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User Manual
XENYX
1204USB/X1204USB
Premium 12-Input 2/2-Bus Mixer with XENYX Mic
Preamps & Compressors, British EQs, 24-Bit Multi-FX Processor,
USB/Audio Interface and energyXT2.5 Compact BEHRINGER
Edition Music Production Software
behringer.com
2XENYX 1204USB/X1204USB User Manual
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 eects 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.
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 ............................................................... 5
1.3 Before you get started ...................................................... 5
2. Control Elements and Connectors ........................... 6
2.1 Mono channels .................................................................... 6
2.2 Stereo channels ................................................................... 7
2.3 Connector panel and main section ............................. 8
2.4 Rear view of 1204USB/X1204USB ................................ 10
3. Digital Eects Processor ......................................... 11
4. Installation ............................................................... 12
4.1 Rack mounting ................................................................... 12
4.2 Cable connections ........................................................... 12
5. Specications ........................................................... 13
3XENYX 1204USB/X1204USB User Manual
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Terminals marked with this symbol carry
electrical current of su cient magnitude to
constitute risk of electric shock. Use only
high-quality commercially-available speaker cables with
¼" TS 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 service 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.
Read these instructions.1.
Keep these instructions.2.
Heed all warnings.3.
Follow all instructions.4.
Do not use this apparatus near water.5.
Clean only with dry cloth.6.
Do not block any ventilation openings. Install in 7.
accordance with the manufacturer’s instructions.
Do not install near any heat sources such as 8.
radiators, heat registers, stoves, or other apparatus
(including ampli ers) that produce heat.
Do not defeat the safety purpose of the polarized 9.
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.
Protect the power cord from being walked on or 10.
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
Use only attachments/accessories speci ed by 11.
the manufacturer.
Use only with the 12.
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.
Unplug this apparatus during lightning storms or 13.
when unused for long periods of time.
Refer all servicing to quali ed service personnel. 14.
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.
The apparatus shall be connected to a MAINS socket 15.
outlet with a protective earthing connection.
Where the MAINS plug or an appliance coupler is 16.
used as the disconnect device, the disconnect device shall
remain readily operable.
Technical speci cations and appearance are subject to change without
notice. The information contained herein is correct at the time of printing.
All trademarks are the property of their respective owners. MUSIC Group
accepts no liability for any loss which may be su ered by any person
who relies either wholly or in part upon any description, photograph or
statement contained herein. Colors and speci cations may vary slightly from
product. BEHRINGER products are sold through authorized dealers only.
Distributors and dealers are not agents of MUSIC Group and have absolutely
no authority to bind MUSIC Group by any express or implied undertaking
or representation. This manual 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 Red Chip Company Ltd.
ALL RIGHTS RESERVED.
© 2010 Red Chip Company Ltd.
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands
Warranty§ 1
This limited warranty is valid only if you purchased [1]
the product from a BEHRINGER authorized dealer in the
country of purchase. A list of authorized dealers can be
found on BEHRINGER’s website behringer. com under
“Where to Buy“, or you can contact the BEHRINGER o ce
closest to you.
MUSIC Group* warrants the mechanical and [2]
electronic components of this product to be free of defects
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
period is mandated by applicable local laws. If the product
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.
In case MUSIC Group decides to replace the entire product,
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.
Upon validation of the warranty claim, the repaired [3]
or replacement product will be returned to the user freight
prepaid by MUSIC Group.
Warranty claims other than those indicated above [4]
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.
Online registration§ 2
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!
Return materials authorization§ 3
To obtain warranty service, please contact the [1]
retailer from whom the equipment was purchased.
Should your BEHRINGER dealer not be located in your
vicinity, you may contact the BEHRINGER distributor for
your country listed under “Support” at behringer. com.
If your country is not 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.
