The Behringer XENYX XL1600 is a 16-Input 4-Bus live mixer featuring 12 state-of-the-art XENYX Mic Preamps (balanced XLR inputs with phantom power) plus 4 stereo 1/4" Line inputs with ultra-high RFI suppression. It also boasts neo-classic British 4-band EQ
Part Numbers: XENYX XL1600, XENYX XL1600*, XENYX-XL1600, XENYXXL1600, xenyxxl1600
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Behringer XL1600, size: 7.0 MB
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Premium 16/24/32-Input 4-Bus Live Mixer with XENYX Mic Preamps and British EQs
XENYX XL1600/XL2400/XL3200 User Manual
Table of Contents
Thank you.. 2 Important Safety Instructions.. 3 Legal Disclaimer.. 3 Limited Warranty.. 3 1. Before you get started.. 5 1.1 Shipment... 5 1.2 Initial operation... 5 1.3 Online registration.. 5 1.4 The user manual.. 5 2. Quick start.. 6 2.1 Hook-up example (inputs and inserts). 6 2.2 Hook-up example (outputs).. 7 3. Installation... 8 3.1 Rack mounting (XL1600 only).. 8 3.2 Audio connectors... 8 4. Connectors... 10 4.1 Power supply... 10 4.2 Mono inputs.. 10 4.3 Stereo inputs... 11 4.4 Main mix outputs.. 11 4.5 Subgroup connectors.. 11 4.6 CD/tape connectors.. 11 4.7 FX/Mon/Aux sends.. 11 4.8 Aux returns... 11 4.9 Light and headphone connectors. 11 5. Control elements.. 12 5.1 Mono channels.. 12 5.2 Stereo channels... 13 5.3 Main section.. 14 5.4 Level meters.. 14 5.5 Subgroups... 14 5.6 Further functions of the mastersection. 15 5.7 FX master section.. 16 5.8 Monitor send section.. 16 5.9 AUX master section... 16 6. Modifications.. 17 6.1 Mon/Aux sends > post-EQ... 17 6.2 Direct Out > pre-fader... 17 7. Specifications.. 17
Congratulations! By purchasing one of the XENYX mixing consoles you have acquired a state-of-the-art audio mixer that sets new standards. Right from the very start it has been our goal to design a revolutionary unit that can be used for a great variety of applications. And indeed, this overwhelming mixing console gives you plenty of funtionality and a broad range of connection and expansionoptions. BEHRINGER is a company with its roots in professional recording studio technology. For many years now we have been successful in developing products for studio and live use. These include microphones and studio gear of all kinds (compressors, enhancers, noise gates, tube processors, headphone amplifiers, digital effects, DI boxes, etc.), monitor and PA speakers as well as professional live and recording mixers. Our entire technical know-how has gone into your XENYXmixing console.
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.
 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.  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.  Upon validation of the warranty claim, the repaired or replacement product will be returned to the user freight prepaid by MUSIC Group.  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  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.
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. ALL RIGHTS RESERVED. 2010 Red Chip Company Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands
 Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by MUSIC Group.  Shipments without freight prepaid will not be accepted.
4 Warranty Exclusions  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.  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.  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.  This limited warranty is invalid if the factoryapplied serial number has been altered or removed from the product.  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.  Damage/defects caused by the following conditions are not covered by this limited warranty: improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals; 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; damage/defects caused by acts of God/Nature (accident, fire, flood, etc) or any other condition that is beyond the control of MUSIC Group.
 Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the limited warranty.  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.  Products which do not meet the terms of this limited warranty will be repaired exclusively at the buyers 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.  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.
Warranty service conditions are subject to change without notice. For the latest warranty terms and conditions and additional information regarding MUSIC Groups limited warranty, please see complete details online at behringer.com.
* MUSIC Group Macao Commercial Oshore Limited of Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau, including all MUSIC Group companies
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. 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.
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. 8 Other warranty rights and national law  This limited warranty does not exclude or limit the buyers statutory rights as a consumer in any way.  The limited warranty regulations mentioned herein are applicable unless they constitute an infringement of applicable mandatory local laws.  This warranty does not detract from the sellers obligations in regard to any lack of conformity of the product and any hidden defect.
1. Before You Get Started
Your XENYX was carefully packed at the factory, and the packaging was designed to protect the unit from damage caused by rough handling. Nevertheless, werecommend that you carefully examine the packaging and its contents for anysigns of physical damage that may have occurred during transit.
If the unit is damaged, please do NOT return it to us; instead,
1.3 Online registration
Please remember to register your new BEHRINGER equipment right after your purchase by visiting behringer.com (alternatively behringer.de) and read the terms and conditions of our warranty carefully. Should your BEHRINGER product malfunction, our goal is to have it repaired as quickly as possible. To arrange for warranty service, please contact the retailer from whom the equipment was purchased. Should your 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). Shouldyour country not be listed, please contact the distributor nearest you. Alist of distributors can be found in the support area of our website(behringer.com). Registering your purchase and equipment with us helps us process your repair claims quicker and more efficiently. Thank you for your cooperation!
notifyyour dealer and the shipping company immediately, otherwiseclaims for damage or replacement may not be granted.
