subject to change without notice. All information was correct at time of printing. Musikhaus Kirstein GmbH does not guarantee for the accuracy or completeness of any description, photograph or statement contained in this manual. Printed colors and specifications may vary slightly from product. Products from Musikhaus Kirstein GmbH are only sold through authorized dealer. Distributors and dealers are not agents of Musikhaus Kirstein GmbH and have no authority to bind Musikhaus Kirstein GmbH legally in any way. This manual is protected by copyright. Any copying or reprint, even in excerpts, is only allowed with written consent of Musikhaus Kirstein GmbH. The same applies to reproduction or copying of images, even in altered form.

Pronomic MX-1404FX

Users manual

00024065 Version 01/2012

Page 2

The symbol is used to indicate that some hazardous live terminals are involved within this apparatus, even under the normal operating conditions, which may be sufficient to constitute the risk of electric shock or death.

The symbol is used in the service documentation to indicate that specific component shall be replaced only by the component specified in that documentation for safety reasons.

Protective grounding terminal

Alternating current/voltage

Hazardous live terminal

ON: Denotes the apparatus is turned on

OFF: Denotes the apparatus is turned off.

WARNING: Describes precautions that should be observed to prevent the danger of injury or death to the operator.

CAUTION: Describes precautions that should be observed to prevent danger of the apparatus.

IMPORTANT SAFETY INSTRUCTIONS

·Read these instructions.

·Keep these instructions.

·Heed all warning.

·Follow all instructions.

Water & Moisture·

The apparatus should be protected from moisture and rain, can not used near water, for example: near bathtub, kitchen sink or a swimming pool, etc.

·Heat

The apparatus should be located away from the heat source such as radiators, stoves or other appliances that produce heat.

·Ventilation

Do not block areas of ventilation opening. Failure to do could result in fire. Always install accordance with the manufacturer's instructions.

·Object and Liquid Entry

Objects do not fall into and liquids are not spilled into the inside of the apparatus for safety.

·Power Cord and Plug

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

Do not defeat the safe ty purpose of the pola rized 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 is provided for your safety. If the provided plug does not fit into your outlet, refer to electrician for replacement.

CAU TION

RISK OF E LECTR IC SHOC K

DO NOT OP EN

IMPORTANT SAFETY SYMBOLS

·Power Supply

The apparatus should be connecte d to the power supply only of the type as marked on the apparatus or described in the manual. Failure to do could result in damage to the product and possibly the user.

Unplug this ap paratus durin g lightning s torms o r when unused for long periods of time.

·Fuse

To prevent the risk of fire and d amaging the unit, please use only of th e recommende d fuse type a s described i n the manual. Before replacing the fuse, make sure the unit turned off and disconnected from the AC outlet.

·Electrical Connection

Improper electrical wiring may invalidate the product warranty.

·Cleaning

Clean only with a dry cloth. Do not use any solvents such as benzol or alcohol.

·Servicing

Do not implement an y servicing other t han those means describe d in the man ual. Refe r all serv icing to q ualified service personnel only.

·Only use accessories/attachments or parts recommended

by the manufacturer.

·Warning

Please remember the high sound pressure do not only temporarily damage your sense of hearing, but can also cause permanent damage. Be careful to select a suitable volume.

Mono inputs Microphone inputs (XENYX Mic Preamp)

Type XLR, electronically balanced,

discrete input circuit

Mic E.I.N. (20 Hz - 20 kHz) @ 0 Ω source resistance @ 50 Ω source resistance @ 150 Ω source resistance

-134 dB / 135.7 dB A-weighted

-131 dB / 133.3 dB A-weighted

-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 k balancedΩ 110 dB / 112 dB A-weighted

Signal-to noise ratio

(0 dBu In @ +22 dB gain)

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

Line input

Type

Impedance

Gain range Max. Input level

Fade-out attenuation (Crosstalk attenuation)

Main fader closed Channel muted Channel fader closed

Frequency response

Microphone input to main out <10 Hz - 90 kHz <10 Hz - 160 kHz

+0 dB / -1 dB +0 dB / -3 dB

Stereo inputs

Type

1/4＂ TRS connector,

Impedance

Max. Input level

electronically balanced approx. 20 k Ω +22 dBu

EQ mono channels

EQ stereo channels

5.SPECIFICATIO NS

1/4＂ TRS connector, electronically balanced approx. 20 banlanced Ω 10 k unbanlanced Ω

-10 to +40 dB 30 dBu

90 dB

89.5 dB 89 dB

Low Mid High

80 Hz / 15 dB

2.5 kHz / 15 dB 12 kHz / 15 dB

80 Hz / 15 dB

2.5 kHz / 15 dB 12 kHz / 15 dB

Aux sends

Stereo aux return

Type Impedance Max.output level

1/4＂T S connector, unbalanced approx. 20 k Ω +22 dBu

Main outputs

Type Impedance Max.output level

XLR electronically balanced approx. 240 bal./ 120 unbal. Ω Ω +28 dBu

Control room outputs

Type Impedance Max.output level

1/4＂TS connector, unbal. approx. 120 Ω +22 dBu

Headphones output

Type Max.output level

1/4＂TRS connector, unbalanced +19 dBu / 150 (+25 dBu)Ω

DSP

Converter

24-bit Texas Instruments 24-bit Sigma-Delta. 64/128-times oversampling 40 kHz

Sampling rate

Main mix system data

Noise Main mix @ -∞, Channel fader -∞ Main mix @ 0 dB, Channel fader -∞ Main mix @ 0 dB, Channel fader @ 0 dB

