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User Manual

X1222

Premium 16-Input 2/2-Bus Mixer with XENYX Mic Preamps& Compressors, British EQs, 24-Bit Multi-FX Processor andUSB/Audio Interface

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2 XENYX X1222USB User Manual

Thank you

Congratulations! In purchasing the BEHRINGER XENYX you have acquired amixer whose small size belies its incredible versatility and audio perormance.The XENYX Series represents a milestone in the development o mixing console

technology. With the new XENYX microphone preamps including phantom poweras an option, balanced line inputs and a powerul eects section, the mixingconsoles in the XENYX Series are optimally equipped or live and studioapplications. Owing to state-o-the-art circuitry, your XENYX console producesa warm analog sound that is unrivalled. With the addition o the latest digitaltechnology, these best-in-class consoles combine the advantages o both analogand digital technology.

Table o ContentsThank you .......................................................................2

Important Saety Instructions ...................................... 3

Legal Disclaimer .............................................................3

Limited Warranty ...........................................................3

1. Introduction ...............................................................5

1.1 General mixing console unctions ............................... 5

1.2 The users manual ............................................................... 6

1.3 Beore you get started ...................................................... 6

2. Control Elements and Connectors .......................... 6

2.1 Mono channels .................................................................... 6

2.2 Stereo channels ................................................................... 8

2.3 Connector panel and main section ............................. 8

2.4 Graphic 7-band equalizer .............................................. 11

2.5 Rear view o X1222USB ................................................... 123. Digital Eects Processor andXPQ Surround Function ...............................................12

3.1 Digital efects processor ................................................. 12

3.2 XPQ surround unction .................................................. 13

4. Installation ...............................................................13

4.1 Rack mounting ................................................................... 13

4.2 Cable connections ........................................................... 13

5. Specifcations ........................................................... 14

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LEGAL DISCLAIMER

LIMITED WARRANTY

Terminals marked with this symbol carryelectrical current o su cient magnitudeto constitute risk o electric shock.

Use only highquality proessional speaker cables with" TS or twistlocking plugs preinstalled. All otherinstallation or modifcation should be perormed onlyby qualifed personnel.

This symbol, wherever it appears,alerts you to the presence o uninsulateddangerous voltage inside the

enclosure voltage that may be su cient to constitute arisk o shock.

This symbol, wherever it appears,alerts you to important operating andmaintenance instructions in the

accompanying literature. Please read the manual.

Caution

To reduce the risk o electric shock, do notremove the top cover or the rear section.

No user serviceable parts inside. Reer servicing toqualifed personnel.

Caution

To reduce the risk o fre or electric shock,do not expose this appliance to rain and

moisture. The apparatus shall not be exposed to drippingor splashing liquids and no objects flled with liquids,such as vases, shall be placed on the apparatus.

Caution

These service instructions are or useby qualifed service personnel only.

To reduce the risk o electric shock do not perorm anyservicing other than that contained in the operationinstructions. Repairs have to be perormed by qualifedservice 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 inaccordance with the manuacturers instructions.

8. Do not install near any heat sources such asradiators, heat registers, stoves, or other apparatusincluding amplifers that produce heat.

9. Do not deeat the saety purpose o the polarizedor groundingtype plug. A polarized plug has two bladeswith one wider than the other. A groundingtype plughas two blades and a third grounding prong. The wideblade or the third prong are provided or your saety. I theprovided plug does not ft into your outlet, consult anelectrician or replacement o the obsolete outlet.

10. Protect the power cord rom being walked on orpinched particularly at plugs, convenience receptacles,and the point where they exit rom the apparatus.

11. Use only attachments/accessories specifed bythe manuacturer.

12. Use only with thecart, stand, tripod, bracket,or table specifed by themanuacturer, or sold withthe apparatus. When a cartis used, use caution whenmoving the cart/apparatuscombination to avoid

injury rom tipover.