Legal Disclaimer
Limited Warranty
Important Safety
Instructions
Important Safety
Instructions
Legal Disclaimer
Limited Warranty
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4XENYX 1204USB/X1204USB User Manual
Subsequently, the product must be returned in [2]
its original shipping carton, together with the return
authorization number to the address indicated by
MUSIC Group.
Shipments without freight prepaid will not [3]
be accepted.
Warranty Exclusions§ 4
This limited warranty does not cover consumable [1]
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.
This limited warranty does not cover the product [2]
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.
This limited warranty covers only the product [3]
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.
This limited warranty is invalid if the factory-[4]
applied serial number has been altered or removed from
the product.
Free inspections and maintenance/repair work [5]
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.
Damage/defects caused by the following conditions [6]
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;
connection or operation of the unit in any way •
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.
Any repair or opening of the unit carried out by [7]
unauthorized personnel (user included) will void the
limited warranty.
If an inspection of the product by MUSIC Group [8]
shows that the defect in question is not covered by the
limited warranty, the inspection costs are payable by
the customer.
Products which do not meet the terms of this [9]
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.
Authorized BEHRINGER dealers do not sell new [10]
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.
Warranty transferability§ 5
This limited warranty is extended exclusively to the
original buyer (customer of authorized retail dealer) and
is not transferable to anyone who may subsequently
purchase this product. No other person (retail dealer, etc.)
shall be entitled to give any warranty promise on behalf
of MUSIC Group.
Claim for damage§ 6
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.
Limitation of liability§ 7
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.
Other warranty rights and § 8
national law
This limited warranty does not exclude or limit the [1]
buyer’s statutory rights as a consumer in any way.
The limited warranty regulations mentioned herein [2]
are applicable unless they constitute an infringement of
applicable mandatory local laws.
This warranty does not detract from the seller’s [3]
obligations in regard to any lack of conformity of the
product and any hidden defect.
Amendment§ 9
Warranty service conditions are subject to change without
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 Off shore Limited of
Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau,
including all MUSIC Group companies
5XENYX 1204USB/X1204USB User Manual
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Introduction1.
Caution! !
We should 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 phones control in the main section fully down before you switch on the
unit. Always be careful to set the appropriate volume.
General mixing console functions 1.1
A mixing console fulls three main functions:
Signal processing:• Preamplication, level adjustment, mixing of eects,
frequency equalization.
Signal distribution:• Summing of signals to the aux sends for eects
processing and monitor mix, distribution to one or several recording tracks,
power amp(s), control room and 2-track outputs.
Mix:• Setting the volume level, frequency distribution and positioning of the
individual signals in the stereo eld, level control of the total mix to match
the recording devices/crossover/power amplier(s). All other mixer functions
can be included in this main function.
The interface of BEHRINGER mixing consoles is optimized for these tasks enabling
you to easily keep track of the signal path.
The user’s manual1.2
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. If you need to know more about specic issues,
please visit our website at http://behringer.com, where you’ll nd explanations
of e.g. eects and dynamics applications.
Before you get started1.3
Shipment1.3.1
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.
Initial operation1.3.2
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 console meets the required safety standards.
Blown fuses must only be replaced by fuses of the same type and rating.
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.
Online registration1.3.3
Please register your new BEHRINGER equipment right after your purchase
by visiting http://behringer.com and read the terms and conditions of our
warranty carefully.
Should your BEHRINGER product malfunction, it is our intention to have it
repaired as quickly as possible. To arrange for warranty service, please contact
the BEHRINGER 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 (http://behringer.com).
Registering your purchase and equipment with us helps us process your repair
claims more quickly and eciently.
Thank you for your cooperation!
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6XENYX 1204USB/X1204USB User Manual
Control Elements and Connectors2.
This chapter describes the various control elements of your mixing console.
All controls, switches and connectors will be discussed in detail.
Mono channels2.1
Microphone and line inputs 2.1.1
Fig. 2.1: Connectors and controls of mic/line inputs
MIC
Each mono input channel oers 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
loudspeakers. Please also note the instructions in chapter 2.4.2
“Voltage supply, phantom power and fuse”.
