User Manual

XENYX XL1600/XL2400/XL3200
Premium 16/24/32-Input 4-Bus Live Mixer with XENYX Mic Preamps and British EQs

behringer.com

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

Thank you

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.

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 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

Please refer to the Specifications for details.

Caution

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)

2-Ch Compressor

4-Ch Noise Gate

Fig. 2.1: Input wiring

2.2 Hook-up example (outputs)

Graphic Equalizer

Bus Compressors

Eects Device 2

Eects Device 1

Playback Device

Stereo Recording Device

Stage Monitors

Fig. 2.2: Output wiring

3. Installation

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

sleeve ground/shield

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)

Sleeve (ground/shield)

Tip (signal)

output

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

4. Connectors

Let's begin with the rear panel where the majority of inputs and outputs arelocated.

4.1 Power supply

IEC receptacle

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.

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.
GROUP OUT 1 - 4 These four GROUP OUTS carry the signals of the individual subgroups. Formulti-tracking connect the outputs to the inputs of a multi-track recorder. INSERT Each subgroup has an insert jack which is labeled INS. Here you can connect to a noise gate, compressor or equalizer to process the subgroup signal as a whole. For example, route your background vocalists to one subgroup bus and then use a compressor to bring the vocals closer together. This makes it sound more like a choir rather than a group of individual soloists. The insert point is placed before the group fader, allowing the dynamics processors (noise gate, compressor, etc.) to be optimally used and not affected by changes in volume level of the group fader. Please use an insert cable to connect to the insert point. SPEAKERS The SPEAKERS outputs provide the same signal as the headphone outputs. Usethese outputs to hook up monitor speakers. This is helpful when the mixing console is not located close the performance but in a separate room, such as a TV control room. It is also possible to hook up a stage monitor, ideally one identical to the monitors being used on stage, to listen in on the sound as perceived from the stage monitors.
4.9 Light and headphone connectors
The LAMPS plugs are for connecting gooseneck lamps with BNC connectors. Thepower supply is 12 V _ and the total connection load is 5 Watts a lamp. PHONES The PHONES outputs (" stereo jacks) let you plug in your headphones.

5. Control Elements

This chapter describes the various control elements of your mixing console. Eachcontrol and switch is explained in full detail.
5.1.1 FX, MON, AUX send paths The send paths FX, MON and AUX allow you to tap the signals of one or more channels and route them to other outputs. This way you can create individual mixes for effects (FX) and musicians performing on stage (MON). Using the FX/MON/ AUX send outputs, the mix is fed to the stage loudspeakers and effects units. FX 1 and FX 2 The FX buses are used as send paths to external effects units. The signal is usually tapped after the channel fader and therefore is affected by the position of the channel fader. The FX control adjusts the volume level of the channel signal to the effects unit. PRE Press the PRE switch to change the routing of both effects paths from "post-fader" to "pre-fader." This way the volume level of the effects signal is not affected by the channel fader. Both the FX control on the channel and the corresponding Master FX SEND control need to be fully turned up as well. Connect the FX Send output to the input of the effects unit. The effects signal is routed back through the FX Returns found in the master section. Monitor 1 and 2: The monitor buses are used as send paths to stage monitors. The monitor sends are hardwired pre-fader. This means the volume level of the monitor mix is not affected when using the channel fader. The MON control adjusts the volume level of the channel signal in the monitorbuses. AUX The aux buses are used as additional, flexible send paths for various applications. The AUX control adjusts the volume level of the channel signal in the aux buses. The sum of all aux signals is determined by the corresponding AUX SEND control found in the main section. The signals can be routed from the corresponding AUXSEND outputs. Both the aux send paths can be amplified up to +15 dB and are pre-fader and post-fader switchable in the main section. Pre-fader or post-fader: For most applications using external effects signals, the aux send path should be switched to post-fader so that the effects volume level in a channel is affected by the position of the channel fader. If not, the effects signal would be audible even with a pulled down fader. For monitoring applications, the aux send paths are usually switched to pre-fader and therefore are not affected by the channel fader. To offer you the utmost flexibility, the FX buses can be switched to pre-fader in each channel. What's more, you may switch the AUX buses in the main section between pre-fader and post-fader. This gives you a maximum of 6 pre-fader buses or, alternatively, 4 post-fader plus 2 pre-fader buses.