13. Unplug this apparatus during lightning storms orwhen unused or long periods o time.

14. Reer all servicing to qualifed service personnel.Servicing is required when the apparatus has beendamaged in any way, such as power supply cord or plugis damaged, liquid has been spilled or objects have alleninto the apparatus, the apparatus has been exposedto rain or moisture, does not operate normally, or hasbeen dropped.

15. The apparatus shall be connected to a MAINS socketoutlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is

used as the disconnect device, the disconnect device shallremain readily operable.

TECHNICAL SPECIFICATIONS AND APPEARANCESARE SUBJECT TO CHANGE WITHOUT NOTICE ANDACCURACY IS NOT GUARANTEED. BEHRINGER ISPART OF THE MUSIC GROUP (MUSI C-GROUP.COM).ALL TRADEMARKS ARE THE PROPERTY OF THEIRRESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NOLIABILITY FOR ANY LOSS WHICH MAY BE SUFFEREDBY ANY PERSON WHO RELIES EI THER WHOLLY ORIN PART UPON ANY DESCRIPTION, PHOTOGRAPHOR STATEMENT CONTAINED HEREIN. COLORS ANDSPECIFICATIONS MAY VARY FROM ACTUAL PRODUC T.MUSIC GROUP PRODUCTS ARE SO LD THROUGHAUTHORIZED FULLFILLERS AND RESELLERS O NLY.

FULLFILLERS AND RESELLERS ARE NOT AGENTS OFMUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITYTO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLI ED

UNDERTAKING OR REPRESENTATION. THIS MANUALIS COPYRIGHTED. NO PART OF THIS MANUAL MAYBE REPRODUCED OR TRANSMITTED IN ANY FORMOR BY ANY MEANS, ELECTRONIC OR MECHANICAL,INCLUDING PHOTOCOPYING AND RECORDING OF ANYKIND, FOR ANY PURPOSE, WITHOUT THE EXPRESSWRITTEN PERMISSION OF MUSI C GROUP IP LTD.

ALL RIGHTS RESERVED.

2012 MUSIC Group IP Ltd.Trident Chambers, Wickhams Cay, P.O. Box 146,Road Town, Tortola, British Virgin Islands

1 Warranty

(1) This limited warranty is valid only i you purchasedthe product rom a MUSIC Group Authorized Reseller inthe country o purchase. A list o authorized resellers canbe ound on BEHRINGERs website behringer. com underWhere to Buy, or you can contact the MUSIC Group o ceclosest to you.

(2) MUSIC Group* warrants the mechanical andelectronic components o this product to be ree o deectsin material and workmanship i used under normaloperating conditions or a period o one 1 year romthe original date o purchase see the Limited Warrantyterms in 4 below, unless a longer minimum warrantyperiod is mandated by applicable local laws. I the productshows any deects within the specifed warranty periodand that deect is not excluded under 4, MUSIC Groupshall, at its discretion, either replace or repair the productusing 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 or the remaining initial warranty period, i.e.,one 1 year or otherwise applicable minimum warrantyperiod rom the date o purchase o the original product.

(3) Upon validation o the warranty claim, the repairedor replacement product will be returned to the userreight prepaid by MUSIC Group.

(4) Warranty claims other than those indicated aboveare expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOFOF PURCHASE COVERING YOUR LIMITED WARRANTY.THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOFOF PURCHASE.

2 Online registration

Please do remember to register your new BEHRINGERequipment right ater your purchase at behringer. comunder Support and kindly read the terms and conditionso our limited warranty careully. Registering yourpurchase and equipment with us helps us processyour repair claims quicker and more e ciently.Thank you or your cooperation!

3 Return materials authorization

(1) To obtain warranty service, please contact theretailer rom whom the equipment was purchased.