-105 dB / -108 dB A-weighted

-95 dB / -97 dB A-weighted

-82.5 dB / -85 dB A-weighted

Power supply

Mains voltage Power consumption Fuse

100 -240 V~, 50/60 Hz 40 W

Mains connection

Standard IEC receptacle

100 -240 V~, T 1.6 A H 250V

Physical 1204FX

Dimensions (H x W x D) 245 x 324 x 86 mm

2.1kg

weight (net)

1404FX

Dimensions (H x W x D)

298 x 324 x 86 mm

2.3kgweight (net)

1604FX

1804FX

Mea surin g condi tions :

1: 1kHz rel.to 0 dBu; 20 Hz - 20 kHz, line input; main output; unity gain.

2: 20Hz - 20kHz; measured at main output. Channels 1 - 4 unity gain: EQ flat; all channels on main mix; channels 1/3 as far left as possible, channels 2/4 as far right as possible. Reference = +6 dBu.

LongerdB is constantly striving to manintain the highest professional standards. As a result of these efforts, modifications may be made from time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.

1/4＂ TRS connector,

Type

electronically balanced approx. 20 k bal. /10 k unbal. Ω Ω +22 dBu

Impedance Max.input level

Dimensions (H x W x D)

351 x 324 x 86 mm

2.5kgweight (net)

Dimensions (H x W x D)

404 x 324 x 86 mm

2.7kgweight (net)

MX S e r ies M i xer

Page 3

TABLE OF CONTENTS

1.INTRODUCTION................................................. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..4

1.1 G enera l mixin g conso le func tions ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..4

1.2 Th e user’s man ual.. ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... .4

1.3 B efore y ou get st arted ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ...4

1.3 .1 Ship ment ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ... 4

1.3 .2 Init ial ope ratio n.... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... 4

1.3 .3 Onli ne regi strat ion.. ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ... 4

2.CONTROL ELE ME NT S AND CONNECTOR S ... .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 4

2.1 M ono cha nnels ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ...5

2.1 .1 Micr ophon e and lin e input ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... .....5

2.1 .2 Equa lizer. ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..5

2.1 .3 Aux sen ds... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... .... 5

2.1 .4 Rout ing swi tch, so le and ch annel f ader.. ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... .... 6

2.2 S tereo c hanne ls... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ... 6

2.2 .1 Chan nel inp uts.. ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ... 6

2.2 .2 Equa lizer s tereo c hanne ls... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... .6

2.2 .3 Aux sen ds ster eo chan nels. ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..6

2.2 .4 Rou ting sw itch, s ole and c hanne l fader. ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... 6

2.3 C onnec tor pan el and ma in sect ion ... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ...6

2.3 .1 Aux sen ds 1 and 2 ... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ...6

2.3 .2 Aux sen d conne ctors 1 a nd 2... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ...7

2.3 .3 Ster eo aux re turn co nnect ors.. ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ...7

2.3 .4 Ster eo aux re turn. ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... .7

2.3 .5 Tape inpu t / tape ou tput. ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ...7

2.3 .6 Leve l metre a nd moni torin g.... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ... 8

2.3 .7 Alt 3-4 a nd main m ix fade r..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... .....8

2.4 R ear vie w of 1204 FX/12 04... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ....9

2.4 .1 Main m ix outp uts, Alt 3 -4 outp uts and r oom out puts. ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ...9

2.4 .2 Volta ge supp ly, phant om powe r and fus e.... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ... . 9

3.DIGITAL EF FE CT S PR OC ES SO R. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 9

4.INSTAL LTI ON .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .10

4.1 R ack mou nting ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... .10

4.2 .1 Audio c onnec tions ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... .. 10

4.2 C able co nnect ions. ..... ..... ..... ..... ...... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... ..... 10

5.SPECIFICATIO NS .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 11

MX S e r ies M i xer

4.1 R ack mou nting

Before you can attach the rack mount wings to the mixing console, you need to remove the screws holding the left and right side panels. Use these screws to fasten the two wings onto the console, being careful to note that each wing fits a specific side. With the rack mount wing installed. You can mount the mixing console in a commercially available 19＂rack. Be sure to allow for proper air flow around the unit, and do not place the mixing console close to radiators or power amps. So as to avoid overheating.

You will need a larger number of ca ble for the various connecti ons to and fro m the console. The ill ustrations below show. The wing of these cables . Be sure to use only high-g rade cable.

Please use commercia l RCA cables to wire the 2-track inpu ts and outputs.

You can, of course, also connect un balanced devices to the balanced in put/outputs. Use eit her mono plugs, or ensure that ring and sleeve ar e bridged inside the stereo pl ug (or pins 1 & 3 in the case of XLR connec tors).

Caution! You must neve r use unbalanc ed XLR connector s (pin 1 and 3 connected) on the MIC inp uts if you in tend to use the phantom power sup ply.

4.INSTALLATION

The pac king of you r mixing c onsole co ntains t wo 19 rack moun t wings whi ch can be ins talled o n the side pa nels of t he cons ole.

＂

On ly us e the s cre ws ho ldi ng th e mi xing con sole si de pa nel s to fa ste n the 19＂ ra ck m ount s.

4.2 C able co nnect ions

4.2 .1 Audio c onnec tions

Fig . 4.1: 1/ 4＂ TS conn ector f or foot s witch

The foot switch connects the two poles momentarily

1/4＂ T S conne ctor fo r use wit h foot sw itch

strain relief clamp

sleeve

tip

sleeve

tip

pole 1/ground pole 2

The foot switch connects the two poles momentarily

strain relief clamp

sleeve

tip

sleeve

tip

ground shield signal

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

For connection of balanced and unbalanced plus, rig and sleeve have to be bridged at the stereo plug

Hea dphon es conn ectio n wit h 1/4＂ T RS conn ector

strain relief clamp

sleeve

tip

sleeve

tip

ground shield

left signal

Fig . 4.5: 1/ 4＂ TRS c onnec tor for h eadph ones

Fig . 4.4: 1/ 4＂ TRS c onnec tor

Fig . 4.3: 1/ 4＂ TS co nnect or

Fig . 4.2: XL R conne ction s

ring

right signal

ring

strain relief clamp

sleeve

tip

sleeve

tip

ground shield

hot (+ ve)

ring

cold (- ve)

ring

Balance d use of 1/4＂T R S connector

Unbalan ced use of 1/4＂T R S connector

Balanc ed use with XLR conne ctors

1=groud / shi eld 2=hot (+ve ) 3=cold (-v e)

Input

Output

Page 4

24- BIT MULTI -EFFE CTS PRO CESSO R

These effect 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 effect signal.

This also goes for mixing effects signa ls with the monitor mix. The main difference is that the mi x radio is a djusted using the FX TO MON control. Of co urse, a signal has to be fed into the effects proces sor via the FX control in the channel str ip for both applicatio ns.

Here you can find a list of all presets stored in the multi-effects processor. This built-in effects module produces h igh-grade standard effects such as reverb, chor us, flanger, delay and various combinat ion effects. The integrated effects module has the ad vantage of requiring no wiring. This way, th e danger of creating ground loops or uneven sig nal level is eliminated at the out set, co mplet ely sim plify ing the h andin g.

1.IN TR ODU CT ION

Congratulations! In purchasing the LONGERDB MX you have acquired a mixer whose small size belies its incredible versatility and audio performance.

The mic ropho ne channel s featur e high- end Mi c Preamps that compar e well wi th cost ly outb oard pre amps in t erms of soun d qual ity and dynami cs and boast the follo wing featur es.

＊ 130dB dynamic range for an inc redible amount of headr oom

＊

cryst al-cle ar reprod uction o f over the fi nest nuan ces

A bandwid th rangin g from belo w 10 Hz to over 20 0 kHz for

＊

gua rant ees ab solut ion na tura l and tr ansp aren t signa l rep rodu ctio n

The e xtre mely l ow-ni ose an d dis torti on-f ree circ uitr y

＊

mic ropho ne with u p to 60 dB ga in and + 48 volt p hanto m pow er supp ly

They a re per fectl y match ed to eve ry conc eiva ble

＊

of your. 24-bit/19 2 kHz HD recorder to the full. Thereb y maintaini ng optimal audio quali ty

They enable you to use the gre atly extended dynam ic range

The e quali zers u sed for t he MX Se ries ar e base d on the leg endar y circ uitry o f top- notch c onso les mad e in Bri tain, whi ch are renow ned throu ghou t the worl d for their inc redibly war m and music al soun d chara cter. Eve n with ext reme gai n set tings t hese e quali zers e nsure o utst andin g audio qu ality.

Additio nally, your MX Series mi xing consol es has an effec ts proce ssor with 24- bit A/D and D/A conve rters incl uded, whic h gives y ou 100 preset s producin g first-cla ss reverb, d elay and modul ation effec ts plus numerous mul ti-effec ts in excelle nt audio q uality.

The MX Series mixing consoles are equipped with a state-of-theart 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 efficiency a switched-mode power supply uses less energy than conventional power supplies.

The USB interface supplied with the unit is a perfect match for the MX Series and serves as a powerful recording interface to you PC or MAC. It supports the digital transmission of signals on up to four channel with max 48 kHz and extremely low latency. When wired to the CD/TAPE INPUT and OUTPUT connectors,t he interface transfers the stereo mix from the console directly to a computer. Both the recording signals and the playback signal from the computer can be monitored at the same time.I n this way, you can use several recording runs to produce complete multi-track recordings.

USB /Audi o inter face

Mut il-ef fects p roces sor

“Bit ish EQ”

mixing console te chnology. With the new microphone pr eamps including phan tom power as an option. Balanced l ine input and a powerful effects section. The mixing consoles in the MX Series are optima lly equipped for live and studio appl ications. Owing to state -of-the-art ci rcuitry your MX console pr oduces a warm analog sound t hat is unrivalled. With the additio n of the latest digital technology the se base-i n-class c onsoles comb ine the advantages of bot h analog and digital technolo gy.