5.1 Mono channels

+48 V This control LED lights up as long as the phantom power is switched on. The switch is found on the rear panel of the unit. Trim The TRIM control adjusts the input gain.

80 Hz Press the 80 Hz switch to activate the high-pass filter which blends out low-frequency noise (-3 dB at 80 Hz, 18 dB/octave). LINE TRIM The LINE TRIM control adjusts the amplification of the LINE input, rangingbetween -20 and +20 dB. When centered (at 12 o'clock), thelinesignalisneither boosted nor cut. 5.2.1 Equalizer stereo channels The stereo channels provide 4-band equalization. Each frequency band can be boosted and cut up to 15 dB and has a flat response when the controls are in center position. HIGH The HIGH control of the EQ section adjusts the high-frequency range of the respective channel. This is a shelving filter which boosts and cuts the frequencies above 12 kHz. HIGH MID The HIGH MID control adjusts the mid frequency range. Thisisapeak filter which boosts and cuts the frequencies centered at3 kHz. LOW MID The LOW MID control adjusts the mid frequency range. Thisisapeak filter which boosts and cuts the frequencies centered at 300Hz. LOW The LOW control adjusts the low-frequency range. This is a shelving filter which boosts and cuts the frequencies below 80 Hz. EQ The EQ push-button switch activates the equalizer. Toggle the EQ to give you a quick comparison between unprocessed and processed signal. 5.2.2 Stereo channel FX/MON/AUX send paths The aux and FX paths of the stereo channels work in principle the same way as the mono channels. Since the aux buses are mono, the stereo signal needs to be converted to a mono signal before being routed to these buses. 5.2.3 Channel fader, pan control, mute switch, etc. BAL(ANCE) The BAL(ANCE) control has the same function as the PAN control on the mono channels. It determines the relative volume of the left and right input signals before they are routed to the stereo main mix bus (or to two subgroups). MUTE Use the MUTE switch to mute the channel signal. The MUTE LED is illuminated when the channel is muted SOLO Press the SOLO switch to hear the signal on your headphones and simultaneously see it on the monitor display 1/2). The corresponding LED lights up when the solo function is activated.

5.2 Stereo channels

+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.

