Behringer Stereo Receiver Q1204USB User Manual

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

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XENYX 1204USB/X1204USB User Manual

9. Do not defeat the safety purpose of the polarized

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 ﬁt into your outlet, consult an

electrician for replacement of the obsolete outlet.

Limited Warranty

§ 1 Warranty

[1] This limited warranty is valid only if you purchased

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 oﬃce

closest to you.

Important Safety

Instructions

10. Protect the power cord from being walked on or

pinched particularly at plugs, convenience receptacles,

and the point where they exit from the apparatus.

Terminals marked with this symbol carry

electrical current of suﬃcient magnitude to

constitute risk of electric shock. Use only

[2] MUSIC Group* warrants the mechanical and

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

11. Use only attachments/accessories speciﬁed by

the manufacturer.

high-quality commercially-available speaker cables with

¼" TS plugs pre-installed. All other installation or

modiﬁcation should be performed only by

qualiﬁed personnel.

12. Use only with the

cart, stand, tripod, bracket, terms in § 4 below), unless a longer minimum warranty

or table speciﬁed by the period is mandated by applicable local laws. If the product

manufacturer, or sold with shows any defects within the speciﬁed warranty period

the apparatus. When a cart and that defect is not excluded under § 4, MUSIC Group

is used, use caution when shall, at its discretion, either replace or repair the product

moving the cart/apparatus using suitable new or reconditioned product or parts.

This symbol, wherever it appears, alerts you

to the presence of uninsulated dangerous

voltage inside the enclosure - voltage that

may be suﬃcient to constitute a risk of shock.

combination to avoid

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.

This symbol, wherever it appears, alerts you injury from tip-over.

to important operating and maintenance

instructions in the accompanying literature.

Please read the manual.

13. Unplug this apparatus during lightning storms or

when unused for long periods of time.

14. Refer all servicing to qualiﬁed service personnel.

Servicing is required when the apparatus has been

damaged in any way, such as power supply cord or plug

is damaged, liquid has been spilled or objects have fallen

into the apparatus, the apparatus has been exposed

to rain or moisture, does not operate normally, or has

been dropped.

[3] Upon validation of the warranty claim, the repaired

or replacement product will be returned to the user freight

prepaid by MUSIC Group.

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

qualiﬁed personnel.

[4] Warranty claims other than those indicated above

are expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF

OF PURCHASE COVERING YOUR LIMITED WARRANTY.

THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF

OF PURCHASE.

Caution

15. The apparatus shall be connected to a MAINS socket

outlet with a protective earthing connection.

To reduce the risk of ﬁre or electric shock,

do not expose this appliance to rain and

moisture. The apparatus shall not be exposed to dripping

16. Where the MAINS plug or an appliance coupler is

or splashing liquids and no objects ﬁlled with liquids, such used as the disconnect device, the disconnect device shall

§ 2 Online registration

as vases, shall be placed on the apparatus.

remain readily operable.

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 eﬃciently.

Thank you for your cooperation!

Caution

These service instructions are for use

by qualiﬁed 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 qualiﬁed

service personnel.

§ 3 Return materials authorization

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

[1] To obtain warranty service, please contact the

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

Technical speciﬁcations 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 suﬀered by any person

who relies either wholly or in part upon any description, photograph or

statement contained herein. Colors and speciﬁcations 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.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as

radiators, heat registers, stoves, or other apparatus

(including ampliﬁers) that produce heat.

Trident Chambers, Wickhams Cay, P.O. Box 146,

Road Town, Tortola, British Virgin Islands

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XENYX 1204USB/X1204USB User Manual

[2] Subsequently, the product must be returned in

its original shipping carton, together with the return

authorization number to the address indicated by

MUSIC Group.

§ 9 Amendment

[7] Any repair or opening of the unit carried out by

unauthorized personnel (user included) will void the

limited warranty.

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.

[8] If an inspection of the product by MUSIC Group

shows that the defect in question is not covered by the

limited warranty, the inspection costs are payable by

the customer.

[3] Shipments without freight prepaid will not

be accepted.