The MX Series represents a milestone in the development of

MX S e r ies M i xer

Use the high-precision quality faders to control the output level of the Alt 3-4 subgroup and main mix.

MAI N OUTPU TS

The MA IN outp uts car ry the MA IN MIX si gnal an d are on bal anced X LR conn ector s with a no minal l evel of + 4dBu.

ALT 3-4 OUTPUTS

The ALT 3-4 output ar e unbalanced and carry the sig nals of the channels th at you have assigned to this group u sing the MUTE switch. This can be used to rout e a subgroup to a further mixing console for example, or it could be used as a recording output working in tand em with the main output. This means you could record to four tracks s imultaneously. Th e icing on the cake, so to speak, is that you could connect Y-cables to these four outp uts and then connect your 8-track record er in such a way that you have 2 x 4 tracks. (E.g. Channel 1 feeds track 1and track 2, etc. ). In the first reco rding pass, you record on track 1,

3.5 a nd 7 and in t he seco nd pass , on trac ks 2, 4, 6 an d 8.

MX S e r ies M i xer

1.1 g enera l mixin g conso le func tions

A mixi ng cons ole ful fils th ree mai n funct ions:

＊Sig nal pro cessi ng: Pre ampli ficat ion, le vel adj ustme nt, mix ing of eff ects . Frequ ency eq ualiz ation .

＊

for eff ects proc essing a nd monito r mix, di stribut ion to one or seve ral reco rding tra cks, pow er amp(s) , control r oom and 2-t rack out puts.

Sign al distri bution : Summing o f signal s to the aux sen ds

＊

posi tioni ng of the indivi dual sig nals in the stereo fie ld, level cont rol of th e total mi x to matc h the reco rding devi ces/ cros sover /power a mplif ier(s) . All othe r mixer func tions can be inc luded i n this mai n funct ion.

Mix: S ettin g the volu me leve l, frequ ency di stribu tion an d

The interface of LONGERDB mi xing consoles is optimized for these tasks ena bling you to easily keep track of the sig nal path.

1.2 T he user’s manu al

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

1.3 .1 Ship ment

1.3 B efore y ou get st arted

Your mixing console was carefully packed in t he factory to guaran tee safe transport . Neverth eless, w e recomme nd that you carefu l examine the packi ng and its contents fo r any signs of physi cal damage. Which may hav e occurred d uring transi t.

If the un it is damage d, please d o NOT retur n it to us, but not ify your de aler and the shipp ing company imme diately, ot herwise c laims for da mage or repl acement m ay not be gran ted.

1.3 .2 Init ial ope ratio n

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 cable. The c onsole meets the required safety standards. Blown fuses must only be replaced by fuses of the same type and rating.

Please no te that all unit mus t be properly gro unded. For your ow n safety, you should never remov e any ground co nnectors fr om electrica l devices or power cables , or render them ino perative.

CON TROL ROO M OUTPU T

The control room output is normally conn ected to the monitor system in the control room and provi des the stereo mix or, when required, the solo sign al.

SER IAL NUMB ER

Pleas e note the impo rtant info rmation on t he serial nu mber given i n chapter 1.3 .3.

FUS E HOLDE R

The conso le is connec t to the mains via t he cable su pplied which m eets the requ ired safet y standard s. blown fuse s must only be re placed by fus es of the same ty pe and rating .

The mains connection is via a cable with IEC mains connector. An appropriate mains cable is supplied with equipment.

IEC M AINS RE CEPTACL E

POW ER

Use the PO WER switch t o power up the mix ing the cons ole.

PHA NTOM

The PHANTOM switch activates the phantom powe r supply for the XLR conn ectors of the mono channe ls which is required to operate condenser microp hones. The red +48 VLED lights up when phantom po wer is on. As a rule, dynamic microphones can still be used with phantom power switched on, pro vided that they are wired in a balanced configuration. In case of doubt, con tact th e micro phone m anufa cture r!

After the phantom power s upply has been switc hed on, do n ot connect micr ophones to the mixer (or the stagebox/ wallbox). Connect the on. In addition, the monitor/PA louds peakers should be muted befo re activatin g the phantom power supply. After switching on, wait approx . One minute to allow the syste m to Sta biliz e.

Ca utio n! You m ust ne ver u se unb ala nce d X LR co nnec tor s ( PIN 1a nd 3 co nne cte d) on the MIC in put c onne cto rs if y ou w ant t o use t he ph ant om pow er supp ly.

PIN 2 = HOT / PIN 3 = COLD

MAIN OUTPUTS ALT 3-4 OUTPUTS

CONTROL ROOM OUT

R L 4 3 R L

100 - 240 V ~ 50/60 Hz 40W

FUSE: T1.6 AH 250V

POWERONPHANTOM

We should li ke to draw your atte ntion to the fact th at extrem e volumes may dam age your hearin g and/or your head phones or loud speakers. Turn th e MAIN MIX fader s and phones cont rol in the main sect ion fully dow n before you swit ch on the unit. Alway s be carefu l to set the appropr iate volume.

Plea se sure t hat only q ualif ied peop le inst all and oper ate the mix ing cons ole. Duri ng instal latio n and oper ation , the user m ust hav e suffic ient el ectri cal contac t to earth, other wise electr ostati c disc harge s migh t affec t the oper ation o f the unit .

2.CO NT ROL ELEME NTS AN D CONN EC TO RS

This chapt er describe s the various con trol element s of your mixing c onsole. All cont rols, switch es and connect ors will be discus sed in detail.

2.4 R ear vie w of 1204 FX/14 04FX/ 1604F X/180 4FX

2.4 .1 main m ix outp uts, Alt 3 -4 outp uts and con trol ro om outpu ts

Fig . 2.14 Ma in mix ou tputs , Alt 3-4 ou tputs a nd con trol ro om outp uts

2.4 .2 Voltag e suppl y, phant om powe r and fus e

Fig . 2.15: Vo ltage s upply a nd fuse

3.DIGITAL EFFECTS PROCESSOR

PROGRAM

(PUSH)

PHONES

FOOTSW

24 -BIT MULTI- FX PROCESSOR

00 SMALL HALL 03 MID H ALL 06 BIG H ALL 09 CHU RCH 10 SMA LL ROOM 13 MID R OOM 16 BIG R OOM 19 CHA PEL 20 PLAT E 27 SPR ING 30 GATE D REV

36 REVERSE 40 EAR LY REFL 44 AMB IENCE 48 STAD IUM 49 AM BIENC E FX 50 DE LAY 59 EC HO 60 CH ORUS 66 FL ANGER 70 PH ASER 74 PI TCH SHI FT

80 CHORUS & REV ERB 82 FL ANGER & R EVERB 84 PH ASER & RE VERB 86 PI TCH & REV ERB 88 DE LAY & REVER B 90 DE LAY & GATED 91 DE LAY & REVER SE 92 DE LAY & CHORU S 94 DE LAY & FLANG ER 96 DE LAY & PHASE R 98 DE LAY & PITCH

LEV EL

You ca n select t he effect p reset by t urning th e PROGRAM contr ol. The disp lay flashe s the number o f the curren t preset. To reca ll the selec ted pre set, p ress th e butt on; th e flash ing stops . You c an als o reca ll the selec ted pr eset w ith th e foot switc h.

PRO GRAM

On t he foll owing page, you wil l find an il lustrat ion show ing how to co nnect you r foot swit ch corre ctly.

The LED level mater on the effects module should display a sufficiently high level. Take care to ensure that the clip LED only lights up at peak levels. I f it is lit constantly, you are overloading the effects processor and this could cause unpleasant distortion. The FX control (AUX SEND 2) determines the level that reaches the e ffects m odule .

Fig . 3.1: Di gital e ffect s modul e

CLIP

24-BIT DUAL ENGI NE DSP

LEVEL

24-BIT A/D & D/A CO NVERTE R

Page 5

Eac h mono i nput c hanne l offe rs a bal anced m icro phon e inp ut via t he XLR c onnec tor an d also f eatu res swi tcha ble +48 V p hant om pow er supp ly for con dense r micr opho nes. The M X prea mps pr ovide u ndis tort ed and no ised -fre e gain as is t ypic ally k nown on ly fro m cost ly out board p ream ps.

Each mo no input als o feature s a balance d line input o n a 1/4＂co nnector . Un balance d devices ( mono jacks ) can also be conn ected to th ese inputs .

Please mute your play back system before you activ e the phantom power supply to prevent switch-on thump being directed to your loudspea kers. Please also n ote the instructions in chapte r 2.4.2 “Voltage supply, phantom power and fuse”.

LIN EIN

MIC

MX S e r ies M i xer

The TRA CK switch routed, th e signal from the TRACK IN connectors t o the level metre, the CONT ROL ROOM OUT outputs and the PHONES connecto r----this is a simple way to check recorded signal s via monitor speakers or headphones.

Si mil arly, the ALT 3 -4 sw itc h rou tes t he si gnal from the Al t 3-4 b us to t he sa me pa th fo r mon ito ring purp ose s.

The MAIN MIX switch sends the main mix signal to the abovementioned outputs and to the level metre.

ALT 3-4

MAI N MIX

Use this control to set control room output level and headphone volume respectively.

PHO NES/C TRL (ROO M)

Whe n the 2-T RACK TO MA IN swit ch is dep resse d, the 2tra ck inpu t is rout ed to the m ain thu s serves as an a dditional inp ut for ta pe mach ines. You c an also c onnec t MIDI fu rther pro cessi ng. At the s ame tim e, this s witch d isabl es the ma in mix t o tape ou tput li nk.

2-T RACK TO MA IN

POW ER

The blue POWER LE D indicates that the de vice is switched on.

2-T RACK

MX S e r ies M i xer

ple ase re membe r tha t you c an onl y use e ither the mic ropho ne o r th e lin e in put of a chan nel at an y one t ime. You c an neve r use bo th sim ultan eousl y!

The mono channels of the mixing consoles have a high-slope LOW CUT filter for eliminat ing unwanted, low-frequenty signal components (75 Hz, 18 dB/octav e).