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 remember that you can only use either the microphone ◊
or the line input of a channel at any one time. You can never use
both simultaneously!
LOW CUT
The mono channels of the mixing consoles have a high-slope LOW CUT lter for
eliminating unwanted low-frequency signal components (75 Hz, 18 dB/octave).
GAIN
Use the TRIM control to adjust the input gain. This control should always be
turned fully counterclockwise whenever you connect or disconnect a signal
source to one of the inputs.
COMPRESSOR
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 eect. The adjacent LED
with light when the eect is engaged.
Equalizer2.1.2
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 eects. The result are extremely musical equalizers which, unlike simple
equalizers, cause no side eects such as phase shifting or bandwidth limitation,
even with extreme gain settings of ±15 dB.
Fig. 2.2: The equalizer of the input channels
The upper (HI) and the lower band (LO) 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 congured as a peak lter with a center frequency of 2.5 kHz.
Aux sends2.1.3
Fig. 2.3: The AUX SEND controls in the channel 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 external eects
device. The return from an external eect can then be brought back into the
console via the aux return connectors.
For situations which require eects processing, the aux sends are usually
switched post-fader so that the eects volume in a channel corresponds to
the position of the channel fader. If this were not the case, the eects 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 equalizer and oer up
to +15 dB gain.
If you press the MUTE/ALT 3-4 switch, aux send 1 is muted, ◊
provided that it is switched post-fader. However, this does not affect
the aux send 2 of the X1204USB.
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AUX 1 (MON)
In the X1204USB, aux send 1 can be switched pre-fader and is thus particularly
suitable for setting up monitor mixes. In the 1204USB, the rst aux send is
labeled MON and is permanently switched pre-fader.
PRE
When the PRE switch is pressed, aux send 1 is sourced pre-fader.
AUX 2 (FX)
The aux send labeled FX is for sending to eects devices and is thus set up to
be post-fader.
In the X1204USB, the FX send is routed directly to the built-in eects processor.
If you wish to use the internal effects processor, the STEREO AUX ◊
RETURN 2 connectors should not be in use.
X1204USB: you can also connect an external effects processor to aux ◊
send 2, however the internal effects module will be muted.
Routing switch, solo and channel fader2.1.4
Fig. 2.4: Panorama and routing controls
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/ALT 3-4
You can use the MUTE/ALT 3-4 switch to divert the channel from the main mix
bus to the Alt 3-4 bus. This mutes the channel from the main mix.
MUTE-LED
The MUTE LED indicates that the relevant channel is diverted to the submix
(Alt 3-4 bus).
CLIP-LED
The CLIP LED lights up when the input signal is driven too high. In this case,
turn down the GAIN control and, if necessary, check the setting of the channel EQ.
SOLO
The SOLO switch (X1204USB only) is used to route the channel signal to the
solo bus (Solo In Place) or to the PFL bus (Pre Fader Listen). This enables you to
monitor a channel signal without aecting the main output signal. The signal
you hear is sourced either before (PFL, mono) or after (solo, stereo) both the pan
control and the channel fader (see chapter 2.3.6 “Level meters and monitoring”).
The channel fader determines the level of the channel signal in the main mix
(or submix).
Stereo channels2.2
Channel inputs2.2.1
Fig. 2.5: Stereo channel inputs and LEVEL switch
Each stereo channel has two balanced line level inputs on ¼" connectors for left
and right channels. If only the connector marked “L” is used, the channel operates
in mono. Stereo channels are designed to handle typical line level signals.
Both inputs can also be used with unbalanced jacks.
LEVEL
For level matching, the stereo inputs feature a LEVEL switch which selects
between +4 dBu and -10 dBV. At -10 dBV (home-recording level), the input is
more sensitive than at +4 dBu (studio level).