* MUSIC Group Macao Commercial Oﬀshore Limited of

Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau,

including all MUSIC Group companies

§ 4 Warranty Exclusions

[9] Products which do not meet the terms of this

limited warranty will be repaired exclusively at the buyer’s

expense. MUSIC Group or its authorized service center will

inform the buyer of any such circumstance. If the buyer

fails to submit a written repair order within 6 weeks after

notiﬁcation, 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.

[1] This limited warranty does not cover consumable

parts including, but not limited to, fuses and batteries.

Where applicable, MUSIC Group warrants the valves or

meters contained in the product to be free from defects in

material and workmanship for a period of ninety (90) days

from date of purchase.

[2] This limited warranty does not cover the product

if it has been electronically or mechanically modiﬁed

in any way. If the product needs to be modiﬁed 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

modiﬁcation/adaptation shall not be considered a defect

in materials or workmanship. This limited warranty does

not cover any such modiﬁcation/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

modiﬁcation/adaptation.

[10] Authorized BEHRINGER dealers do not sell new

products directly in online auctions. Purchases made

through an online auction are on a“buyer beware”basis.

Online auction conﬁrmations or sales receipts are not

accepted for warranty veriﬁcation and MUSIC Group will

not repair or replace any product purchased through an

online auction.

§ 5 Warranty transferability

This limited warranty is extended exclusively to the

original buyer (customer of authorized 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.

[3] This limited warranty covers only the product

hardware. It does not cover technical assistance for

hardware or software usage and it does not cover

any software products whether or not contained in

the product. Any such software is provided“AS IS”

unless expressly provided for in any enclosed software

limited warranty.

§ 6 Claim for damage

Subject only to the operation of mandatory applicable

local laws, MUSIC Group shall have no liability to the buyer

under this warranty for any consequential or indirect

loss or damage of any kind. In no event shall the liability

of MUSIC Group under this limited warranty exceed the

invoiced value of the product.

[4] This limited warranty is invalid if the factory-

applied serial number has been altered or removed from

the product.

[5] Free inspections and maintenance/repair work

are expressly excluded from this limited warranty, in

particular, if caused by improper handling of the product

by the user. This also applies to defects caused by normal

wear and tear, in particular, of faders, crossfaders,

potentiometers, keys/buttons, guitar strings, illuminants

and similar parts.

§ 7 Limitation of liability

This limited warranty is the complete and exclusive

warranty between you and MUSIC Group. It supersedes

all other written or oral communications related to this

product. MUSIC Group provides no other warranties for

this product.

[6] Damage/defects caused by the following conditions

are not covered by this limited warranty:

§ 8 Other warranty rights and

national law

[1] This limited warranty does not exclude or limit the

•

improper handling, neglect or failure to operate the

unit in compliance with the instructions given in

BEHRINGER user or service manuals;

buyer’s statutory rights as a consumer in any way.

[2] The limited warranty regulations mentioned herein

are applicable unless they constitute an infringement of

applicable mandatory local laws.

•

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;

[3] This warranty does not detract from the seller’s

obligations in regard to any lack of conformity of the

product and any hidden defect.

•

damage/defects caused by acts of God/Nature

(accident, ﬁre, ﬂood, etc) or any other condition that

is beyond the control of MUSIC Group.

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1. Introduction

1.3.2 Initial operation

Be sure that there is enough space around the unit for cooling purposes and to

avoid over-heating please do not place your mixing console on high-temperature

devices such as radiators or power amps. The console is connected to the

mains via the supplied cable. The console meets the required safety standards.

Blown fuses must only be replaced by fuses of the same type and rating.

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.

◊

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 inoperative.

◊

Please ensure that only qualiﬁed people install and operate the

mixing console. During installation and operation, the user must have

suﬃcient electrical contact to earth, otherwise electrostatic discharges

might aﬀect the operation of the unit.

1.1 General mixing console functions

A mixing console fulﬁls three main functions:

•

Signal processing: Preampliﬁcation, level adjustment, mixing of eﬀects,

frequency equalization.

