BEHRINGER XENYX 1222FX MANUAL PDF

Table Of Contents 4. On a per-need basis, microphone inputs, which is required to operate condenser microphones. Sonically Superior Mic Preamps. USB port xudb your computer. A flashing dot at the bottom of the display indicates sleeve if the effects processor is muted via the footswitch.

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This is a true four-buss console with a separate, dedicated stereo buss, so the group busses can be used as multitrack recording outputs at the same time as some of the stereo channels are used for multitrack return monitoring.

The mic preamps in this console use the latest Behringer Xenyx circuitry, which is claimed to be an improvement over its predecessor, the Invisible-series preamp, while the EQ is now designed to recreate the vintage British EQ sound, by which I assume they mean things like the old Trident consoles from the s.

The mixer still adheres to the inch format, with included rack ears that can be bolted to the sides of the chassis if you need them. Also included in the box is the USB interface, which has a captive USB cable and four unbalanced phono connectors two-in, two-out.

This means that the maximum number of microphones that can be connected is 10, although that should be enough for most small band gigging situations, and certainly sufficient for the majority of home recording applications.

All eight mono channels have insert points and direct outputs, the latter being particularly useful for recording when you need more simultaneous feeds than the four buss outputs can provide. Conforming to the usual wedge-shaped profile, the mixer layout is absolutely identical to that of the UBFX, with the mic and line inputs, insert points and two-track phonos on the top panel, along with two headphone outlets and a 12V BNC connector for lighting power.

To avoid overcrowding the top panel, the main and buss outs, the aux inputs and outputs, the direct outs and other connectors are on the rear panel. Both balanced jack and XLR versions of the main outputs are provided. Note that the four group outputs are doubled up onto eight output jacks so that you can leave an eight-track recorder or audio interface permanently connected; buss 1 feeds both sockets 1 and 5, 2 feeds 2 and 6, and so on, with the recorder then used to determine where the signal is actually recorded.

Global 48 Volt phantom power can be applied across all the mic inputs via a rocker switch on the rear panel next to the power switch, and the PSU is internal so there are no wall-warts to tread on or to lose. The integral switched-mode power supply automatically adapts to any mains supply from to V, at 50 or 60 Hz, without the need to switch voltages. Maximum Effectiveness The Xenyx FX also incorporates a bit digital effects processor, which I assume is based on their Virtualizer rack effects box, as it seems identical in architecture to the one used in the earlier incarnation of this console.

The effects section still offers just presets, with the 99 options covering reverbs, ambience, delay, modulation, pitch-shift and many useful combination effects based on delay plus one other effect. The delay has no tap-tempo button, which I find rather limiting, but you have to keep in mind that this is a very inexpensive mixing console and it still offers a lot more functionality than some of its more costly competitors.

The integral effects are fed from Aux 3 and come back into the mix via the Aux 3 return, but these send and return points are also available on the rear panel, if you wish to connect something else. In all, there are four sends: two switchable as a pair between pre- and post-fade, and two fixed as post-fade effects sends. All have stereo returns with both send and return level controls as well as the ability to solo the sends.

A two-character blue LED display shows the number of the current effects patch, while the effects categories and their locations are printed below.

The effects signal can be routed to either the main output or groups. As with the Xenyx FX, rack ears and a USB audio interface are included and power comes in directly from the mains. This mixer has the same effects section as the Xenyx FX, but also includes a surround knob for widening the apparent width of the stereo effect. On this console there are just two aux sends, one for pre-fade monitoring and the other feeding the internal effects, but with a jack output allowing it to be connected elsewhere.

Next to this is a Standby button that kills all the mic channels so you can play music in live gig interludes without having to mute the mic channels first. All the channels have Mute buttons, but the Solo button is a casualty of economy, as is control-room monitor source switching. However, the mixer does include a nine-band graphic equaliser that can be used in the main or monitor signal path, and this includes LEDs in the slider caps that indicate when excessive activity, such as feedback, is occurring in that band.

There are no direct outs on this mixer although the first four channels have inserts and no busses, but using the included USB interface, it provides a very cost-effective means of recording and monitoring two tracks at a time, and the good effects section is a bonus. The standard mic channels all have balanced XLR and jack inputs connecting the jack disables the XLR , whilst the first two stereo channels have stereo line inputs on balanced jacks and mono mic inputs, with the same switchable low-cut filters as the mono channels.

Finally, we come to the two stereo, line-only channels, which have no low-cut switches, but feature the same four-band fixed EQ as the other stereo channels. All four aux sends are available to all channels, as is full routing to the two buss pairs or to the main output.

All the faders are 60mm types, and the master fader is ganged stereo. Master Section The master section is clearly set out, with the effects section at the top and the aux send and return level controls and send Solo buttons below.

Preset effects are selected using the rotary Effects knob and loaded by pressing the FX Program knob. Two additional controls enable the two effects returns to be added to the correspondingly numbered monitor mix, while the Aux 3 return the internal FX section can be routed either to the main stereo mix or to either of the two subgroup pairs.

A further button solos all four aux return busses, so that you can easily hear any soloed channel with any added effects. The control-room monitoring panel is set out for studio use, but with a shared phones and control-room level knob. You can, however, feed two sets of phones at once.

The Tape To Main button allows the stereo tape input phonos to be fed into the main stereo mix; if you were to use this to bring back the mixed output from a software sequencer, you would be able to monitor your sequencer tracks along with the live sounds passing through the mixer.

Metering is via a three-colour, LED stereo bar-graph that normally follows the main stereo output levels, or the PFL level when Solo is being used. All four group faders have separate Left and Right routing buttons for sending the group signal to the main stereo mix, as you may wish to do when subgrouping drums or backing vocals, for example. I always find preset effects restricting, especially when it comes to delays, where you probably want to fine-tune the delay time, but on the whole the effect quality is good and this new selection of presets is infinitely more usable than before, both live and in the studio.

In particular, there are several really nice vocal reverbs, whereas before you were pushed to find two or three that were actually useful.

In terms of quality, I was always surprised at how well the previous mic preamps performed. The phantom power circuitry seems perfectly happy with half a dozen condenser mics and some phantom-powered DI boxes connected at the same time. Whilst only the main the inputs and outputs are balanced, hum and noise was not an issue, and the new EQ sounds pretty good, with a nice warmth and clarity to it.

A three-band EQ will always be limited, but for adding a bit of gloss or for taking out a bit of low-end mud it works fine. The included two-channel USB audio interface was recognised immediately by my Mac system, without the need to add any driver software, and the subjective audio quality I achieved from it was surprisingly good.

In all, I feel the upgrade to this already workmanlike little mixer has been highly worthwhile, and within its price range it now offers a lot of flexibility to both the home studio owner and the band looking for a small live sound mixer with integral effects. The Samson MDR10 is also an affordable alternative for basic home recording requirements. Pros Good sound quality with smooth-sounding EQ. Inexpensive Flexible for recording or live sound. Improved effects presets.

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Even with extreme gain settings these equalizers ensure outstanding audio properties. Unlike conventional circuitry an SMPS provides an optimum supply current regardless of the input voltage. This ingenious circuitry lets you immediately recognize and eliminate feedback frequencies. This way, what once used to be a labor-intensive search for feedback frequencies is now an activity that even a child could master. Therefore, this mixing console is ideally suited for use as a karaoke machine. This feature is also an optimal solution for singers who need accompanying music for their rehearsals. It supports the digital transmission of signals on up to four channels with max.

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