We recommend using a case to ensure optimal protection of the device. Please always use the original packaging to avoid damage due to
storage or shipping.
Never let unsupervised children play with the XENYX or with
Recycle whenever possible.
1.2 Initial operation
Ensure adequate air supply, and to avoid overheating do not place the unit near radiators etc.
Blown fuses must be replaced by fuses of the same type and rating!
1.4 The user manual
The user 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. Additional information and explanations about various music industry/audio technology terminology can be found on individual product pages as well as in the glossary.
Please refer to the Specifications for details.
Before changing the fuse, switch off the device and pull the plug to
avoid electric shock or damage to the device. The power connection is made by using the enclosed cable and the amplifiers standard IEC receptacle. It meets all of the international safety certificationrequirements.
Please make sure that all units have a proper earth connection.
Foryour own safety, never remove or disable the earth conductor from the unit or of the AC power cord. The unit must always be connected to the mains outlet with a protective grounding connection.
Extreme output volumes may damage your hearing and/or your
loudspeakers. Turn down all volume and level controls before you switch on the unit. Always set the volume to an appropriate level. Important notes concerninginstallation
The sound quality may diminish within the range of powerful
broadcasting stations and high-frequency sources. Increase the distance between the transmitter and the device and use shielded cables for all connections.
2. Quick Start
2.1 Hook-up example (inputs and inserts)
4-Ch Noise Gate
Fig. 2.1: Input wiring
2.2 Hook-up example (outputs)
Eects Device 2
Eects Device 1
Stereo Recording Device
Fig. 2.2: Output wiring
3.1 Rack mounting (XL1600 only)
The packaging of your XL1600 contains two 19" rack mounts that can be fastened to the side panels of the console. Before you can attach the rack mounts to the mixing console, you need to remove the screws holding the left and right side panels. Then, use these screws to fasten the two rack mounts, each specifically to one side. After attaching the rack mounts, you can mount the mixing console in a standard 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
Balanced " TRS connector
strain relief clamp sleeve ring tip
the 19" rack mounts.
3.2 Audio connectors
The " inputs and outputs of the BEHRINGER XENYX mixer are unbalanced mono TS connectors except for the balanced Line inputs on the mono and stereo channels as well as the Main Out connectors. Of course, you can use the mixer with balanced as well as unbalanced " connectors. The CD/TAPE inputs and outputs are stereo RCA connectors.
Make sure that only competent people install your mixer. They must be
ring cold (-ve) tip hot (+ve)
For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.
Fig. 3.2: " TRS connector
sufficiently grounded during and after the installation process. Otherwise, electrostatic discharges may negatively affect the operating characteristics of your equipment.
Balanced use with XLR connectors
Unbalanced " TS connector
Strain relief clamp Sleeve Tip
1 = ground/shield 2 = hot (+ve) 3 = cold (-ve)
For unbalanced use, pin 1 and pin 3 have to be bridged
Fig. 3.3: " TS connector
Fig. 3.1: XLR connector
Insert send return " TRS connector
ring return (in) tip send (out)
Connect the insert send with the input and the insert return with the output of the eects device.
Fig. 3.4: Insert send/return stereo plug
" TRS headphones connector
ring right signal tip left signal
Fig. 3.5: " headphones connector
tip sleeve shield sleeve
Fig. 3.6: RCA cable
Let's begin with the rear panel where the majority of inputs and outputs arelocated.
4.1 Power supply
4.2 Mono inputs
MIC The balanced XLR input connects to microphones, DI boxes and multicores. (Multicores are cables that have multiple cores and which run from the so-called stagebox to the mixer.)
Connect the microphone and mute all mixer outputs
The mains connection is a standard IEC receptacle. Anappropriate power cord is supplied with the unit. FUSE HOLDER Before connecting the unit to the mains, ensure that the voltage setting matches your local voltage. Blown fuses should only be replaced by fuses of the same type and rating. Please also read the information given in chapter Specifications. POWER Use the POWER switch to turn on the mixing console. The POWER switch should always be in the Off position when you are about to connect your unitto the mains. To disconnect the unit from the mains, pull out the main cord plug. Wheninstalling the product, ensure that the plug is easily accessible. Ifmountingin a rack (XL1600 only), ensure that the mains can be easily disconnected by a plug pull or by an all-pole disconnect switch on or near therack.
Please note: The POWER switch does not fully disconnect the unit from
before turning on the phantom power to avoid noise when the microphone is turned on. Please wait for about one minute when switching on the mic until the voltage is stable. Only then turn on the input amplification.