1.3.3 Online registration

•

Signal distribution: Summing of signals to the aux sends for eﬀects

processing and monitor mix, distribution to one or several recording tracks,

power amp(s), control room and 2-track outputs.

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.

•

Mix: Setting the volume level, frequency distribution and positioning of the

individual signals in the stereo ﬁeld, level control of the total mix to match

the recording devices/crossover/power ampliﬁer(s). All other mixer functions

can be included in this main function.

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

The interface of BEHRINGER mixing consoles is optimized for these tasks enabling one of our subsidiaries. Corresponding contact information is included in the

you to easily keep track of the signal path.

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).

1.2 The user’s manual

The user’s manual is designed to give you both an overview of the controls,

as well as detailed information on how to use them. In order to help you

understand the links between the controls, we have arranged them in groups

according to their function. If you need to know more about speciﬁc issues,

please visit our website at http://behringer.com, where you’ll ﬁnd explanations

of e.g. eﬀects and dynamics applications.

Registering your purchase and equipment with us helps us process your repair

claims more quickly and eﬃciently.

Thank you for your cooperation!

1.3 Before you get started

1.3.1 Shipment

Your mixing console was carefully packed in the factory to guarantee safe

transport. Nevertheless, we recommend that you carefully examine the

packaging and its contents for any signs of physical damage, which may have

occurred during transit.

◊

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

dealer and the shipping company immediately, otherwise claims for

damage or replacement may not be granted.

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2. Control Elements and Connectors 2.1.2 Equalizer

This chapter describes the various control elements of your mixing console.

All controls, switches and connectors will be discussed in detail.

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 eﬀects. The result are extremely musical equalizers which, unlike simple

equalizers, cause no side eﬀects such as phase shifting or bandwidth limitation,

even with extreme gain settings of 15 dB.

2.1 Mono channels

2.1.1 Microphone and line inputs

Fig. 2.2: The equalizer of the input channels

Fig. 2.1: Connectors and controls of mic/line inputs

The upper (HI) and the lower band (LO) are shelving ﬁlters that increase or

decrease all frequencies above or below their cut-oﬀ frequency. The cut-oﬀ

frequencies of the upper and lower band are 12 kHz and 80 Hz respectively.

The mid band is conﬁgured as a peak ﬁlter with a center frequency of 2.5 kHz.

MIC

Each mono input channel oﬀers 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 2.1.3 Aux sends

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.

Fig. 2.3: The AUX SEND controls in the channel strips

◊

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!

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 can then be brought back into the

console via the aux return connectors.

LOW CUT

The mono channels of the mixing consoles have a high-slope LOW CUT ﬁlter for

eliminating unwanted low-frequency signal components (75 Hz, 18 dB/octave).

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 case, the eﬀects 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.

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.

Both aux sends are mono, are sourced after the equalizer and oﬀer up

to +15 dB gain.

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.

◊

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.

Turn the COMP knob clockwise to add more compression eﬀect. The adjacent LED

with light when the eﬀect is engaged.

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AUX 1 (MON)

SOLO

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 ﬁrst aux send is

labeled MON and is permanently switched pre-fader.

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 aﬀecting 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”).

PRE

When the PRE switch is pressed, aux send 1 is sourced pre-fader.

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

(or submix).

AUX 2 (FX)

2.2 Stereo channels

The aux send labeled FX is for sending to eﬀects devices and is thus set up to

be post-fader.

2.2.1 Channel inputs

In the X1204USB, the FX send is routed directly to the built-in eﬀects 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.

2.1.4 Routing switch, solo and channel fader

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).

2.2.2 Equalizer stereo channels

The equalizer of the stereo channels 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 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.

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.

2.2.3 Aux sends stereo channels

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

those of the mono channels. As aux send paths are always mono, the signal on a

stereo channel is ﬁrst summed to mono before it reaches the aux bus.

MUTE/ALT 3-4

2.2.4 Routing switch, solo and channel fader

BAL

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 function of the BAL(ANCE) control corresponds to the PAN control in the

mono channels.

The MUTE LED indicates that the relevant channel is diverted to the submix

(Alt 3-4 bus).

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.

CLIP-LED

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.

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.