Should your MUSIC Group Authorized Reseller not belocated in your vicinity, you may contact the MUSIC GroupAuthorized Fulfller or your country listed under

Important SaetyInstructions

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Support at behringer. com. I your country is not

listed, please check i your problem can be dealt with

by our Online Support which may also be ound 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 o the problem and the serial number

o the product. Ater veriying the products warranty

eligibility with the original sales receipt, MUSIC Group

will then issue a Return Materials Authorization(RMA) number.

(2) Subsequently, the product must be returned in

its original shipping carton, together with the return

authorization number to the address indicated by

MUSIC Group.

(3) Shipments without reight prepaid will not

be accepted.

4 Warranty Exclusions

(1) This limited warranty does not cover consumable

parts including, but not limited to, uses and batteries.

Where applicable, MUSIC Group warrants the valves ormeters contained in the product to be ree rom deects

in material and workmanship or a period o ninety (90)

days rom date o purchase.

(2) This limited warranty does not cover the product

i it has been electronically or mechanically modied

in any way. I the product needs to be modied or

adapted in order to comply with applicable technical

or saety standards on a national or local level, in any

country which is not the country or which the

product was originally developed and manuactured,

this modication/adaptation shall not be considered a

deect in materials or workmanship. This limited warranty

does not cover any such modication/adaptation,regardless o whether it was carried out properly or not.

Under the terms o this limited warranty, MUSIC Group

shall not be held responsible or any cost resulting rom

such a modication/adaptation.

(3) This limited warranty covers only the product

hardware. It does not cover technical assistance or

hardware or sotware usage and it does not cover

any sotware products whether or not contained in

the product. Any such sotware is provided AS IS

unless expressly provided or in any enclosed sotware

limited warranty.

(4) This limited warranty is invalid i the

actory- applied serial number has been altered orremoved rom the product.

(5) Free inspections and maintenance/repair work

are expressly excluded rom this limited warranty,

in particular, i caused by improper handling o the

product by the user. This also applies to deects caused

by normal wear and tear, in particular, o aders,

crossaders, potentiometers, keys/buttons, guitar strings,

illuminants and similar parts.

(6) Damage/deects caused by the ollowing conditions

are not covered by this limited warranty:

improper handling, neglect or ailure to operate the

unit in compliance with the instructions given inBEHRINGER user or service manuals;

connection or operation o the unit in any way

that does not comply with the technical or saety

regulations applicable in the country where the

product is used;

damage/deects caused by acts o God/Nature

(accident, re, food, etc) or any other condition that

is beyond the control o MUSIC Group.

(7) Any repair or opening o the unit carried out by

unauthorized personnel (user included) will void thelimited warranty.

(8) I an inspection o the product by MUSIC Group

shows that the deect in question is not covered by the

limited warranty, the inspection costs are payable by

the customer.

(9) Products which do not meet the terms o this

limited warranty will be repaired exclusively at the buyers

expense. MUSIC Group or its authorized service center will

inorm the buyer o any such circumstance. I the buyer

ails to submit a written repair order within 6 weeks ater

notication, MUSIC Group will return the unit C.O.D. with

a separate invoice or reight and packing. Such costs will

also be invoiced separately when the buyer has sent in awritten repair order.

(10) MUSIC Group Authorized Resellers do not sell new

products directly in online auctions. Purchases made

through an online auction are on a buyer beware basis.

Online auction conrmations or sales receipts are not

accepted or warranty verication and MUSIC Group will

not repair or replace any product purchased through an

online auction.

5 Warranty transferability

This limited warranty is extended exclusively to the

original buyer (customer o authorized reseller) and is

not transerable to anyone who may subsequently

purchase this product. No other person (reseller, etc.)

shall be entitled to give any warranty promise on behal

o MUSIC Group.

6 Claim for damage

Subject only to the operation o mandatory applicable

local laws, MUSIC Group shall have no liability to the buyer

under this warranty or any consequential or indirect

loss or damage o any kind. In no event shall the liability

o MUSIC Group under this limited warranty exceed the

invoiced value o the product.

