Справочник Пользователя для Behringer 1204/1204FX
ENGLISH
XENYX 1204/1204FX User Manual
8
ENGLISH
XENYX 1204/1204FX User Manual
9
Tape input / tape output
2.3.5
2-track connectors
Fig. 2.10:
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-fi amplifier
with a source selection switch to the CD/TAPE INPUT, you
can easily switch between additional sources (e.g. cassette
recorder, CD player, etc.).
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 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 final output level can be adjusted via the high-precision
MAIN MIX fader.
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.
create a satisfactory fade-out effect.
Level meter and monitoring
2.3.6
Control room/phones section, level meter
Fig. 2.11:
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.
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.
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.
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.
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.
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.
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.
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.
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.
The high-precision level meter accurately displays the
appropriate signal level.
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.
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.
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).
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.
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.
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.
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.
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”.
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.
The PFL LED indicates that the peak meter is set to PFL mode.
PHONES connector
Fig. 2.12:
PHONES
You can connect headphones to this ¼" TRS connector. The
signal on the PHONES connection is sourced from the control
room output.
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 fader
2.3.7
Alt 3-4 and main mix fader
Fig. 2.13:
Use the high-precision quality faders to control the output
level of the Alt 3-4 subgroup and main mix.
level of the Alt 3-4 subgroup and main mix.
Rear view of 1204FX/1204
2.4
Main mix outputs, Alt 3-4 outputs and
2.4.1
control room outputs
Main mix outputs, Alt 3-4 outputs and control room outputs
Fig. 2.14:
MAIN OUTPUTS
The MAIN outputs carry the MAIN MIX signal and are on
balanced XLR connectors with a nominal level of +4 dBu.
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 first recording
pass, you record on tracks 1, 3, 5 and 7 and in the second
pass, on tracks 2, 4, 6 and 8.
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 first recording
pass, you record on tracks 1, 3, 5 and 7 and in the second
pass, on tracks 2, 4, 6 and 8.