LOW C UT

TRI M

Use the T RIM contro l to adjus t the input gain. This control should al ways be turned fu lly counterc lockwise whe never you connec t or disconnect a si gnal source to one of th e inputs.

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.

2.1 .3 Aux sen ds

The circuitry of t he British EQs is based on the technology used in the bast-known top-of-the-line co nsoles and provi ding a warm sound without any unwanted side effects. The result are extremely musical equalizes which, unlik e simple equalizers, cause no side effects such as phase shifting or bandw idth

lim itati on, eve n with ex treme g ain set tings o f +15 dB.

The upper (HI) and the lower b and (LO) are she lving filters that incre ase or decrease all frequencies abov e or below their cut-off frequen cy. The cut-off freq uencies of the upper and lower band are 12 kHz and 80 Hz respecti vely. The mid band is configure d as a peak filter with a centre freq uency of 2.5kHz

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 external effects device. The return from an external effect device can then be brought back into the console

via t he aux re turn co nnect ors.

For situations which require effects processing, the aux sends are usually switched post-fader so that the effects volume in a channel corresponds to the position of the channel fader. if this were not 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 cha nnel fa der.

Both aux sends are mono, are sourced after the equalizer and offer up to +15dB gain.

PFL

SOL O

Also a rule, s olo signal s are monito red via the co ntrol room outpu t and he adphone s conne ctor and are dis played by the level meters. I f a also swi tch is pre ssed, the signals f rom the tape i nput, Alt 3- 4 and main mix are bl ocked fro m the cont rol room ou tputs, the h eadphone c onnecto r and the level m eter.

+48 V

LEV EL METER

Th e hig h-pr oci sion leve l met er ac cur atel y dis pla ys th e ap prop ria te si gnal leve l.

When recording to a digital device, the recorder’s peak metre should mot exceed 0 dB. This is because, unlike analog recordings, slightly excessive levels can create unpleasant digital distortion.

LEV EL SETTI NG

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

sys tem sta biliz ation .

Please do n ot connect micr ophones to the mix er (or th e stagebo x/wellbo x) while the phant om power supply i s switched on. Co nnect microp hones befor e you swit ch on the power sup ply. In addition , t he monito r/PA loud speakers , shou ld be muted befor e you act ivate the p hantom pow er supply. Afte r switch ing on, wait approx. One mi nute to allow for

When r ecordi ng to an anal og devic e, the VU met ers of the reco rding mac hine shoul d r each appr ox. +3 dB with lowfreq uency signal s (e. g. Kic k dru m). Du e to their inerti a VU mete rs tend t o displa y too low a signal s level at freque ncies abov e 1 kHz. T his is wh y ,for ex ample, a Hi-Hat should only be dr iven as f ar as -10 dB. Sna re drums should b e drive n to app rox. 0 dB .

To activate the PFL function, depress the MODE switch. The PFL function should, as a rule, be used for gain setting purposes. The signal is sourced pre-fader and assigned to the mono PFL bus. In the “PFL”setting, only the left side of the peak meter operates. Drive the individual channels to the 0 dB mark of the VU me ter.

When the MODE switch is not depressed, the stereo solo bus is activate. Solo is short for “Solo In Place”. This is the customary method for listening to an individual signal or to a group of signals. As soon as a solo switch is pressed, all channels in the control room (and headphones) that have not been selected are muted thereby retaining stereo panning. The solo bus can carry the output signals of the channel pan controls, the aux sends and the stereo line inputs. The solo bus is, as a rule, switched postfad er.

MOD E

The MODE switch determi nes whether the channels＇SO LO switch o perates as P FL (Pre Fader Listen) or as solo (Solo In Place).

The PAN control in the channel strip offers a constant power characteristic. This means that the signal is always at a constant level, irrespective of its position in the stereo panorama. If the PAN control is moved fully left or right from center, the level increases by 4 dB in that channel. This signal is not louder. For this reason, with the solo function activated (Solo In Place), audio signals from the channels with PAN controls that have not be moved fully to the left or right are displayed at a lo wer vol ume tha t in the PF L functi on.

+10 -40

MIC

+10 +60

TRIM

dB/dBu

LOW CUT

75Hz

18 dB/O ct

LINE IN

BAL

UNBAL

-15 +15 0

-15 +15

HIGH

12 KHz

MID

2.5 KHz

LOW

80 Hz

- +15

-8+15

AUX1

POST PRE

- +15

3 4

MODE

SOLO (NORMA L) PFL (LEVEL S ET)

L R

MAIN SOLO P FL

MAIN MIX

ALT 3-4

2-TRACK

PHONES/ CTRL R

SOURC E

2TK TO MAIN M IX

POWER + 48 V

CLIP

2.1 Mono channels

2.1 .1 Micr ophon e and lin e input s

Fig . 2.1: Co nnect ors and c ontro ls of mic /line i nputs

Fig . 2.2: Pa noram a and rou ting co ntrol s

Fig . 2.3: Th e AUX SEND c ontro ls in the c hanne l strip s

If y ou pre ss th e MUT E/ALT 3 -4 sw itc h, aux send 1 is m uted , pro vide d tha t it is s witc hed p ost -fad er. How eve r, thi s does not af fec t the a ux sen d 2

Aux send 1 can be switched pre-fader and is thus particularl y suitable for settin g up monitor mixes.

AUX 1 ( MON)

PRE

Whe n the P RE swi tch is p ress ed, a ux sen d 1 is sou rced pre -fad er.

The aux send labeled FX is for sending to effects devices and is thus set up to be post-fader.

Aux 2 ( FX)

If you wish to us e the internal ef fects proces sor, the STEREO AUX RETURN 2 connector s should not be is use.

You can also connect an external effects processor to aux send 2, however the internal effects module will be muted.

2.3 .6 Leve l meter a nd moni torin g

Fig . 2.11: Con trol ro om/ph ones se ction , level m eter

The peak metr es of y our X ENYX disp lay t he le vel vir tua lly inde pen dent of freq uen cy. A reco rdin g lev el of 0 dB is r eco mmen ded f or all sign al ty pes.

MAI N SOLO

The MAIN SOL O LED lights up as soo n as a channel or aux send sol o switch is pres sed. The MODE swi tch also has to be set at “solo”.

The PFL LED indicates that the peak metre is set to PFL mode.

PFL

PHO NES

You can connect headphone to this TRS con nector. The signal on the PHONES conn ection is sourc ed from the con trol

1/4＂

roo m outpu t.

PHONE S

ALT 3-4 MAIN M IX

40 60

3 4 L R

Fig . 2.12: P HONES c onnec tor

2.3 .7 Alt 3-4 a nd main m ix fade r

Fig . 2.13: A lt 3-4 an d main mi x fader

2.1 .2 Equa lizer

Page 6

2-T RACK IN PUT

2-T RACK OU TPUT

These connec tors are wired in parallel with MAI N OUT and carry the main mix signal (unbalanced).Connect the 2-TRACK OUTPUT to the inputs of your recording device. The final output level can be adjusted via the high-precision MAIN MIX fader.

If yo u conn ect a c ompre ssor or a noi se gate a fter the 2 -tra ck out put, t he fad ers wi ll pr obabl y not b e abl e to cre ate a s atisf acto ry fad e-ou t effe ct.

The 2 -TRAC K INPU T RCA connec tors are p rovide d for conn ecting a 2 track ma chine ( e.g. DAT re corder ). They ca n also be used as st ereo line input . Alte rnativ ely, th e out put sign al of a seco nd MX Seri es Mixin g can als o be conne cted. If you c onnec t a hi fi amp lifier w ith a sou rce sele ction s witch to th e 2-TRA CK INPU T, you can easil y switc h betwe en addi tiona l source s (e.g. Ca ssette r ecorde r, CD playe r, etc.).

Each stereo c hannel has two bal anced line level in put on 1/4＂connectors for left and right channe ls. If only the connector marked ＂L ＂ is used, the channel operates in mono. Stere o channels are designed to handle typica l line level signals.

Bot h input c an also b e used wi th unba lance d jacks .

The equalizer of the stereo channel is, of course, stereo. The filter characteristics and crossover frequencies are the same as those of the mono channels. A stereo equalizer is always preferable to 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.

In principl e, the aux sends of the ster eo channels func tion in just the same wa y as those of the mono chann els. As aux send paths are alw ays mono, the signa l on a stereo channel is fir st summed to mon o before it reaches it re aches the aux bus.

2.2 .3 Aux sen ds ster eo chan nels

2.2 .2 Equa lizer s tereo c hanne ls

LEV EL

2.2 .4 rout ing swi tch, so lo and ch annel f ader

The fun ction of th e BAL(ANC E) contr ol corres ponds to th e PAN cont rol in the mo no channe ls.

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 MU TE/ALT 3-4 s witch , the MUTE -LED, t he CLP-L ED, the SO LO swit ch and the c hannel f ader fu nction i n the sam e way as t he mono ch annel s.

2.3 C onnec tor pan el and ma in sect ion

Whereas it was usefu l to trace the signa l flow fro m top to bottom it order to gain an understanding of the channel strips , we now look at the mixing console from left to right. The signa ls are, so to speaker, collected from the same point on each of the channel strips and then routed to the main section all togeth er.

You can u se the SO LO swit ch to sep arate ly moni tor the aux s ends vi a the CON TROL ROO M/PHO NES out puts and che ck thes e with th e level m etres .

SOL O

If you wa nt to monito r the signal t he of just one AU X bus, no ne of the othe r SOLO SWITC HES shoul d be press ed and the MOD E switch mu st be in the SOLO posit ion (not pr essed dow n).

AUX S END 1

AUX S END 2

STE REO AUX RE TURN 1

For level matchi ng, the stereo inputs feat ure a LEVEL switch which selec ts between +4 dBu and -10 dBV. At -10 dBV (homerecordin g leve l), th e input is more sensitive than at +4 d Bu (st udio le vel).

BAL

If you use aux send 1 p re-fader, you would u sually connect the AUX SEND 1conn ector to monitors via a power amp (or an active monitor system). If you use aux send 1 post-fader,proceed as de scrib ed unde r aux sen d 2.

The AUX SEND 2 connector outputs the signal you picked up from the individual channels using the FX control. You can connect this to the input of an effects mix is created, the processed signal can then be routed from the effects device output back into the STE REO AUX RE TURN co nnect ors.

