Behringer XENYX XL1600 Brochure - Page 2

XENYX XL3200 XL2400/XL1600 14-LED ladders for Main and Monitor level metering Separate pre/post Main B output Long-wearing 60 mm logarithmictaper faders and sealed rotary controls Internal autorange power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving Page 2 of 8 Plenty of channels, all in living color 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, you'll 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, there's 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 EQ's on British consoles from the 60's and 70's are what many engineers believe does their sound the best justice. When it comes to tweaking your sound, they're kind, gentle and above all, musical. It's like drinking a fine scotch instead of fortified wine-or maybe receiving a warm hug instead of a kick to the crotch. British EQ's 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. Stereo channels are configured in the same way, but with a fixed-frequency 4-band EQ (blue). They are equipped with ¼" stereo inputs, as well as XLR mono inputs, providing 4 additional Mic channels. Rockin' Bureaucracy Once all mics and instruments are connected, it's 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 signal's 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. Continued on next page Back to the Strip Controls for the channel's 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 signal's 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.