5.5 Subgroups

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.
The signal and clip LEDs are not affected by the fader. The signals are
PFL/AFL Press the PFL/AFL switch to change the solo functionality from PFL mono (pre-fader listen) to AFL stereo. The LED next to the switch indicates the selected state. In PFL mode, the signal is tapped before the fader when pressing the solo switch. In AFL mode, the signal is tapped behind the fader and in stereo for a correct positioning within the stereo image. If you adjust the signal's level with the TRIM control, select the PFL mode so that the displayed level is not affected by the channel fader. 5.6.3 CD/TAPE LEVEL The LEVEL control adjusts the signal in the main mix, for example, whenconnecting the CD/tape inputs to a CD player. MAIN Press the MAIN switch to route the CD signal to the main output. The CD signal remains audible even when the MAIN MUTE switch is pressed. This allows you to play music during performance breaks. 5.6.4 PHONES/SPEAKER section The PHONES A/B control adjusts the volume level of the headphone output.
IMPORTANT! High volume levels may damage your hearing and/or
indicated even when the subgroup fader is pulled down. Fader The subgroup faders adjust the volume level of the subgroup signal at the subgroup output. If the MAIN switch is pressed, you can also adjust the subgroup's volume level in the main mix.
5.6 Further functions of the mastersection
5.6.1 Talkback The talkback function of the XENYX allows you to communicate with people on stage. The talkback signal can be routed to the different bus outputs. MIC Here you can plug in the microphone for talkback use. LEVEL The LEVEL control adjusts the volume level of the talkbacksignal. MON, AUX, GROUP, MAIN These push-button switches (MON, AUX, GROUP and MAIN) determine to which outputs and buses the talkback signal is to be routed. Then, turn on the talkbalk microphone. Pressand hold down the push-button switch while speaking into themicrophone. 5.6.2 SOLO SOLO LEVEL The SOLO LEVEL control adjusts the volume level of all solo signals routed to the headphone and loudspeaker outputs.
your headphones/loudspeakers. To avoid switch-on/off thumps from the console and any downstream devices, always make sure that the power amp(s) or active speaker(s) are the last components that are switched on and the first to be switched off. Always make sure that the appropriate volume is set. SPKR The Speaker control adjusts the volume level of the SPEAKERS outputs. SOURCE The SOURCE push-button switch selects the signal source for the headphone and loudspeaker outputs (main or CD/TAPE signal). Pressing a solo switch routes the solo signal to these outputs and is not affected by the SOURCE push-buttonswitch. MAIN B section The mixer sum can also be routed to the MAIN B output which may be connected to a separate power amplifier. This way the sum can be sent to multiple zones and various loudspeaker groups (for example, center clusters and front fills). Onemay also want to connect a stereo recording system for live recording. LEVEL The LEVEL control adjusts the volume level of the signal routed to the MAINBoutput. STEREO/MONO The STEREO/MONO switch changes the Main B signal from mono to stereo depending on the situation. For example, a mono signal is usually used for a center cluster. PRE/POST The PRE/POST switch is used to determine whether the signal is tapped in front or behind the MAIN A fader.

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).

6. Modifications

These modifications require soldering. Attempt only if you are
experienced in using an iron on PCBs. Otherwise, refer to qualified personnel. After modification the warranty becomes void.
We wish to be absolutely clear that BEHRINGER cannot be held
responsible after you start disassembling your XENYX. If you make much of your warranty privileges, think again.
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

Channel inserts

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

Stereo inputs

Type Impedance Gain range Max. input level CD/Tape in Type Impedance Max. input level

Equalizer

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

Main Inserts

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

Speakers

Phones A/B output
" TRS jack, unbalanced approx. 75 +22dBu

CD/Tape output

" TRS jack, unbalanced +22dBu / 600
RCA connector approx. 1k +15dBu

AUX/MON send

Main mix system data3 (Noise)
Main mix @ -, channel fader @ - Main mix @ 0dB, channel fader @ - Main mix @ 0dB, channel fader @ 0dB

Power supply

-110dB / -114dB A-weighted -95dB / -98dB A-weighted -92dB / -95dB A-weighted

FX send

XLR connector, electronically balanced approx. 75 +22dBu

AUX/FX Returns

" TRS jack, balanced approx. 75 +22dBu
Power consumption XL1600 XL2400 XL3200 Fuse Mains connector 60 W 65 W 70 W (100 - 240V~, 50/60Hz) T 2,0A H 250V Standard IEC receptacle
Type Impedance Max. input level

Subgroup outputs

" TRS jack, unbalanced approx. 20k +22dBu
3) 20 Hz - 20 kHz; 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

Physical/weight

Dimensions (H x W x D) XL1600 XL2400 XL3200 Weight (net) XL1600 XL2400 XL3200 25.8 lbs / 11.7 kg 19.0 lbs / 8.6 kg 32.8 lbs / 14.9 kg 7.1 x 21.3 x 19.5" 180 x 495 x 540 mm 7.1 x 21.3 x 27.8" 180 x 705 x 540 mm 7.1 x 21.3 x 35.8" 180 x 910 x 540 mm
BEHRINGER is constantly striving to maintain 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.
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.