Equalizer stereo channels2.2.2
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.
Aux sends stereo channels2.2.3
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.
Routing switch, solo and channel fader2.2.4
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/ALT 3-4 switch, the MUTE-LED, the CLIP-LED, the SOLO switch and the
channel fader function in the same way as the mono channels.
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8XENYX 1204USB/X1204USB User Manual
Connector panel and main section2.3
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 the same point on each of
the channel strips and then routed to the main section all together.
Aux sends 1 and 2 2.3.1
Fig. 2.6: AUX SEND controls of the main section
A channel signal is routed to aux send bus 1 if the AUX 1 control is turned up on
the corresponding channel.
AUX SEND 1 (MON)
The AUX SEND control MON acts as master control for aux send 1 and determines
the level of the summed signal. In the X1204USB, the MON control is called
AUX SEND 1.
AUX SEND 2 (FX)
Similarly, the FX control (AUX SEND 2) determines the level for aux send 2.
SOLO
You can use the SOLO switch (X1204USB only) 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 must be in the
SOLO position (not pressed down).
Aux send connectors 1 and 22.3.2
Fig. 2.7: Aux send connectors
AUX SEND 1
If you use aux send 1 pre-fader, you would usually connect the AUX SEND 1
connector to monitors via a power amp (or an active monitor system). If you use
aux send 1 post-fader, proceed as described under aux send 2.
AUX SEND 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 eects
device in order to process the FX bus signal. Once an eects mix is created,
the processed signal can then be routed from the eects device output back into
the STEREO AUX RETURN connectors.
Stereo aux return connectors2.3.3
Fig. 2.8: Stereo aux return connectors
STEREO AUX RETURN 1
The STEREO AUX RETURN 1 connectors generally serve as the return path for the
eects mix generated using the post-fader aux send. This is where you connect
the output signal of the external eects device. If only the left connector is used,
the AUX RETURN automatically operates in mono.
You can also use these connectors as additional line inputs.◊
STEREO AUX RETURN 2
The STEREO AUX RETURN 2 connectors serve as the return path for the eects
mix generated using the FX control. If these connectors already function as
additional inputs, you can route the eects signal back into the console via a
dierent channel, with the added benet that the channel EQ can be used to
adjust the frequency response of the eects return signal.
In this instance, the FX control of the channel being used as an effects ◊
return should be turned fully counterclockwise, otherwise feedback
problems could occur!
If you wish to use the internal effects processor, no connectors should ◊
be plugged into STEREO AUX RETURN 2.
Stereo aux return2.3.4
Fig. 2.9: Stereo aux return controls
STEREO AUX RETURN 1
STEREO AUX RETURN 1 is a stereo control which determines the level of the
signal in the main mix. If STEREO AUX RETURN 1 is used as eects return, you can
add the eects signal to any “dry” channel signal.
In this instance, the effects device should be set at 100% effect.◊
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STEREO AUX RETURN MON
The STEREO AUX RETURN MON control has a special function: it can be used to
add an eect to a monitor mix. For example:
Monitor mix with eect
In this instance, the eects device should be set up as follows: AUX SEND 2 is
connected to the L/Mono input of your eects device, while its outputs are
connected to STEREO AUX RETURN 1. Connect the amplier of your monitor
system to AUX SEND 1. The AUX SEND 1 master control determines the volume of
the monitor mix.
You can now use the STEREO AUX RETURN MON control to adjust the level of the
eects signal routed to the monitor mix.
You can easily use the headphones distribution amplier BEHRINGER
POWERPLAY PRO HA4600/HA4700/HA8000 to provide you with four
(or eight with the HA8000) stereo headphone mixes for your studio.
STEREO AUX RETURN 2 (FX)
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.
MAIN MIX/ALT 3-4
The MAIN MIX/ALT 3-4 switch routes the signal connected to STEREO AUX
RETURN 2 to either main mix (not pressed) or submix (Alt 3-4, pressed).