7 Limitation of liabilityThis 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 or

this product.

8 Other warranty rights and

national law

(1) This limited warranty does not exclude or limit the

buyers statutory rights as a consumer in any way.

(2) The limited warranty regulations mentioned herein

are applicable unless they constitute an inringement o

applicable mandatory local laws.

(3) This warranty does not detract rom the sellers

obligations in regard to any lack o conormity o the

product and any hidden deect.

9 Amendment

Warranty service conditions are subject to change without

notice. For the latest warranty terms and conditions

and additional inormation regarding MUSIC Groups

limited warranty, please see complete details online at

behringer. com.

* MUSIC Group Macao Commercial Ofshore Limited o

Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau,

including all MUSIC Group companies

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1. Introduction

FBQ Feedback Detection System

The FBQ Feedback Detection System, integrated into the graphic equalizer, is oneo the most outstanding characteristics o this mixing console. This ingeniouscircuitry lets you immediately recognize and eliminate eedback requencies.The FBQ Feedback Detection System uses the LEDs in the requency band aderso the graphic EQ to indicate the critical requencies. This way, what once used to

be a labor-intensive search or eedback requencies is now an activity that evena child could master.

The microphone channels eature high-end XENYX Mic Preamps that comparewell with costly outboard preamps in terms o sound quality and dynamics andboast the ollowing eatures:

0 dB dynamic range or an incredible amount o headroom

A bandwidth ranging rom below 0 Hz to over 00 kHz or crystal-clearreproduction o even the nest nuances

The extremely low-noise and distortion-ree circuitry guaranteesabsolutely natural and transparent signal reproduction

They are perectly matched to every conceivable microphone withup to 60 dB gain and +4 volt phantom power supply

They enable you to use the greatly extended dynamic range oyour 4-bit/9 kHz HD recorder to the ull, thereby maintainingoptimal audio quality

British EQ

The equalizers used or the XENYX Series are based on the legendary circuitry otop-notch consoles made in Britain, which are renowned throughout the worldor their incredibly warm and musical sound character. Even with extreme gainsettings these equalizers ensure outstanding audio properties.

Multi-eects processor

Additionally, your XENYX mixing console has an eects processor with4-bit A/D and D/A converters included, which gives you 6 presets producingrst-class reverb, delay and modulation eects plus numerous multi-eects inexcellent audio quality.

The XENYX mixing consoles are equipped with a state-o-the-art switched-modepower supply (SMPS). Unlike conventional circuitry an SMPS providesan optimum supply current regardless o the input voltage. And thanks to itsconsiderably higher eciency a switched-mode power supply uses less energythan conventional power supplies.

!CAUTION!

We would like to draw your attention to the fact that extreme volumesmay damage your hearing and/or your headphones or loudspeakers.Turn the MAIN MIX faders and the PHONES control in the main sectionfully down before you switch on the unit. Always be careful to set theappropriate volume.

1.1 General mixing console unctions

A mixing console ulls three main unctions:

Signal processing:

Preamplication

Microphones convert sound waves into voltage that has to be ampliedseveral-old; then, this voltage is turned into sound that is reproducedin a loudspeaker. Because microphone capsules are very delicate in theirconstruction, output voltage is very low and thereore susceptible tointererence. Thereore, mic signal voltage is amplied directly at the mixerinput to a higher signal level that is less prone to intererence. This higher,intererence-sae signal level has to be achieved through amplication usingan amplier o the highest quality in order to ampliy the signal and addas little noise to it as possible. The XENYX Mic Preamp perorms this rolebeautiully, leaving no traces o noise or sound coloration. Intererence thatcould take place at the preamplication level could aect signal qualityand purity, and would then be passed on to all other devices, resulting ininaccurate sounding program during recording or playback.

Level-setting

Signals ed into the mixer using a DI-box (Direct Injection) or the outputo a sound card or a keyboard, oten have to be adjusted to the operatinglevel o your mixing console.

