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XENYX 1222FX
LOW CUT
The mono channels of the mixing consoles have a high-slope
LOW CUT filter for eliminating unwanted, low-frequency signal
components (80 Hz, 18 dB/octave).
TRIM
Use the TRIM control to adjust the input gain. This control
should always be turned fully counter-clockwise whenever you
connect or disconnect a signal source to one of the inputs.
The scale has 2 different value ranges: the first value range
(+10 to +60 dB) refers to the MIC input and shows the
amplification for the signals fed in there.
The second value range (+10 to -40 dB) refers to the line input
and shows its sensitivity. The settings for equipment with
standard line-level signals (-10 dBV or +4 dBu) look like this:
While the TRIM control is turned all the way down, connect your
equipment. Set the TRIM control to the external devices standard
output level. If that unit has an output signal level display, it
should show 0 dB during signal peaks. For +4dBu, turn up TRIM
slightly, for -10 dBV a bit more. Tweaking is done using the
LEVEL SET LED.
LEVEL SET
This LED lights up when the optimum operating signal level is
achieved. During normal use, this LED should only light up during
signal peaks.
2.1.2 Equalizer
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.
Fig. 2.2: The equalizer of the input channels
The upper (HIGH) and the lower band (LOW) 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 80Hz respectively. The mid
band is configured as a peak filter with a center frequency of
2.5 kHz. Unlike shelving filters, the peak filter processes a
frequency range that extends upwards and downwards around
its middle frequency.
2.1.3 Aux sends (MON and FX)
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 effects device. The return
from an external effects device can then be brought back into
the console via the aux return connectors.
For situations that 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.
Both aux sends are mono, are sourced after the equalizer and
offer up to +15 dB gain.
+ If you press the MUTE switch of the respective
channel, aux sends and returns (MON and FX) are
not being muted.
MON
In the 1222FX, aux send 1 (MON) is wired pre-fader and is
thus particularly suitable for setting up monitor mixes.
FX
The aux send labeled FX is for feeding external effects devices
and is thus set up to be post-fader.
In the 1222FX, the FX send is routed directly to the built-in
effects processor. To make sure that the effects processor
receives an input signal, you shouldnt turn this control all the
way to the left (-oo). Dont have the FX MUTE switch pressed,
and you should also not have the FX SEND fader pulled down.
2.1.4 Pan, mute switch and channel fader