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8 XENYX X2442USB/X2222USB/X1832USB/X1622USB User Manual

LOW CUT and MIC GAIN

These two control elements operate on the XLR connectors of the X2442USB,

and are used to lter out frequencies below 75 Hz (LOW CUT) and to adjust

microphone levels (MIC GAIN).

LINE GAIN

Use this control to adjust the line signal levels on channels 13-16 (X2442USB only).

LEVEL

For level matching, the stereo inputs on the X1622USB, X1832USB and X2222USB

have a LEVEL switch to select between +4dBu and -10dBV. At -10dBV

(homerecording level), the input is more sensitive than at +4dBu (studio level).

2.2.2 Equalizer stereo channels

The stereo channels contain a stereo EQ section. The cut-o frequencies of

the high and low bands are 12 kHz and 80 Hz respectively, while the center

frequencies of the high-mid and low-mid bands are 3 kHz and 500 Hz

respectively. The HIGH and LOW controls have the same characteristics as the EQ

in the mono channels. Both mid range bands are of the peak lter type. A stereo

EQ is superior to two mono EQs on a stereo signal as two separate EQs will usually

result in a discrepancy between left and right channels.

2.2.3 Aux sends stereo channels

In principle, the aux sends of the stereo channels function the same way as those

of the mono channels. As the aux sends are mono, the send from a stereo channel

is rst summed to mono before it reaches the aux bus.

2.2.4 Routing switch, solo and channel fader

Fig. 2.6: Balance control and mute switch

BAL

The BAL(ANCE) control has a similar function to the PAN control in the

monochannels.

The balance control determines the levels of the left and right input signals

relative to each other before both signals are routed to the left/right main mix

bus (or odd/even subgroup).

The remaining control elements in the stereo channels perform the same

functions as their counterparts in the mono channels (MUTE switch, MUTE and

CLIP LEDs, SOLO switch, SUB and MAIN switches and channel fader).

2.3 Interface panel and main section

Where 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 the same point on each of

the channel strips and then routed to the main section all together.

2.3.1 MON control, aux sends 1, 2 and 3 (FX)

Turning up the AUX 1 control in a channel routes the signal to the aux send bus 1.

◊ As the X1832USB is equipped with an additional monitor path, its first

aux control in the channel strips is named MON. The console also has a

dedicated master fader (MON SEND) for this aux path.

AUX SEND 1, 2 and 4

The AUX SEND 1 control governs the master send level of the mix created by the

individual channel AUX 1 sends.

Likewise, the AUX SEND 2 contol is the master control for the aux 2 bus, and AUX

SEND 4 controls the AUX 4 bus.

X2442USB

Fig. 2.7: The AUX SEND controls of the main section!

AUX SEND 3 (FX)

The FX control determines the signal level for eects processing, i.e. regulates

the level to an external (or the internal) eects device.

X1622USB and X1832USB: On these consoles, this function is performed by the

AUX SEND 2 control (FX).

SOLO

You can use the SOLO switch to separately monitor the aux sends via the CONTROL

ROOM/PHONES outputs and check these with the level meters.

◊ If you want to monitor the signal of just one AUX bus, none of the other

SOLO SWITCHES should be pressed and the MODE switch should be in

the SOLO position (not depressed).

2.3.2 Aux send jacks

X2442USB

X1832USB

Fig. 2.8: Aux send jacks

AUX SEND jacks

The AUX SEND jack should be used when hooking up a monitor power amp or

active monitor speaker system. The relevant aux path should be set pre-fader.

◊ On the X2222USB, aux send 1 is hard wired as pre-fader and hence

called MON. Model X1832USB has a dedicated monitor output

(MON OUT jack), cf. chapter 2.3.4.

As already mentioned, the aux sends in the channels— if set post-fader—

canbe used to connect to external eects devices.

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