Caution! Never use unbalanced XLR connectors (pins 1 and
3 interconnected) on the MIC input jacks, if you want to use phantom power. +48 V Phantom power is used for operating a capacitor microphone. A control LED lights up next to the switch when the phantom power supply is active. Additionalcontrol LEDs are located in each Trim section of the mixer's channels. As a rule, dynamic microphones can still be used with phantom power, providedthey are wired in a balanced configuration. In case of doubt, contactthemicrophone manufacturer! LINE This is a " jack connector which connects to line-level signal sources (forexample, keyboards, CD players and wireless microphone receivers). The input is balanced (TRS connector) but can also be used with unbalanced connectors (TS connector). INSERT The INS(ert) connector (" stereo jack connector) is used to connect to external signal processors. Here you can hook up a compressor, noise gate or equalizer to process the signal of a single channel. The insert jack is placed before the fader, EQ and aux send. Please use an insert cable to connect to the insert point. DIRECT OUT This " mono jack connector is a direct output which taps the signal after the channel fader to route it to a multi-track recorder, for example. By modifying the circuit board in the unit, the signal can also be tapped pre-fader (see chapter 6).
the mains. To disconnect the unit from the mains, pull out the main cord plug or appliance coupler. When installing the product, ensure the plug or appliance coupler is readily operable. Unplug the power cord when the unit is not used for prolonged periods of time. SERIAL NUMBER This is the serial number of the mixing console.
4.3 Stereo inputs
LINE L (MONO), LINE R The stereo channels consist of two line inputs (" jacks), one for the left and one for the right channel. The inputs are balanced (TRSconnectors), but it is also possible to connect to unbalanced plugs (TS connectors). These channels can also be used as mono channels by connecting to the jack labeled L (left). MIC The stereo channels also consist of XLR inputs for connecting to microphones DI boxes and multicores. +48 V This is the phantom power for operating capacitor microphones along with the control LED located next to the switch and in the Trim section of the stereo channels.
4.6 CD/tape connectors
IN The CD/TAPE input connectors are used to hook up CD players, tapedecks or other line-level sources. OUT The CD/TAPE output connectors provide the stereo main mix signal to a tape deck or DAT recorder to record your mix. The signal is taken pre-fader so that it will not be influenced by the fader positions.
4.7 FX/Mon/Aux sends
FX 1 and 2 The FX outputs 1 and 2 provide the signals of the effects buses 1 and 2. These signals may be sent to external effects processors and are routed back over the AUX-RETURN inputs or separate input channels, for example. MON 1 and 2 The monitor outputs 1 and 2 provide the signals of the monitor buses. These signals may be be sent to stage loudspeakers. To prevent interference due to the long cables being used between stage and mixing console, the outputs are balanced XLR connectors. What's more, youhave the right connectors when working with multicores. AUX 1 and 2 The AUX outputs 1 and 2 provide the signals of the AUX buses 1 and 2. Youcanswitch these buses pre-fader and post-fader so that they may be usedforeffects as well as for monitor applications.
4.4 Main mix outputs
OUT A The OUT A outputs are balanced XLR connectors with a nominal operating level of +4 dBu and provide the main mix signal. OUT B The OUT B outputs provide the MAIN B signal the volume level of which can be controlled. INSERT Like the channel inserts, the INS(ert) connectors can be used to hook up a dynamics processor or equalizer for further processing of the mix signal on OUT A.
4.5 Subgroup connectors
4.8 Aux returns
AUX RETURN The stereo AUX inputs 1 und 2 let you connect the mixer to additional equipment (players,effectsprocessors, submixers, etc.). Thesignal is sent to the signal sum. FX RETURN The stereo FX RETURN connectors 1 and 2 are linked to the outputs of external effects processors. Depending on the routing, the signals are sent to the subgroup or the main mix bus.
+48 V This control LED lights up when the phantom power is activated. The switch is located on the rear panel of the unit. MIC TRIM The MIC TRIM control adjusts amplification of the microphone input. The amplification ranges between 0 and +60 dB.
before you connect or disconnect a signal source to or from one of the inputs.
CLIP The CLIP LED lights up as soon as the channel's level is too high. In this case, turnthe TRIM control to reduce the channel's input amplification until the LED goes out. SIG The SIG LED lights up when a channel's signal is higher than -20 dB. The LED is not affected by the fader. The signals are indicated even when the fader is pulled down and the channel is muted. Fader The channel fader governs the level of the channel signal as part of the main mix(or submix) 1-2, 3-4, MAIN The routing switch feeds the signal to the respective subgroup or the main mix or both. Please note that when using the routing switch to route a stereo signal to the subgroups the balance control needs to be centered so that the signal is routed to two groups and remains in stereo.
5.4 Level meters
Four high-resolution LED meters indicate the levels of the monitor buses' and mixer sum's output signals. As soon as you have pressed the solo switch on the mixing console, the monitor LED meter automatically shows the solo signal. The master signal is alwaysindicated. 1 MON 2 The monitor meters indicate the levels of the monitor buses 1 and 2. In solo mode (SOLO LED lights up) thePFL signal (mono, only left meter) or the AFL signal (stereo, left and right meter) are shown. Thisdepends on the state of the PFL and AFL switch inthe solosection. SOLO When a SOLO switch is pressed on the mixing console, not only the corresponding LED lights up, but also the global SOLO LED. This way you can keep a cool head when mixing live and don't have to check the whole console to see that one SOLOswitch is active. Simultaneously this LED indicates that the monitor meters are in solo mode. MAIN The high-precision level meter accurately indicates the output signal level(MAINOUT A).
5.3 Main section
5.3.1 MAIN A section BAL(ANCE) The BAL(ANCE) control adjusts the mix of the left and right output signal before both signals are routed to the MAIN A output. This way the left and right volume level of the mixer sumcan individually be adjusted if necessary. MAIN MUTE When the MAIN MUTE switch is pressed, all input channels are muted. The MUTE LED lights up when the MUTE switch is pressed. Only the CD/TAPE signal will be routed to the main mix. In this way, you can prevent the microphones from picking up unwanted sounds or noise that would interfere with CD playback during a break. The main mix and channel faders can remain in their normal positions while playing back music from CD (usingthe CD/TAPE inputs, so you dont lose your mix. MAIN A Use this high-precision MAIN fader to control the output level of the main mix. MAIN B Depending on the settings of the MAIN B section, the level of the Main B output is affected by the MAIN A fader.
The XENYX provides 4 subgroups which allow you to feed multiple channels to mono or stereo mixdowns. Their volume level can be adjusted using the subgroup faders. For example, createa subgroup with all vocal channels or drum signals and adjust the volume using the subgroup fader. This way you can keep track and, at the same time, can process the signal with a compressor via the subgroup insert. Additionally, you can also use the subgroup outputs as sends for a multitrackrecorder. PAN The PAN control adjusts the position within the stereo image. MAIN The MAIN switch routes the subgroup signal to the main mix. With the PAN control you can adjust the signal to the left side of the stereo image (PAN turned fully left), to the right side of the stereo image (PAN turned fully right) or to both sides (PAN in center position) of the stereo main mix. Forexample, when creating a stereo submix with the subgroups 1 and 2, group1 should be adjusted to the left and group 2 to the right side of the main mix in
order to maintain a balanced stereo image. In case you have created a mono submix with only one subgroup, be sure to center the PAN control so that the signal is not only heard on one side. SOLO The SOLO switch routes the subgroup signal to the AFL bus (Solo In Place) or PFL bus (Pre Fader Listen), so that you can monitor the subgroup signal without affecting the main or sub output signals. The signal to be monitored is taken either pre (PFL, mono) or post-subgroup fader (Solo, stereo), depending on the position of the SOLO/PFL switch. The SOLO LED illuminates when the SOLO switch is pressed. CLIP The CLIP LED lights up as soon as the subgroup signal's level is too high. Inthiscase, pull down the channels' faders routed to this group. SIG The SIG LED lights up when a signal is routed to the subgroup whose level is higher than -20 dB.
5.7 FX master section
This section has additional inputs for signals which do not require further signal processing. Ideally, usethem for signals returning from external effects units. This is why these inputs are referred to as FX returns. It is possible to route the effect signals to the monitors and subgroups. This way the stereo channels can be used for additional stereo signals, such as keyboards, etc., and not for effects units' signals which require functions like fader, routing, solo and mute. FX SEND This is the master FX SEND control for adjusting the volume of all FX send signals at the corresponding FX send jacks and at the inputs of the built-in effects processor. Use it to control the master signal of all FX1/FX 2 signals from the input channels. Whenneither of the FX SEND controls is turned up, theeffects processor will not receive a signal. MON Use the MON controls to add an effect signal to the monitor buses 1 and 2. For this application, the effects unit needs a signal: turn up the respective master FXSEND control and the FX send controls on the channel strips (34) and pull up the channel faders. 1-2, 3-4 These selector switches route the effect signal to the main mix or to the subgroups 1-2 or 3-4. For example, if you create a subgroup for a choir, you need to feed the effect, which processes the vocal signal, to the same subgroup so that all signals can be adjusted equally. In this case it doesn't matter that the FX sends are routed post-fader as long as the choir's volume level is adjusted with the subgroup fader. Otherwise, the effect signal is perceived as unaffected in the main mix. MUTE The MUTE switch mutes the effect return path. Use this function to deactivate the reverb effect of a vocalist who makes announcements between songs. Thecorresponding MUTE LED indicates that the channel is muted. SOLO Press the SOLO switch to listen in on the effect signal on the headphones/ speakers as well as see it on the monitor meter 1/2. The corresponding LED lights up when the solo function is activated. FX RETURN The FX return fader adjusts the volume level of the returned effect signal in the main mix and subgroups (this depends on the routing switch you have pressed).
5.8 Monitor send section
The monitor send section merges the monitor signals of all channels. Then the mix is sent to the monitor outputs. The monitor fader provides precise adjustment and optical control of the monitor outputsignals. SEND The SEND faders control the output level of the monitor buses. Each fader is 60 mm long and features 10 dB headroom. MUTE Each monitor send has a MUTE switch and MUTE LED. SOLO For acoustic control of the stage sound, use the SOLO switch to feed the monitor signal to the headphone and speaker output. If you connect the speaker output to a monitor that is identical with the monitor speakers on stage, you can tell how the stage sound is perceived.
Links should not be threaded into the holes on the PCB, but are to
be soldered to the tinned areas around the holes. Bend the links a littleupwards.
6.1 Mon/Aux sends > post-EQ
Pre-fader switched monitor sends and aux sends are tapped off before the equalizer. Do you prefer post-EQ? What are you waiting for? You don't have to look farthe necessary information is found on the bottom side of the unit.
Make sure to turn off the mixer and disconnect it from the mains before
removing the cover. 1) Strip the PRE EQ lead.
2) Solder a POST EQ link into place.
Gain range Max. input level
3) Make these modifications to as many channels as required (does it have to be all of them?).
Type Max. input level
Channel direct outs
" TRS jack, unbalanced +22dBu
6.2 Direct Out > pre-fader
If you prefer to use the Direct Out pre-fader than post-fader, the signal needs to be tapped off before the fader and not after the fader. To perform this modification, find the label "DIR-OUT" on the circuit board.
Type Impedance Max. input level Crosstalk2 Main fader closed Channel muted Channel fader muted
" TRS jack, balanced approx. 75 balanced +22dBu 100dB 90dB 85dB +0dB / -1dB +0dB / -3dB
removing the cover. 1) Strip the POST FADER lead.
Frequency response (Mic In Main Out) 2) Solder a PRE FADER link into place. <20Hz - 20kHz <10Hz - 160kHz
1) Equivalent Input Noise
3) Make these modifications to as many channels as required.
2) Measuring conditions: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain
XENYX XL1600/XL2400/XL3200 User Manual Group inserts
Type Impedance Gain range Max. input level CD/Tape in Type Impedance Max. input level
2 x " TRS jack, balanced approx. 20k balanced, 10k unbalanced -20dB to +20dB +22dBu @ 0dB Gain RCA connector approx. 10k +22dBu
Type Max. output level
Main outputs A/B
Type Impedance Max. output level
XLR connector, electronically balanced approx. 240 balanced, 120 unbalanced +25dBu
EQ mono channels LOW HIGH MID LOW MID HIGH LOW CUT EQ stereo channels LOW LOW MID HIGH MID HIGH
80Hz / 15dB 100Hz to 2kHz / 15dB 400Hz to 8kHz / 15dB 12kHz / 15dB 80Hz, 12dB/oct. 80Hz / 15dB 300Hz / 15dB 3kHz / 15dB 12kHz / 15dB
Phones A/B output
" TRS jack, unbalanced approx. 75 +22dBu
Large Format Mixers
XENYX XL3200 XL2400/XL1600
XENYX Premium 16/24/32-Input 4-Bus Live Mixer with XENYX Mic Preamps and British EQs Ultra-low noise, high-headroom analog mixer for live, front-of-house, monitor, corporate and touring audio applications 8 (XL1600)/16 (XL2400)/24 (XL3200) Mono channels each feature: State-of-the-art XENYX Mic Preamps Neo-classic British 4-band EQs 4 stereo channels each feature: Line inputs with ultra-high RFI suppression designed for live application 4-band shelving-type EQ Switchable to Mic input 4 Subgroup outputs with inserts plus 2 independent main outputs with inserts on Main A Mute, Solo, Subgroup and Main routing switches on all channels 2 multi-functional stereo FX returns with comprehensive routing options 2 Headphone and Speaker outputs with selectable Main/CD/Tape inputs Solo-In-Place with PFL/AFL function Full featured Talkback function with XLR input and Level control is assignable to Mon/Aux/Group/Main Introducing a bold new line of live sound mixers that combine professional features, dramatic styling and astounding value. XL Series intuitive layout and color-coded control interface is designed to make them easier to use. Weve added the features youve been asking for and then some more. And of course the XL3200, XL2400 and XL1600 are build around our proven XENYX high-headroom, low noise mic preamps and warm, musical EQ. The Ins and Outs Some manufacturers can be sneaky when they tell you how many inputs their mixers have, counting features like CD/TAPE IN as an input. But the XL series really gives you 8 (XL1600), 16 (XL2400) and 24 (XL3200) mono channels and four stereo channels (with two " inputs apiecean additional 8 line-level inputs (which can also be used for 4 additional mono mic channels), making it easy to accommodate a wide variety of live performance configurations. Depending on which XL mixer you choose, that means you can connect up to 8, 16 or 24 microphones (or other mono instruments) and up to four stereo instruments (keyboards, for example). You also get four buses, allowing you to assign multiple channelssay all the mics on a drum kit or all the backup singers micsto a single fader. Best of all, you dont need a black belt in engineering to operate the XL series. To get started, assign all mics and instruments to their channels by connecting them to the corresponding jacks on the back panel. Now, get ready to quickly become acquainted with the XL series incredibly user-friendly design.
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Plenty of channels, all in living color
14-LED ladders for Main and Monitor level metering Separate pre/post Main B output Long-wearing 60 mm logarithmic-taper faders and sealed rotary controls Internal autorange power supply for maximum flexibility (V~), noise-free audio, superior transient response plus low power consumption for energy saving
All dials on the XL series are assigned to colors that not only allow you to easily locate each function, but to also quickly identify corresponding faders. At the top of each mono channel strip, youll find a TRIM dial (white) for adjusting input gain and an 80 Hz switch that can eliminate unwanted infrasonics such as mic-handling noise. Each mono channel has a 4-band EQ (High, High Mid, Low Mid, Low). High Mid and Low Mid dials (blue) are each paired with a FREQ control (lighter blue) that allows you to select the frequency boosted or cut. Directly below the EQ, theres an EQ switch allowing you to switch between processed and unprocessed signals. What the heck is British EQ? British EQ is a smashing thing to have on your side when you start reaching for those channel equalization knobs at a live concert or in the studio. The EQs on British consoles from the 60s and 70s are what many engineers believe does their sound the best justice. When it comes to tweaking your sound, theyre kind, gentle and above all, musical. Its like drinking a fine scotch instead of fortified wineor maybe receiving a warm hug instead of a kick to the crotch. British EQs distinct configuration of wider curves/lower Q and harmonic phase characteristics allows you to add or subtract EQ more generously than you can with conventional EQ circuit designs. When you add low midrange, you get a firmer sound instead of a nasty bonk. When you back high frequencies off a bit, treble backs off just a hair instead of turning muffled. Back to the Strip Controls for the channels FX (orange), MON (blue) and AUX (red) sends are directly below the EQ section. Use these to assign a channel to an outboard FX processor or monitor and auxiliary channels. Further down the channel strip, the PAN control (black) determines the signals position in the stereo mix. The channel fader (black) adjusts the level of the channel signal as part of the main mix. Press the 1-2 or 3-4 switches to assign the channel to a bus.
Stereo channels are configured in the same way, but with a fixed-frequency 4-band EQ (blue). They are equipped with " stereo inputs, as well as XLR mono inputs, providing 4 additional Mic channels. Rockin Bureaucracy Once all mics and instruments are connected, its time to take a look at the MAIN, subgroup, MONITOR and FX sections. All four subgroups controls are positioned in the lower right corner of the mixer. They feature individual faders with CLIP LEDs, SOLO switches and PAN controls to adjust the signals position in the stereo image. The FX section is positioned on the middle right section of the console. Both FX 1 and FX 2 signals have orange faders; SOLO and MUTE switches; 1-2 and 3-4 switches that assign the signal to subgroups; MAIN switches to route the signals to the main outputs; MON dials (blue) that determine the level of FX heard in Monitor sends 1 & 2; and SEND dials (orange) for adjusting the volume of all FX send signals. Both monitor sends also have their own dedicated faders (blue), as well as MUTE and SOLO switches.
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The back story
The MAIN A section lies in the bottom right section of the board. It gives you a channel fader (light grey); a 13-LED master level meter in the top right corner gives you a dynamic visual gauge of overall output; a MUTE switch (red) mutes all input channels except CD/TAPE inputs; and a BAL control (black) adjusts the mix of the left and right output signal before they are routed through the MAIN A output. Above, youll find the MAIN B section, which governs the signal sent through the MAIN B outputs on the back panel. Use the MAIN B section and outputs to connect to a separate power amplifier and multiple loudspeakers, or to a stereo recording system. Talking back, listening up The XL series features a Talkback section in the upper right corner with its own XLR input, LEVEL control (red), and switches that allow you to send its signal to either the MON, AUX, GROUP or MAIN outputs. Finally, a pair of headphone outputs at the top of the board allows you to personally monitor your mix, and a pair of BNC lamp outputs ensures youll never have to mix in the dark.
The back panel of XL series mixers features an intuitive patch bay that gives you tons of flexibility in configuring a live show. In the upper left corner youll find the MAIN OUTPUTS section. Theres left and right XLR outputs for connecting to PA speakers, as well as dual " inserts for connecting a dynamics processor or equalizer to further tweak the main signal. Theres also dual OUT B jacks governed by the MAIN B dial on front. Next door to the MAIN OUTPUTS section is the FX/MON/AUX SENDS section. The FX 1 and FX 2 " outputs send signal to outboard effects processors. MON 1 and MON 2 XLR outputs send signal to monitors, and AUX 1 and AUX 2 XLR outputs can be used for either effects processors or monitors. The next section to the right contains the AUX RETURNS. Stereo AUX inputs 1 & 2 allow you to connect more effects processors or submixers, while stereo FX 1 & 2 returns accept processed signals sent from the FX 1 and FX 2 outputs. Left and right SPEAKER " outputs allow you to connect monitor speakers that provide the same signal as the headphone outputs.
Each subgroup has its own INSERT and OUT " jacks. The inserts allow you to connect noise gates, compressors or equalizers, while the OUT jacks send the subgroup signal to, for example, a multi-track recorder. Along the bottom of the back panel, youll find the mono and stereo channel inserts. Mono channels feature both a " and XLR input, as well as an INSERT jack for applying outboard equipment and a DIRECT OUT jack for sending signal to a device such as a multi-track recorder. Stereo channels feature a single XLR input and dual " inputs. Take On The World Not every town on the planet uses the same voltage common in yours. Unfortunately, this sometimes doesnt occur to jet-setting sound technicians until theyre 5,000 miles from home. With the XL series mixers, this is never an issue. The internal autorange power supply can run on anything from 100 to 240 V with noise-free audio, top-quality transient response and low power consumption.
" FX 1&2 outputs
Balanced XLR Monitor outputs
" AUX returns
" ouputs for monitor speakers
" Subgroup INS for compressors, etc., and " Subgroup OUT to recording device
" DIR(ect) OUT
" INS jacks for dynamics processors or equalizers XLR main outputs XLR OUT B outputs
Insert I/O for signal processing on individual channels (pre-fader, preEQ and pre-aux send) " TRS balanced/ unbalanced input Phantom power switch
Balanced XLR AUX 1 & 2 outputs
RCA CD/TAPE IN/OUT
Left and right balanced/ unbalanced line level " TRS inputs
8/16/24 Mono channels, each with balanced XLR In with XENYX mic preamp and phantom power for condenser mics
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Incredible features, outstanding sound, unbelievable price
The XL series mixers pack all the most desirable featuresBritish EQ, XENYX mic preamps, etc.into the most affordable,
easy-to-learn choice on the market. You could always pay for a name, but wouldnt you rather grab a badass mixer and still have enough money left over to start purchasing other essentials?
MDX2600 HA4700 XL1600 Rear Panel
VT30FX DI400P Keyboard
XM8500 Mics Electric Guitar Drums
CD Player MDX2600
MD Recorder B215XL
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TRIM control adjusts input gain
Phantom Power LED MIC TRIM
80 Hz switch activates highpass filter 12 kHz shelving HIGH EQ HIGH MID EQ is sweepable from 100 Hz to 8 kHz LOW MID EQ is sweepable from 100 Hz to 2 kHz 80 Hz shelving LOW EQ FX 1 & 2 dials adjusts volume signal of channel to FX unit MON 1 & 2 dials adjusts volume signal of channel to monitors
LINE TRIM HIGH MID control boosts and cuts frequencies centered at 3 kHz SOLO LEVEL adjusts the volume level of all solo signals routed to the headphone and loudspeaker outputs LOW MID control boosts and cuts frequencies centered at 300 Hz EQ switch activates the equalizer PRE switch changes routing of both effects paths from postfader to pre-fader
PAN control sets position of the channel signal in the stereo mix
AUX 1 & 2 dials adjust volume signal of channel to AUX sends MUTE switch mutes the channel SOLO switch isolates channel signal in the headphones Silky-smooth faders on all channels and buses
CLIP LED SIG LED ROUTING SWITCHES (1-2, 3-4) assign channel to a subgroup MAIN switch routes the channel signal to the main mix
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" PHONES outputs XLR mic input for talkback section TALKBACK section with XLR mic input, LEVEL control and assignment switches MON controls add an effect signal to the monitor buses 1 and 2 PFL/AFL switch changes solo function from PFL mono to AFL stereo LEVEL control adjusts signal volume of CD/TAPE IN in main mix SPKR control adjusts level of SPEAKERS output SOURCE switch selects signal source for headphone and loudspeaker outputs (main or CD/TAPE signal) STEREO/MONO switch changes the MAIN B signal from mono to stereo PRE/POST switch is used to determine whether the signal is tapped in front or behind the MAIN A fader MAIN MUTE switch mutes all input channels
BNC lamp connectors 13-segment LEVEL meters for MAIN and MONITOR output FX SEND control for adjusting volume of all FX send signals at the corresponding FX send jacks and at the inputs of the built-in FX processor Assignment Switches MONITOR section MAIN switch routes signal to MAIN outputs PHONES A/B control adjusts volume of headphone output LEVEL control adjusts the volume level of the signal routed to the MAIN B output
AUX master section
BAL control adjusts mix of left and right output signal before they are routed to the MAIN A output
SUBGROUP sections with faders, SOLO switches, PAN control and MAIN switch MAIN A fader
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MONO INPUTS Microphone inputs (XENYX Mic preamp) Type XLR connector, electronically balanced, discrete input circuit RF rejection filters Mic E.I.N.1 (20 Hz - 20 kHz) @ 0 source resistance -127 dB / 129.7 dB A-weighted @ 50 source resistance -126 dB / 128.3 dB A-weighted @ 150 source resistance -125 dB / 126.5 dB A-weighted Frequency response To Direct Out To Insert Send Gain range Max. input level Impedance Signal-to-noise ratio Distortion Line input Type Impedance Gain range Max. input level Channel inserts Type Max. input level Channel direct outs Type Impedance Max. input level Crosstalk2 Main fader closed Channel muted Channel fader muted 100 dB 90 dB 85 dB AUX/MON SEND Type Impedance Max. output level FX send Type Impedance Max. output level AUX/FX Returns Type Impedance Max. input level Subgroup outputs Type Impedance Max. output level Group inserts Type Max. output level 80 Hz / 15 dB 100 Hz to 2 kHz / 15 dB 400 Hz to 8 kHz / 15 dB 12 kHz / 15 dB 80 Hz, 12 dB/oct. MAIN OUTPUTS A/B Type Impedance unbalanced Max. output level MAIN INSERTS Type Max. input level SPEAKERS Type Impedance Max. output level XLR connector, electronically balanced approx. 75 +22 dBu
Frequency response (Mic In Main Out) <20 Hz - 20 kHz +0 dB / -1 dB <10 Hz - 160 kHz +0 dB / -3 dB STEREO INPUTS Type Impedance Gain range Max. input level CD/TAPE IN Type Impedance Max. input level EQUALIZER EQ mono channels LOW HIGH MID LOW MID HIGH LOW CUT EQ stereo channels LOW LOW MID HIGH MID HIGH Channel inserts Type Max. input level
" TRS jack, balanced 75 +22 dBu
<10 Hz - 50 kHz (-1 dB) <10 Hz - 100 kHz (-3 dB) <10 Hz - 90 kHz (-1 dB) <10 Hz - 170 kHz (-3 dB) 0 dB to +60 dB +24 dBu @ 0 dB Gain approx. 2.6 k balanced 120 dB / 122 dB A-weighted (0 dBu In @+22 dB Gain) (THD+N) typ. 0.0008 %
2 x " TRS jack, balance approx. 20 k balanced, 10 k unbalanced -20 dB to +20 dB +22 dBu @ 0 dB Gain
" TRS jack, unbalanced approx. 20 k +22 dBu
RCA connector approx. 10 k +22 dBu
" TRS jack, unbalanced approx. 75 +22 dBu
" TRS jack, unbalanced +22 dBu
" TRS jack, electronically balanced approx. 20 k balanced, approx. 10 k unbalanced -10 dB to +40 dB +22 dBu @ 0 dB Gain
XLR connector, electronically balanced approx. 240 balanced, 120 +25 dBu
80 Hz / 15 dB 300 Hz / 15 dB 3 kHz / 15 dB 12 kHz / 15 dB
" TRS jack, balanced 75 balanced +22 dBu
" TRS jack, unbalanced 75 +22 dBu
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PHONES A/B OUTPUT Type Max. output level CD/TAPE OUTPUT Type Impedance Max. output level POWER SUPPLY " TRS jack, unbalanced +22 dBu / 600 Power consumption
60 W 65 W 70 W Dimensions (H x W x D) Weight (net) 11.7" x 31.3" x 25.25" 298 x 796 x 641 mm 35.3 lbs/16 kg
XL1600 XL2400 XL3200
RCA connector approx. 1 k +15 dBu
Dimensions (H x W x D) Weight (net) 11.7" x 39.5" x 25.25" 298 x 1004 x 641 mm 43.5 lbs/19.7 kg
Main mix system data3 (Noise) Main mix @ -, channel fader @ - -110 dB / -114 dB A-weighted Main mix @ 0 dB, channel fader @ - -95 dB / -98 dB A-weighted Main mix @ 0 dB, channel fader @ 0 dB -92 dB / -95 dB A-weighted
(100 - 240 V~, 50/60 Hz) T 2,0 A H 250 V Mains connector Standard IEC receptacle PHYSICAL/WEIGHT
Dimensions (H x W x D) Weight (net) 11.7" x 23.1" x 25.25" 298 x 587 x 641 mm 26.5 lbs/12 kg
Please note these specifications are preliminary and conceptual in nature, and as such are subject to change as product development progresses. This information is supplied for market research purposes only and is not to be made public in any manner. This document is solely the property of The MUSIC Group, or one of its subsidiaries, and must be surrendered upon request of the owner.
For service, support or more information contact the BEHRINGER location nearest you: Europe Tel.: +Singapore Tel.: +1800 Fax: +Fax: +0275 USA/Canada Tel.: +Australia Tel.: +Fax: +Fax: +9877 7870
Tel.: +Fax: +5281 1181
2011 Red Chip Company Ltd. Technical specications and appearance 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. BEHRINGER accepts no liability for any loss which may be suered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. 985-10000-00391
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