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XENYX 502/802/1002/1202 User Manual

XENYX 502/802/1002/1202 User Manual

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This chapter describes the various control elements of your 
mixing console. All controls, switches and connectors will be 
discussed in detail.

Connectors and controls of mic/line inputs

Fig. 2.1: 

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 gain 
as is typically known only from costly outboard preamps.

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.

GAIN
Use the GAIN 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.

All mono input channels include a 3-band equalizer, except 
for the 502, which is equipped with a 2-band EQ. 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.

The equalizer of the mono input channels

Fig. 2.2: 

EQ
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 (802/1002/1202) is configured as a peak filter with a 
center frequency of 2.5 kHz.

LOW CUT
In addition, the mono channels (1002 and 1202) are 
equipped with a steep LOW CUT filter (slope at 18 dB/oct.,  
-3 dB at 75 Hz) designed to eliminate unwanted low-
frequency signal components.

The FX send/panorama/level controls

Fig. 2.3: 

FX (802/1002/1202 only)
FX sends (or AUX sends) enable you to feed signals via a 
variable control from one or more channels and sum these 
signals to a bus. The bus appears at the console’s FX send 
output and can be fed from there to an external effects 
device. The return from the effects unit is then brought 
back into the console on the aux return connectors (802) or 
normal channel inputs. Each FX send is mono and features 
up to +15 dB gain.
As the name suggests, the FX sends of the XENYX mixing 
consoles are intended to drive effects devices (reverb, delay, 
etc) and are therefore configured post-fader. This means that 
the mix between dry signal and effect remains at the level 
determined by the channel’s aux send, irrespective of the 
channel fader setting. If this were not the case, the effects 
signal of the channel would remain audible even when the 
fader is lowered to zero.

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.

LEVEL
The LEVEL control determines the level of the channel signal 
in the main mix.

CLIP
The CLIP LED’s of the mono channels illuminate when the 
input signal is driven too high, which could cause distortion. 
If this happens, use the GAIN control to reduce the preamp 
level until the LED does not light anymore.

Stereo line inputs

Fig. 2.4: 

LINE IN
Each stereo channel has two balanced line level inputs on 
¼" jacks for left and right channels. If only the jack marked 
“L” (left) is used, the channel operates in mono. The stereo 
channels are designed to handle typical line level signals.
Both inputs will also accept unbalanced jacks.

The XENYX 802 features a stereo 3-band EQ in each stereo 
channel. The filter characteristics and cut-off frequencies are 
the same as those in the mono channels.

The equalizer of the stereo input channels

Fig. 2.5: 

A stereo EQ is highly preferable to two mono equalizers. 
when working on a stereo signal, as two separate EQ’s will 
usually produce an unwanted discrepancy between the left 
and right channels.

The FX send/balance/level controls

Fig. 2.6: