User Manual

XENYX 1204FX/1204
Premium 12-Input 2/2-Bus Mixer with Xenyx Mic Preamps, British EQs, (1204FX: 24-Bit Multi-FX Processor) and USBAudioInterface
XENYX 1204FX/1204 User Manual

Table of Contents

Thank you.. 2 Important Safety Instructions.. 3 Legal Disclaimer.. 3 Limited Warranty.. 3 1. Introduction... 5 1.1 General mixing console functions.. 5 1.2 The users manual... 5 1.3 Before you get started.. 5 1.3.1 Shipment... 5 1.3.2 Initial operation.. 5 1.3.3 Online registration... 6 2. Control Elements and Connectors.. 6 2.1 Mono channels... 6 2.1.1 Microphone and line inputs. 6 2.1.2 Equalizer... 6 2.1.3 Aux sends... 6 2.1.4 Routing switch, solo and channel fader. 7 2.2 Stereo channels... 7 2.2.1 Channel inputs... 7 2.2.2 Equalizer stereo channels.. 7 2.2.3 Aux sends stereo channels.. 7 2.2.4 Routing switch, solo and channel fader.. 7 2.3 Connector panel and main section.. 7 2.3.1 Aux sends 1 and 2... 7 2.3.2 Aux send connectors 1 and 2.. 7 2.3.3 Stereo aux return connectors.. 8 2.3.4 Stereo aux return... 8 2.3.5 Tape input / tape output.. 8 2.3.6 Level meter and monitoring.. 8 2.3.7 Alt 3-4 and main mix fader.. 9 2.4 Rear view of 1204FX/1204.. 9 2.4.1 Main mix outputs, Alt 3-4 outputs and Control room outputs.... 9 2.4.2 Voltage supply, phantom power and fuse. 10 3. Digital Effects Processor.. 10 4. Installation... 11 4.1 Rack mounting... 11 4.2 Cable connections.. 11 4.2.1 Audio connections.. 11 5. Specifications.. 12

Thank you

Congratulations! In purchasing our XENYX 1204FX/1204 you have acquired a mixing console whose small size belies its incredible versatility and audioperformance. The BEHRINGER XENYX mixing console offers you premium-quality microphone preamplifiers with optional phantom power supply, balanced line inputs and the ability to connect external effects processors. Because of its extensive and carefully thought-out routing possibilities, your XENYX lends itself equally to both live and studio use.
Important Safety Instructions
Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock. Use only high-quality commercially-available speaker cables with " TS plugs pre-installed. All other installation or modification should be performed only by qualified personnel. 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. This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual. 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. Caution 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 or splashing liquids and no objects filled with liquids, such as vases, shall be placed on the apparatus. 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. 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 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 manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
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. 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. 11. Use only attachments/accessories specified by the manufacturer. 12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 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. 15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection. 16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

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 BEHRINGERs website behringer.com under Where to Buy, or you can contact the BEHRINGER office closest to you. (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 terms in 4 below), unless a longer minimum warranty period is mandated by applicable local laws. If the product shows any defects within the specified warranty period and that defect is not excluded under 4, MUSIC Group shall, at its discretion, either replace or repair the product using suitable new or reconditioned product or parts. 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. (3) Upon validation of the warranty claim, the repaired or replacement product will be returned to the user freight prepaid by MUSIC Group. (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.
2 Online registration 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! 3 Return materials authorization
(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 products 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 MUSIC Group IP Ltd. ALL RIGHTS RESERVED. 2011 MUSIC Group IP Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands

1. Introduction

The microphone channels feature high-end XENYX Mic Preamps that compare well with costly outboard preamps in terms of sound quality and dynamics and boast the following features:
130 dB dynamic range for an incredible amount of headroom A bandwidth ranging from below 10 Hz to over 200 kHz for crystal-clear
1.1 General mixing console functions
A mixing console fulfils three main functions:
Signal processing: Preamplification, level adjustment, mixing of effects,

frequency equalization.

Signal distribution: Summing of signals to the aux sends for effects
reproduction of even the finest nuances
The extremely low-noise and distortion-free circuitry guarantees absolutely
processing and monitor mix, distribution to one or several recording tracks, power amp(s), control room and 2-track outputs.
Mix: Setting the volume level, frequency distribution and positioning of the
natural and transparent signal reproduction
They are perfectly matched to every conceivable microphone with up to
60dB gain and +48 volt phantom power supply
They enable you to use the greatly extended dynamic range of your
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. The interface of BEHRINGER mixing consoles is optimized for these tasks enabling you to easily keep track of the signal path.
24-bit/192 kHz HD recorder to the full, thereby maintaining optimal audioquality British EQ The equalizers used for the XENYX Series are based on the legendary circuitry of top-notch consoles made in Britain, which are renowned throughout the world for their incredibly warm and musical sound character. Even with extreme gain settings these equalizers ensure outstanding audio properties. Multi-effects processor Additionally, your XENYX mixing console has an effects processor with 24-bit A/D and D/A converters included, which gives you 100 presets producing first-class reverb, delay and modulation effects plus numerous multi-effects in excellent audio quality. The XENYX mixing consoles are equipped with a state-of-the-art switchedmode power supply (SMPS). Unlike conventional circuitry an SMPS provides an optimum supply current regardless of the input voltage. And thanks to its considerably higher efficiency a switched-mode power supply uses less energy than conventional power supplies. USB/Audio interface The USB interface supplied with the unit is a perfect match for the XENYX Series and serves as a powerful recording interface to your PC or MAC. It supports the digital transmission of signals on up to four channels with max. 48 kHz and extremely low latency. When wired to the CD/TAPE INPUT and OUTPUT connectors, the interface transfers the stereo mix from the console directly to a computer. Both the recording signal and the playback signal from the computer can be monitored at the same time. In this way, you can use several recording runs to produce complete multi-track recordings.

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.
1.3.3 Online registration Please register your new BEHRINGER equipment right after your purchase by visiting http://behringer.com and read the terms and conditions of our warrantycarefully. 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. Shouldyour BEHRINGER dealer not be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding contact information is included in the 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). Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently. Thank you for your cooperation!
2.1.2 Equalizer All mono input channels include a 3-band equalizer. Allbands 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 (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 80Hz respectively. Themid band is configured as a peak filter with a center frequency of 2.5 kHz. 2.1.3 Aux sends Aux sends take signals via a control from one or more channels and sum these signals to a so-called bus. Thisbus 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. For situations which require effects processing, controls in the channel strips theaux sends are usually switched post-fader so that the effects volume in a channel corresponds to the position of the channel fader. Ifthis 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 +15dBgain.

If you press the MUTE/ALT 3-4 switch, aux send 1 is muted,

Fig. 2.3: The AUX SEND

2. Control Elements and Connectors
This chapter describes the various control elements of your mixing console. Allcontrols, switches and connectors will be discussed in detail.

2.1 Mono channels

2.1.1 Microphone and line inputs 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.
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, phantompower and fuse. LINE IN
Fig. 2.1: Connectors and controls of mic/line inputs
providedthat it is switched post-fader. However, this does not affect the aux send 2 of the 1204FX. AUX 1 (MON) In the 1204FX, aux send 1 can be switched pre-fader and is thus particularly suitable for setting up monitor mixes. In the 1204, the first aux send is labeled MON and is permanently switched pre-fader. PRE When the PRE switch is pressed, aux send 1 is sourced pre-fader. AUX 2 (FX) The aux send labeled FX is for sending to effects devices and is thus set up to be post-fader. In the 1204FX, the FX send is routed directly to the built-in effects processor.
If you wish to use the internal effects processor, the STEREO AUX
Each mono input also features a balanced line input on a " connector. Unbalanced devices (mono jacks) can also be connected to these inputs.
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 bothsimultaneously! 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). 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.
RETURN 2 connectors should not be in use.
1204FX: you can also connect an external effects processor to
auxsend2, however the internal effects module will be muted.
2.1.4 Routing switch, solo and channel fader 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. MUTE/ALT 3-4 You can use the MUTE/ALT 3-4 switch to divert the channel from the main mix bus to the Alt 3-4 bus. Thismutes the channel from the main mix. MUTE-LED The MUTE LED indicates that the relevant channel is diverted to the submix (Alt3-4 bus). CLIP-LED The CLIP LED lights up when the input signal is driven too high. In this case, turndown the GAIN control and, ifnecessary, check the setting of the channel EQ. SOLO The SOLO switch (1204FX 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). The channel fader determines the level of the channel signal in the main mix (orsubmix).

Fig. 2.4: Panorama and routing controls
2.2.4 Routing switch, solo and channel fader BAL The function of the BAL(ANCE) control corresponds to the PAN control in the mono channels. 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. 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.
2.3 Connector panel and main section
Whereas it was useful to trace the signal flow from top to bottom in order to gain an understanding of the channel strips, we now look at the mixing console from left to right. The signals are, so to speak, collected from the same point on each of the channel strips and then routed to the main section all together. 2.3.1 Aux sends 1 and 2 A channel signal is routed to aux send bus 1 if the AUX 1 control is turned up on the corresponding channel. AUX SEND 1 (MON) The AUX SEND control MON acts as master control for aux send 1 and determines the level of the summed signal. In the 1204FX, the MON control is called AUXSEND 1. AUX SEND 2 (FX) Similarly, the FX control (AUX SEND 2) determines the level for aux send 2. SOLO You can use the SOLO switch (1204FX only) to separately monitor the aux sends via the CONTROL ROOM/PHONES outputs and check these with the level meters.
If you want to monitor the signal of just one AUX bus, none of the other
Fig. 2.6: AUX SEND controls of the main section

2.2 Stereo channels

2.2.1 Channel inputs Each stereo channel has two balanced line level inputs on " 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
Fig. 2.5: Stereo channel inputs and LEVEL switch
SOLO SWITCHES should be pressed and the MODE switch must be in the SOLO position (not pressed down). 2.3.2 Aux send connectors 1 and 2 AUX SEND 1 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 auxsend2. AUX SEND 2

Fig. 2.7: Aux send connectors
For level matching, the stereo inputs feature a LEVEL switch which selects between +4 dBu and -10 dBV. At -10dBV (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. 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.
The AUX SEND 2 connector outputs the signal you picked up from the individual channels using the FX control. You can connect this to the input of an effects device in order to process the FX bus signal. Once an effects mix is created, the processed signal can then be routed from the effects device output back into the STEREO AUX RETURN connectors.
2.3.3 Stereo aux return connectors STEREO AUX RETURN 1 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.
You can also use these connectors as
MAIN MIX/ALT 3-4 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). 2.3.5 Tape input / tape output CD/TAPE INPUT
Fig. 2.8: Stereo aux return connectors
additional line inputs. STEREO AUX RETURN 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.
In this instance, the FX control of the channel being used as an effects
The CD/TAPE INPUT RCA connectors are provided for connecting a 2 track machine (e.g. DAT recorder). Theycan 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 Fig. 2.10: 2-track connectors 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 MIXfader.

If you connect a compressor or a noise gate after the 2-track
return should be turned fully counterclockwise, otherwise feedback problems could occur!
If you wish to use the internal effects processor, no connectors should be
plugged into STEREO AUX RETURN 2. 2.3.4 Stereo aux return 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 channelsignal.
In this instance, the effects device should
output, thefaders will probably not be able to create a satisfactory fade-outeffect. 2.3.6 Level meter and monitoring
be set at 100% effect. STEREO AUX RETURN MON
Fig. 2.9: Stereo aux return controls Fig. 2.11: Control room/phones section, level meter
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 SEND1. The AUX SEND 1 master control determines the volume of the monitor mix. You can now use the STEREO AUX RETURN MON control to adjust the level of the effects signal routed to the monitor mix. 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. STEREO AUX RETURN 2 (FX) 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.
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 connectorthis 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. MAIN MIX 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 volumerespectively.
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. POWER 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.

Please do not connect microphones to the mixer (or the stagebox/
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. 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. PFL (1204FX only) The PFL LED indicates that the peak meter is set to PFL mode. PHONES You can connect headphones to this " TRS connector. The signal on the PHONES connection is sourced from the control room output.
Fig. 2.12: PHONES connector
wallbox) while the phantom power supply is switched on. Connectmicro-phones before you switch on the power supply. Inaddition, 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. LEVEL SETTING: When recording to a digital device, the recorders 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 -10dB. Snaredrums should be driven to approx. 0 dB.

The peak meters of your XENYX display the level virtually independent
2.3.7 Alt 3-4 and main mix fader
of frequency. A recording level of 0 dB is recommended for all signaltypes. MODE (1204FX only) 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. Solo When the MODE switch is not depressed, the stereo solo bus is active. Solois 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, allchannels 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. Thesolo bus is, as a rule, switched post-fader.
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 1204FX/1204
2.4.1 Main mix outputs, Alt 3-4 outputs and control room outputs
Fig. 2.14: Main mix outputs, Alt 3-4 outputs and control room outputs
MAIN OUTPUTS 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. 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. 2.4.2 Voltage supply, phantom power and fuse
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. SERIAL NUMBER Please note the important information on the serial number given in chapter1.3.3.

microphones to the mixer (or the stagebox/wallbox). Connect the microphones before you switch phantom power on. In addition, themonitor/PA loudspeakers should be muted before activating the phantom power supply. After switching on, wait approx. one minute to allow the system to stabilize.

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. 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.
Only use the screws holding the mixing console side panels to fasten the
Balanced use with XLR connectors
1 = ground/shield 2 = hot (+ve) 3 = cold (-ve)

19" rack mounts.

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.
" TRS footswitch connector
strain relief clamp sleeve ring tip

output

For unbalanced use, pin 1 and pin 3 have to be bridged
Fig. 4.2: XLR connections
Unbalanced " TS connector
Strain relief clamp Sleeve Tip

sleeve ground/shield

Sleeve (ground/shield)
ring FX2 tip FX1 Tip (signal)
Fig. 4.1: " TS connector for foot switch Fig. 4.3: " TS connector
4.2.1 Audio connections 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 powersupply.

5. Specifications

Balanced " TRS connector

Mono Inputs

Microphone inputs (XENYX Mic Preamp) Type Mic E.I.N. (20 Hz - 20 kHz) @ 0 source resistance -134 dB / 135.7 dB A-weighted @ 50 source resistance -131 dB / 133.3 dB A-weighted @ 150 source resistance -129 dB / 130.5 dB A-weighted Frequency response <10 Hz - 150 kHz (-1 dB), <10 Hz - 200 kHz (-3 dB) +10 to +60 dB +12 dBu @ +10 dB gain approx. 2.6 k balanced 110 dB / 112 dB A-weighted (0 dBu In @ +22 dB gain) 0.005% / 0.004% A-weighted " TRS connector electronically balanced approx. 20 k balanced 10 k unbalanced -10 to +40 dB 30 dBu

XLR, electronically balanced, discrete input circuit
ring cold (-ve) tip hot (+ve)
For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.
Gain range Max. input level Impedance Signal-to-noise ratio
Fig. 4.4: " TRS connector
Distortion (THD+N) Line input
" TRS headphones connector
Type Impedance Gain range Max. input level Fade-out attenuation (Crosstalk attenuation)
Main fader closed Channel muted Channel fader closed

Frequency Response

90 dB 89.5 dB 89 dB
ring right signal tip left signal
Microphone input to main out <10 Hz - 90 kHz +0 dB / -1 dB +0 dB / -3 dB " TRS connector, electronically balanced approx. 20 k +22 dBu 80 Hz / 15 dB 2.5 kHz / 15 dB 12 kHz / 15 dB <10 Hz - 160 kHz Stereo inputs Type Impedance Max. input level EQ mono channels Low Mid High
Fig. 4.5: " TRS connector for headphones
EQ stereo channels Low Mid High Aux sends Type Impedance Max. output level Stereo aux returns Type Impedance Max. input level Main outputs Type Impedance Max. output level Control room outputs Type Impedance Max. output level Headphones output Type Max. output level DSP Converter Sampling rate

Main Mix System Data2

Physical
80 Hz / 15 dB 2.5 kHz / 15 dB 12 kHz / 15 dB
1204FX Dimensions (H x W x D) Weight (net) approx. 3 7/8 x 9 11/16 x 13 5/32" approx. 97 x 247x 334 mm approx. 5 lbs / 2.60 kg approx. 3 7/8 x 9 11/16 x 13" approx. 97 x 247x 328 mm approx. 5 5/8 lbs / 2.56 kg
" TS connector, unbalanced approx. 120 +22 dBu " TRS connector, electronically balanced approx. 20 k bal. / 10 k unbalanced +22 dBu XLR, electronically balanced approx. 240 bal. / 120 unbalanced +28 dBu " TS connector, unbalanced approx. 120 +22 dBu " TRS connector, unbalanced +19 dBu / 150 (+25 dBm) 24-bit Texas Instruments 24-bit Sigma-Delta, 64/128-times oversampling 40 kHz
1204 Dimensions (H x W x D) Weight (net)
Measuring conditions: 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; channels1/3 as far left as possible, channels 2/4 as far right as possible. Reference = +6 dBu. 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.

Noise Main mix @ -, Channel fader - Main mix @ 0 dB, Channel fader - Main Mix @ 0 dB, Channel fader @ 0 dB Power supply Mains voltage Power consumption Fuse Mains connection 100 - 240 V~, 50/60 Hz 40 W 100 - 240 V~: T 1.6 A H 250 V Standard IEC receptacle -105 dB / -108 dB A-weighted -95 dB / -97 dB A-weighted -82,5 dB / -85 dB A-weighted
FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
Responsible party name: Address: MUSIC Group Services USA, Inc. 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA Phone: +Fax: +673 7647

Phone/Fax No.:

complies with the FCC rules as mentioned in the followingparagraph: This equipment has been tested and found to comply with the limits for a ClassB 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 followingmeasures: 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 forhelp. 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 users authority to use the equipment.

Specifications

Version 1.0 January 2006

XENYX 1204

Premium 12-Input 2/2-Bus Mixer with XENYX Mic Preamps, British EQs and USB/Audio Interface
s Premium ultra low-noise, high headroom analog mixer
s 4 state-of-the-art XENYX Mic Preamps comparable to stand-alone boutique preamps s Neo-classic British 3-band EQs for warm and musical sound
s USB/Audio Interface included to connect directly to your computer. Free audio recording and editing software downloadable at www.behringer.com s 2 aux sends per channel: 1 pre fader for monitoring applications, 1 post fader for external FX devices s Peak LEDs and mute/alt 3-4 function on all channels s 2 subgroups with separate outputs for added routing flexibility s 2 multi-functional stereo aux returns with flexible routing
s Balanced main mix outputs with gold-plated XLR connectors plus separate control room, headphones and stereo tape outputs s Control room/phones outputs with multi-input source matrix s Tape inputs assignable to main mix or control room/phones outputs
s Long-wearing 60-mm logarithmic-taper faders and sealed rotary controls
s Internal autorange power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving s Rack mount brackets included for ultimate flexibility
s High-quality components and exceptionally rugged construction ensure long life s Conceived and designed by BEHRINGER Germany

SPECIFICATIONS

Mono inputs Microphone inputs (XENYX Mic Preamp) Type XLR, electronically balanced, discrete input circuit Mic E.I.N. (20 Hz - 20 kHz) @ 0 W source resistance -134 dB / 135.7 dB A-weighted @ 50 W source resistance -131 dB / 133.3 dB A-weighted @ 150 W source resistance -129 dB / 130.5 dB A-weighted Frequency response <10 Hz - 150 kHz (-1 dB), <10 Hz - 200 kHz (-3 dB) +10 to +60 dB +12 dBu @ +10 dB gain approx. 2.6 kW balanced 110 dB / 112 dB A-weighted (0 dBu In @ +22 dB gain) 0.005% / 0.004% A-weighted Main outputs Type Impedance Max. output level Control room outputs Type Impedance Max. output level Headphones output Type Max. output level Main mix system data 2 Noise Main mix @ -oo, Channel fader -oo Main mix @ 0 dB, Channel fader -oo Main Mix @ 0 dB, Channel fader @ 0 dB Power supply Mains voltage Power consumption Fuse Mains connection Physical Dimensions (H x W x D) Weight (net) XLR, electronically balanced approx. 240 W bal. / 120 W unbal. +28 dBu
1/4" TS connector, unbal. approx. 120 W +22 dBu
Gain range Max. input level Impedance Signal-to-noise ratio
1/4" TRS connector, unbalanced +19 dBu / 150 W (+25 dBm)
Distortion (THD+N) Line input Type Impedance Gain range Max. input level Fade-out attenuation 1 (Crosstalk attenuation) Main fader closed Channel muted Channel fader closed Frequency response Microphone input to main out <10 Hz - 90 kHz <10 Hz - 160 kHz Stereo inputs Type Impedance Max. input level EQ mono channels Low Mid High EQ stereo channels Low Mid High Aux sends Type Impedance Max. output level Stereo aux returns Type Impedance Max. input level
-105 dB / -108 dB A-weighted -95 dB / -97 dB A-weighted -82,5 dB / -85 dB A-weighted
1/4" TRS connector electronically balanced approx. 20 kW balanced 10 kW unbalanced -10 to +40 dB 30 dBu
100 - 240 V~, 50/60 Hz 40 W 100 - 240 V~: T 1.6 A H 250 V Standard IEC receptacle

90 dB 89.5 dB 89 dB

approx. 97 mm (3 7/8") x 247mm (9 11/16") x 328 mm (13") approx. 2.56 kg (5 5/8 lbs)
+0 dB / -1 dB +0 dB / -3 dB
1/4" TRS connector, electronically balanced approx. 20 kW +22 dBu
80 Hz / 15 dB 2.5 kHz / 15 dB 12 kHz / 15 dB
1/4" TS connector, unbalanced approx. 120 W +22 dBu

Measuring conditions:

1: 2: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain. 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.
1/4" TRS connector, electronically balanced approx. 20 kW bal. / 10 kW unbal. +22 dBu
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.
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. The names of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use neither constitutes a claim of the trademarks by BEHRINGER nor affiliation of the trademark owners with BEHRINGER. BEHRINGER 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. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not agents of BEHRINGER and have absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation. 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 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER is a registered trademark. ALL RIGHTS RESERVED. 2006 BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany. Tel. +9206 0, Fax +9206 4903