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2.3 Connector panel and main section

AUX SEND 2

Whereas it was useful to trace the signal ﬂow from top to bottom in order to gain The AUX SEND 2 connector outputs the signal you picked up from the individual

an understanding of the channel strips, we now look at the mixing console from channels using the FX control. You can connect this to the input of an eﬀects

left to right. The signals are, so to speak, collected from the same point on each of device in order to process the FX bus signal. Once an eﬀects mix is created,

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

the processed signal can then be routed from the eﬀects device output back into

the STEREO AUX RETURN connectors.

2.3.1 Aux sends 1 and 2

2.3.3 Stereo aux return connectors

Fig. 2.6: AUX SEND controls of the main section

Fig. 2.8: Stereo aux return connectors

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

the corresponding channel.

STEREO AUX RETURN 1

AUX SEND 1 (MON)

The STEREO AUX RETURN 1 connectors generally serve as 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 left connector is used,

the AUX RETURN automatically operates in mono.

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.

◊

You can also use these connectors as additional line inputs.

AUX SEND 2 (FX)

STEREO AUX RETURN 2

Similarly, the FX control (AUX SEND 2) determines the level for aux send 2.

The STEREO AUX RETURN 2 connectors serve as the return path for the eﬀects

mix generated using the FX control. If these connectors already function as

additional inputs, you can route the eﬀects signal back into the console via a

diﬀerent channel, with the added beneﬁt that the channel EQ can be used to

adjust the frequency response of the eﬀects return signal.

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.

◊

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 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).

◊

If you wish to use the internal eﬀects processor, no connectors should

be plugged into STEREO AUX RETURN 2.

2.3.2 Aux send connectors 1 and 2

2.3.4 Stereo aux return

Fig. 2.7: Aux send connectors

AUX SEND 1

Fig. 2.9: Stereo aux return controls

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.

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 eﬀects return, you can

add the eﬀects 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

2.3.6 Level meter and monitoring

The STEREO AUX RETURN MON control has a special function: it can be used to

add an eﬀect to a monitor mix. For example:

Monitor mix with eﬀect

In this instance, the eﬀects 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 monitor mix.

Fig. 2.11: Control room/phones section, level meter

You can now use the STEREO AUX RETURN MON control to adjust the level of the

eﬀects signal routed to the monitor mix.

CD/TAPE

You can easily use the headphones distribution ampliﬁer BEHRINGER

POWERPLAY PRO HA4600/HA4700/HA8000 to provide you with four

(or eight with the HA8000) stereo headphone mixes for your studio.

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.

STEREO AUX RETURN 2 (FX)

ALT 3-4

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.

Similarly, the ALT 3-4 switch routes the signal from the Alt 3-4 bus to the same

path for monitoring purposes.

MAIN MIX/ALT 3-4

MAIN MIX

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).

The MAIN MIX switch sends the main mix signal to the above-mentioned

outputs and to the level meter.

2.3.5 Tape input / tape output

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.

Fig. 2.10: 2-track connectors

POWER

CD/TAPE INPUT

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

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-ﬁ ampliﬁer with a source

+48 V

The red “+48 V” LED lights up when the phantom power supply is switched on.

selection switch to the CD/TAPE INPUT, you can easily switch between additional The phantom power supply is necessary for condenser microphones and is

sources (e.g. cassette recorder, CD player, etc.).

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.

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 ﬁnal 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

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

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10 XENYX 1204USB/X1204USB User Manual

LEVEL SETTING:

PFL (1204FX only)

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.

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

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.

Fig. 2.12: PHONES connector

MODE (1204FX only)

PHONES

The MODE switch determines whether the channels’ SOLO switch operates as

PFL (Pre Fader Listen) or as solo (Solo In Place).

You can connect headphones to this ¼" TRS connector. The signal on the PHONES

connection is sourced from the control room output.

PFL

2.3.7 Alt 3-4 and main mix fader

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.

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.

2.4 Rear view of 1204USB/X1204USB

2.4.1 Main mix outputs, Alt 3-4 outputs and control

room outputs

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”.