Tape input / tape output2.3.5
Fig. 2.10: 2-track connectors
CD/TAPE INPUT
The CD/TAPE INPUT RCA connectors are provided for connecting a 2 track
machine (e.g. DAT recorder). 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- amplier with a source
selection switch to the CD/TAPE INPUT, you can easily switch between additional
sources (e.g. cassette recorder, CD player, etc.).
CD/TAPE OUTPUT
These connectors are wired in parallel with the MAIN OUT and carry the main
mix signal (unbalanced). Connect the CD/TAPE OUTPUT to the inputs of your
recording device. The nal output level can be adjusted via the high-precision
MAIN MIX fader.
If you connect a compressor or a noise gate after the 2-track ◊
output, the faders will probably not be able to create a satisfactory
fade-out effect.
Level meter and monitoring2.3.6
Fig. 2.11: Control room/phones section, level meter
CD/TAPE
The TAPE switch routes the signal from the TAPE IN connectors to the level meter,
the CONTROL ROOM OUT outputs and the PHONES connector this is a simple way
to check recorded signals via monitor speakers or headphones.
ALT 3-4
Similarly, the ALT 3-4 switch routes the signal from the Alt 3-4 bus to the same
path for monitoring purposes.
MAIN MIX
The MAIN MIX switch sends the main mix signal to the above-mentioned
outputs and to the level meter.
PHONES/CTRL R(oom)
Use this control to set control room output level and head-phones
volume respectively.
CD/TAPE TO MAIN
When the CD/TAPE TO MAIN switch is depressed, the 2-track input is routed to
the main mix and thus serves as an additional input for tape machines. You can
also connect MIDI instruments or other signal sources here that do not require
any further processing. At the same time, this switch disables the main mix to
tape output link.
POWER
The blue POWER LED indicates that the device is switched on.
+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 switch on the rear of the device.
Please do not connect microphones to the mixer (or the stagebox/◊
wallbox) while the phantom power supply is switched on.
Connect micro-phones before you switch on the power supply.
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
The high-precision level meter accurately displays the appropriate signal level.
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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.
MODE (1204FX only)
The MODE switch determines whether the channels’ SOLO switch operates as
PFL (Pre Fader Listen) or as solo (Solo In Place).
PFL
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 meter.
Solo
When the MODE switch is not depressed, the stereo solo bus is active. 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 post-fader.
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 ensures that, when set in the center, the audio 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
been moved fully to the left or right are displayed at a lower volume
than in the PFL function.
As a rule, solo signals are monitored via the control room outputs and
headphones connector and are displayed by the level meters. If a solo switch is
pressed, the signals from the tape input, Alt 3-4 and main mix are blocked from
the control room outputs, the headphone connector and the level meter.
MAIN SOLO (1204FX only)
The MAIN SOLO LED lights up as soon as a channel or aux send solo switch is
pressed. The MODE switch also has to be set at “Solo”.
PFL (1204FX only)
The PFL LED indicates that the peak meter is set to PFL mode.
Fig. 2.12: PHONES connector
PHONES
You can connect headphones to this ¼" TRS connector. The signal on the PHONES
connection is sourced from the control room output.
Alt 3-4 and main mix fader2.3.7
Fig. 2.13: Alt 3-4 and main mix fader
Use the high-precision quality faders to control the output level of the Alt 3-4
subgroup and main mix.
Rear view of 1204USB/X1204USB2.4
Main mix outputs, Alt 3-4 outputs and control 2.4.1
room outputs
Fig. 2.14: Main mix outputs, Alt 3-4 outputs and control room outputs
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MAIN OUTPUTS
The MAIN outputs carry the MAIN MIX signal and are on balanced XLR connectors
with a nominal level of +4 dBu.