The return path for the effects mix generated using the post-fader aux send. This is where you connect the output signal of the external effects device. If only the connector is used, the AUX RETURN automatically operates

STEREO AUX RETURN 1 connectors generally serve as the

in mono.

MX S e r ies M i xer

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 o position in the stereo panorama.

You can use the MUTE/ALT 3-4 switch t o driver the channel from the main mix bus to the Alt 3-4 bus. This mutes the channel from the main mix.

The MUTE LED indicates that the relevant channel is diverted to the submix (Alt 3-4 bus).

MUT E/ALT 3-4

MUT E-LED

CLI P-LED

The CLIP LED lights up when the input signal is driver too high. In this case , turn down the TRIM control and, if necessary, check the setting of the channel EQ.

PAN

MX S e r ies M i xer

If y ou wi sh to use t he in ter nal e ffec ts p roce sso r, no c onn ecto rs s houl d be p lug ged i nto STE REO AU X RET URN 2 .

2.1 .4 Rout ing swi tch, so lo and ch annel f ader

L R

PAN

MUTE

ALT 3-4

dB10MUTE

CLIP

40 60

SOLO

A channel signal is routed to aux send bus 1 if the Aux 1 control is turned up on the corresponding channel.

The AUX SEND cont rol MON acts as mast er control for au x send 1 and det ermines the le vel of the summed si gnal

AUX S END 1 (MO N)

Similarl y, the FX control (AU X SEND 2) determines the lev el for aux send 2.

AUX S END 2 (FX )

AUX SEND S

SOLO

AUX SEN DS

LEFT /MONO RI GHT

RETU RNSSTERE O AUX

STEREO AU X RETUR NS

MAIN MIX ALT 3-4

TO AUX

SEND 1

In this in stance, the F X control of the c hannel bein g used as an eff ects return sh ould be turned fu lly count erclockw ise, o therwise feed back p roblems could occur!

STEREO AUX RETURN 1 is a stereo control which determines is used as effects return, you can add the effects signal to any

STE REO AUX RE TURN 1

In thi s instan ce, the e ffects d evice sh ould be se t at 100% e ffect .

STE REO AUX RE TURN MO N

Mon itor mi x with ef fect

You can now use the STEREO AUX RETURN MON control to adjust the level of the effects signal rout ed to the monitor mix.

The STEREO AUX RETURN 2 control determines the level of signals fed into the AUX RETURN 2 connectors which are routed to the main mix.

STE REO AUX RE TURN 2 (F X)

MAI N MIX/A LT 3-4

The MAIN MIX/ALT 3-4 switch routes the signal connec ted to STEREO AUX RETURN 2 to either main mix (not pres sed) or

“dry” c hanne l signa l .

Th e STER EO AU X RET URN M ON con tro l has a speci al fu ncti on: i t ca n be us ed t o add an ef fect to a m onit or m ix. Fo r exam ple :

In this instance, the effect device should be set up as follows: AUX SEND 2 is connected to the L/Mono input of your effects device, while its outputs are connected to STEREO AUX RETURN

1. Connect the amplifier of your monitor system to AUX SEND 1. The AUX SEND 1 master control determines the volume of the mon itor mi x.

sub mix (Al t 3-4, pr essed ).

STE REO AUX RE TURN 2

You c an al so us e the se co nne ctor s as a ddit ion al li ne in puts .

The STEREO AUX RETURN 2 connectors serve as the return path for the effec ts mix generated using the FX control. If these connectors al ready function as a dditional inputs, you can route the effects signal back into the console via a different chan nel, with the added benefit that the channel EQ can be used to adjust the frequency of the effects signal.

SOL O

The channel fader determines the level of the channel signal in the main mix (or submix).

T he SOLO swit ch is used to route the ch annelsign al to the solo bu s (Solo In Pla ce) or to the PF L bus (Pre Fade r Listen). This enab les you to monito r a channel signal w ithout affect ing the ma in output s ignal. The signal yo u hear is s ourced eit her before (P FL, mono) or afte r (solo, stereo ) both the pan contro l and the channel fad er (see cha pter 2.3.6 “ Level meters and mon itori ng” ).

LINE IN 7 /8

-10

MONO

LEVEL

BAL OR

UNBAL

2.2 S tereo c hanne ls

2.2 .1 Chan nel inp uts

Fig . 2.5: St ereo ch annel i nputs a nd LEVE L switch

Fig . 2.4: Pa noram a and rou ting co ntrol s

2.3 .1 Aux sen ds 1 and 2

Fig . 2.6: AUX S END con trol s of t he main s ectio n

2.3 .2 Aux sen d conne ctors 1 a nd 2

2.3 .3 Ster eo aux re turn co nnect ors

Fig . 2.8: St ereo au x retur n conne ctors

Fig . 2.7: Aux s end con necto rs

2.3 .4 Ster eo aux re turn

Fig . 2.9: St ereo au x retur n contr ols

2.3 .5 Tape inp ut/ta pe outp ut

Fig . 2.10: 2 -trac k conne ctors

INPUTLOUTPUT

2TK TO MAI N MIX