Fig. 2.14: Main mix outputs, Alt 3-4 outputs and control room outputs

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MAIN OUTPUTS

POWER

The MAIN outputs carry the MAIN MIX signal and are on balanced XLR connectors Use the POWER switch to power up the mixing console.

with a nominal level of +4 dBu.

PHANTOM

ALT 3-4 OUTPUTS

The PHANTOM switch activates the phantom power supply for the XLR

connectors of the mono channels which is required to operate condenser

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 microphones. The red +48 V LED lights up when phantom power is on. As a

a subgroup to a further mixing console for example, or or it could be used as a rule, dynamic microphones can still be used with phantom power switched

recording output working in tandem with the main output. This means you could on, provided that they are wired in a balanced conﬁguration. In case of doubt,

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 ﬁrst recording pass, you record on tracks 1, 3, 5 and 7 and in

the second pass, on tracks 2, 4, 6 and 8.

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.

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.

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.

USB INPUT/OUTPUT

SERIAL NUMBER

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

3. Digital Eﬀects Processor

Fig. 2.15 USB input/output

The XENYX mixer line has built-in USB connectivity, allowing stereo signals to

be sent to and from the mixer and a computer. The audio sent from the mixer to

a computer is identical to the MAIN MIX. Audio being sent to the mixer from a

computer can be routed to the main mix with the 2-TR/USB TO MAIN button.

Connect the USB type B plug into the USB jack on the mixer, and the other end

into a free USB port on your computer. There are no required drivers, but we

recommend that PC users install the included ASIO driver. The driver can also be

downloaded from behringer.com.

2.4.2 Voltage supply, phantom power and fuse

Fig. 3.1: Digital eﬀects module (only X1204USB)

24-BIT MULTI-EFFECTS PROCESSOR

Here you can ﬁnd a list of all presets stored in the multi-eﬀects processor.

This built-in eﬀects module produces high-grade standard eﬀects such as

reverb, chorus, ﬂanger, delay and various combination eﬀects. The integrated

eﬀects 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.

Fig. 2.16: Voltage supply and fuse

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.

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.

This also goes for mixing eﬀects signals with the monitor mix. The main

diﬀerence is that the mix ratio is adjusted using the FX TO MON control. Of course,

a signal has to be fed into the eﬀects processor via the FX control in the channel

strip for both applications.

IEC MAINS RECEPTACLE

◊

On the following page, you will ﬁnd an illustration showing how to

connect your foot switch correctly.

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

mains cable is supplied with the equipment.

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12 XENYX 1204USB/X1204USB User Manual

LEVEL

4.2.1 Audio connections

The LED level meter on the eﬀects module should display a suﬃciently 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 eﬀects processor and this could cause

unpleasant distortion. The FX control (AUX SEND 2) determines the level that

reaches the eﬀects module.

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.

PROGRAM

You can select the eﬀect preset by turning the PROGRAM control. The display

ﬂashes the number of the current preset. To recall the selected preset, press the

button; the ﬂashing stops. You can also recall the selected preset with the

foot switch.

Balanced use with XLR connectors

4. Installation

4.1 Rack mounting

The packaging of your mixing console contains two 19" rack mount wings which

can be installed on the side panels of the console.

input

1 = ground/shield

2 = hot (+ve)

3 = cold (-ve)

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 wings 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.

output

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

◊

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

the 19" rack mounts.

Fig. 4.2: XLR connections

4.2 Cable connections

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.

Unbalanced ¼" TS connector

Strain relief clamp

Sleeve

Tip

¼" TS footswitch connector

strain relief clamp

sleeve

tip

Sleeve

(ground/shield)

sleeve

pole 1/ground

Tip

(signal)

tip

pole 2

Fig. 4.3: ¼" TS connector

The footswitch connects both poles momentarily

Fig. 4.1: ¼" TS connector for foot switch

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13 XENYX 1204USB/X1204USB User Manual

5. Speciﬁcations

Balanced ¼" TRS connector

Mono inputs

strain relief clamp

Microphone inputs (XENYX Mic Preamp)

sleeve

ring

tip

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

Frequency response

-134 dB / 135.7 dB A-weighted

-131 dB / 133.3 dB A-weighted

-129 dB / 130.5 dB A-weighted

sleeve

ground/shield

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

<10 Hz - 200 kHz (-3 dB)

ring

cold (-ve)

Gain range

+10 to +60 dB

tip

hot (+ve)

Max. input level

Impedance

+12 dBu @ +10 dB gain

approx. 2.6 kΩ balanced

For connection of balanced and unbalanced plugs,

ring and sleeve have to be bridged at the stereo plug.