ALT 3-4 OUTPUTS
The ALT 3-4 outputs are unbalanced and carry the signals of the channels that
you have assigned to this group using the MUTE switch. This can be used to route
a subgroup to a further mixing console for example, or or it could be used as a
recording output working in tandem with the main output. This means you could
record to four tracks simultaneously. The icing on the cake, so to speak, is that
you could connect Y-cables to these four outputs and then connect your 8-track
recorder in such a way that you have 2 x 4 tracks (e.g. channel 1 feeds track 1 and
track 2, etc.). In the rst recording pass, you record on tracks 1, 3, 5 and 7 and in
the second pass, on tracks 2, 4, 6 and 8.
CONTROL ROOM OUTPUTS
The control room output is normally connected to the monitor system in the
control room and provides the stereo mix or, when required, the solo signal.
USB INPUT/OUTPUT
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.
Voltage supply, phantom power and fuse2.4.2
Fig. 2.16: Voltage supply and fuse
FUSE HOLDER
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.
IEC MAINS RECEPTACLE
The mains connection is 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.
PHANTOM
The PHANTOM switch activates the phantom power supply for the XLR
connectors of the mono channels 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 conguration. In case of doubt,
contact the microphone manufacturer!
After the phantom power supply has been switched on, do not connect ◊
microphones to the mixer (or the stagebox/wallbox). Connect the
microphones before you switch phantom power on. In addition,
the monitor/PA loudspeakers should be muted before activating the
phantom power supply. After switching on, wait approx. one minute to
allow the system to stabilize.
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 important information on the serial number given in chapter 1.3.3.
Digital Eects Processor3.
Fig. 3.1: Digital eects module (only X1204USB)
24-BIT MULTI-EFFECTS PROCESSOR
Here you can nd a list of all presets stored in the multi-eects processor.
This built-in eects module produces high-grade standard eects such as
reverb, chorus, anger, delay and various combination eects. The integrated
eects 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 eect 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 eect signal.
This also goes for mixing eects signals with the monitor mix. The main
dierence is that the mix ratio is adjusted using the FX TO MON control. Of course,
a signal has to be fed into the eects processor via the FX control in the channel
strip for both applications.
On the following page, you will find an illustration showing how to ◊
connect your foot switch correctly.
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LEVEL
The LED level meter on the eects module should display a suciently 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 eects processor and this could cause
unpleasant distortion. The FX control (AUX SEND 2) determines the level that
reaches the eects module.
PROGRAM
You can select the eect 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 with the
foot switch.
Installation4.
Rack mounting4.1
The packaging of your mixing console contains two 19" rack mount wings which
can be installed on the side panels of the console.
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 ts
a specic side. With the rack mount wings 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.
Cable connections4.2
You will need a large number of cables for the various connections to and from
the console. The illustrations below show the wiring of these cables. Be sure to
use only high-grade cables.
strain relief clamp
sleeve
tip
sleeve
pole 1/ground
tip
pole 2
The footswitch connects both poles momentarily
¼" TS footswitch connector
Fig. 4.1: ¼" TS connector for foot switch
Audio connections4.2.1
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 ◊
(pin 1 and 3 connected) on the MIC inputs if you intend to use the
phantom power supply.
output
For unbalanced use, pin 1 and pin 3 have to be bridged
1 = ground/shield
2 = hot (+ve)
3 = cold (-ve)
input
12
3
12
3
Balanced use with XLR connectors
Fig. 4.2: XLR connections
Strain relief clamp
Sleeve
Tip
Sleeve
(ground/shield)
Unbalanced ¼" TS connector
Tip
(signal)
Fig. 4.3: ¼" TS connector
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strain relief clamp
sleeve
ring
tip
sleeve
ground/shield
For connection of balanced and unbalanced plugs,
ring and sleeve have to be bridged at the stereo plug.
Balanced ¼" TRS connector
ring
cold (-ve)
tip
hot (+ve)
Fig. 4.4: ¼" TRS connector
strain relief clamp
sleeve
ring
tip
sleeve
ground/shield
¼" TRS headphones connector
ring
right signal
tip
left signal
Fig. 4.5: ¼" TRS connector for headphones
Specications5.
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 -134 dB / 135.7 dB A-weighted
@ 50 Ω source resistance -131 dB / 133.3 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
Line input
Type ¼" TRS connector
electronically balanced
Impedance approx. 20 kΩ balanced
10 kΩ unbalanced
Gain range -10 to +40 dB
Max. input level 30 dBu
Fade-out attenuation1 (Crosstalk attenuation)
Main fader closed 90 dB
Channel muted 89.5 dB
Channel fader closed 89 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
Type ¼"TRS connector,
electronically balanced
Impedance approx. 20 kΩ
Max. input level +22 dBu
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EQ mono channels
Low 80 Hz / ±15 dB
Mid 2.5 kHz / ±15 dB
High 12 kHz / ±15 dB
EQ stereo channels
Low 80 Hz / ±15 dB
Mid 2.5 kHz / ±15 dB
High 12 kHz / ±15 dB
Aux sends
Type ¼" TS connector, unbalanced
Impedance approx. 120 Ω
Max. output level +22 dBu
Stereo aux returns
Type ¼" TRS connector,
electronically balanced
Impedance approx. 20 kΩ bal. / 10 kΩ unbal.
Max. input level +22 dBu
Main outputs
Type XLR, electronically balanced
Impedance approx. 240 Ω bal. / 120 Ω unbal.
Max. output level +28 dBu
Control room outputs
Type ¼" TS connector, unbal.
Impedance approx. 120 Ω
Max. output level +22 dBu
Headphones output
Type ¼" TRS connector, unbalanced
Max. output level +19 dBu / 150 Ω (+25 dBm)
DSP 24-bit Texas Instruments TM
Converter 24-bit Sigma-Delta,
64/128-times oversampling
Sampling rate 40 kHz
USB
Audio Stereo In/Out
Connector TypeB
Converter 16-bit
Sample Rate 48 kHz
Main mix system data2
Noise
Main mix @ -oo, Channel fader -oo -105 dB / -108 dB A-weighted
Main mix @ 0 dB, Channel fader -oo -95 dB / -97 dB A-weighted
Main Mix @ 0 dB, Channel fader @ 0 dB -82,5 dB / -85 dB A-weighted
Power supply
Mains voltage 100 - 240 V~, 50/60 Hz
Power consumption 40 W
Fuse 100 - 240 V~: T 1.6 A H 250 V
Mains connection Standard IEC receptacle
Physical
1204USB
Dimensions (H x W x D) approx. 3 ⁄ x 9 ⁄ x 13"
approx. 97 x 247 x 328 mm
Weight (net) approx. 5 ⁄ lbs / 2.56 kg
X1204USB
Dimensions (H x W x D) approx. 3 ⁄ x 9 ⁄ x 13 ⁄"
approx. 97 x 247 x 334 mm
Weight (net) approx. 5 ¾ lbs / 2.60 kg
Measuring conditions:
1: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain.
2: 20 Hz - 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.
BEHRINGER is constantly striving to manintain the highest professional standards. As a result of these efforts,
modifications may be made from time to time to existing products without prior notice. Specifications and
appearance may differ from those listed or illustrated.
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FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION
Responsible party name: MUSIC Group Services USA, Inc.
Address: 18912 North Creek Parkway,
Suite 200 Bothell, WA 98011,
USA
Phone/Fax No.: Phone: +1 425 672 0816
Fax: +1 425 673 7647
XENYX 1204USB/X1204USB
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, pursuant 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 particular 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 try 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 dierent from that to which the •
receiver is connected.
Consult the dealer or an experienced radio/TV 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 interference received, including interference that may
cause undesired operation.
Important information:
Changes or modications to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.
XENYX 1204USB/X1204USB
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