Signal-to-noise ratio

110 dB / 112 dB A-weighted

(0 dBu In @ +22 dB gain)

Fig. 4.4: ¼" TRS connector

Distortion (THD + N)

0.005% / 0.004% A-weighted

Line input

¼" TRS headphones connector

Type

¼" TRS connector

electronically balanced

strain relief clamp

Impedance

approx. 20 kΩ balanced

10 kΩ unbalanced

sleeve

ring

tip

Gain range

-10 to +40 dB

30 dBu

Max. input level

Fade-out attenuation¹(Crosstalk attenuation)

sleeve

ground/shield

Main fader closed

Channel muted

90 dB

89.5 dB

89 dB

Channel fader closed

ring

right signal

Frequency response

Microphone input to main out

<10 Hz - 90 kHz

tip

left signal

+0 dB / -1 dB

+0 dB / -3 dB

Fig. 4.5: ¼" TRS connector for headphones

<10 Hz - 160 kHz

Stereo inputs

Type

¼"TRS connector,

electronically balanced

Impedance

approx. 20 kΩ

+22 dBu

Max. input level

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14 XENYX 1204USB/X1204USB User Manual

EQ mono channels

Main mix system data²

Noise

Low

Mid

80 Hz / 15 dB

2.5 kHz / 15 dB

12 kHz / 15 dB

Main mix @ -oo, Channel fader -oo

-105 dB / -108 dB A-weighted

High

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

EQ stereo channels

Low

Mid

80 Hz / 15 dB

2.5 kHz / 15 dB

12 kHz / 15 dB

Power supply

Mains voltage

100 - 240 V~, 50/60 Hz

40 W

High

Power consumption

Fuse

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

Standard IEC receptacle

Aux sends

Type

Mains connection

¼" TS connector, unbalanced

approx. 120 Ω

Impedance

Max. output level

Physical

+22 dBu

1204USB

Dimensions (H x W x D)

approx. 3 7/8 x 9 11/16 x 13"

approx. 97 x 247 x 328 mm

Stereo aux returns

Type

¼" TRS connector,

electronically balanced

Weight (net)

X1204USB

approx. 5 5/8 lbs / 2.56 kg

Impedance

approx. 20 kΩ bal. / 10 kΩ unbal.

+22 dBu

Dimensions (H x W x D)

approx. 3 7/8 x 9 11/16 x 13 5/32"

approx. 97 x 247 x 334 mm

Max. input level

Main outputs

Type

Weight (net)

approx. 5 3 lbs / 2.60 kg

XLR, electronically balanced

approx. 240 Ω bal. / 120 Ω unbal.

+28 dBu

Measuring conditions:

Impedance

Max. output level

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.

Control room outputs

Type

¼" TS connector, unbal.

approx. 120 Ω

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.

Impedance

Max. output level

+22 dBu

Headphones output

Type

¼" TRS connector, unbalanced

+19 dBu / 150 Ω (+25 dBm)

Max. output level

DSP

24-bit Texas Instruments ^TM

Converter

24-bit Sigma-Delta,

64/128-times oversampling

Sampling rate

40 kHz

USB

Audio

Stereo In/Out

TypeB

Connector

Converter

Sample Rate

16-bit

48 kHz

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15 XENYX 1204USB/X1204USB User Manual

FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

XENYX 1204USB/X1204USB

Responsible party name:

Address:

MUSIC Group Services USA, Inc.

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 oﬀ 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 diﬀerent 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 modiﬁcations to the equipment not expressly approved by MUSIC Group

can void the user’s authority to use the equipment.

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