Frequency response correction

Using the equalizers ound in each channel strip, you can simply,quickly and eectively adjust the way a signal sounds.

Efects mixing

In addition to the eects processor contained in your mixer, using theinsert connectors on the mono channels and both aux busses lets youinsert additional signal processors into your signal path.

Signal distribution:

Individual signals adjusted at each channel strip are laid out at the aux sendsand returns, and are either ed into external eects processors or ed backto the internal eects processor. Then, the signals are brought back into themain mix either via the aux return connectors or via direct internal wiring.The mix or the on-stage musicians is also created using the aux sends(monitor mix). Similarly, or example, signals or recording equipment,power ampliers, headphones and -track outputs can also be taken.

Mix:

All other mixing console unctions all under this vital category. Creating amix means primarily adjusting the volume levels o individual instrumentsand voices to one another as well as giving them the appropriate weightwithin the overall requency spectrum. Likewise, youll have to sensibly

spread individual voices across the stereo image o a signal. At the endo this process, adjusting the level o the entire mix to other equipmentin the signal path is required (e.g. recorder/crossover/amplier).

The interace o BEHRINGER mixing consoles is optimized or these tasks,enabling you to easily keep track o the signal path.

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1.2 The users manual

The users manual is designed to give you both an overview o the controls,as well as detailed inormation on how to use them. In order to help youunderstand the links between the controls, we have arranged them ingroups according to their unction.

1.3 Beore you get started

1.3.1 Shipment

Your mixing console was careully packed in the actory to guaranteesae transport. Nevertheless, we recommend that you careully examinethe packaging and its contents or any signs o physical damage, which mayhave occurred during transit.

If the unit is damaged, please do NOT return it to us, but notify yourdealer and the shipping company immediately, otherwise claimsfor damage or replacement may not be granted.

1.3.2 Initial operation

Be sure that there is enough space around the unit or cooling purposesand to avoid over-heating. Please do not place your mixing console onhigh-temperature devices such as radiators or power amps. The console isconnected to the mains via the supplied power cable. The console meets therequired saety standards. Blown uses must only be replaced by uses o thesame type and rating.

Please note that all units must be properly grounded. For your ownsafety, you should never remove any ground connectors from electricaldevices or power cables, or render them inoperative.

Please ensure that only qualified people install and operate themixing console. During installation and operation, the user must havesufficient electrical contact to earth, otherwise electrostatic dischargesmight affect the operation of the unit.

1.3.3 Online registration

Please do remember to register your new BEHRINGER equipment right ater yourpurchase by visiting behringer.com (alternatively behringer.de) and kindly readthe terms and conditions o our warranty careully.

Should your BEHRINGER product malunction, our goal is to haveit repaired as quickly as possible. To arrange or warranty service,please contact the retailer rom whom the equipment was purchased.Should your BEHRINGER dealer not be located in your vicinity, you may directlycontact one o our subsidiaries. Corresponding contact inormation is includedin the original equipment packaging (Global Contact Inormation/EuropeanContact Inormation). Should your country not be listed, please contact thedistributor nearest you. A list o distributors can be ound in the support area

o our website (behringer.com).

Registering your purchase and equipment with us helps us process your repairclaims quicker and more eciently.

Thank you or your cooperation!

2. Control Elements and ConnectorsThis chapter describes the various control elements o your mixing console.All controls, switches and connectors will be discussed in detail.

2.1 Mono channels

2.1.1 Microphone and line inputs

Fig. .: Connectors and controls o mic/line inputs

MIC

Each mono input channel oers a balanced microphone input via theXLR connector and also eatures switchable +4 V phantom power supply orcondenser microphones. The XENYX preamps provide undistorted and noise-reegain as is typically known only rom costly outboard preamps.

Please mute your playback system before you activate the phantompower supply to prevent switch-on thumps being directed to your

loudspeakers. Please also note the instructions in chapter 2.5Rear view of X1222USB.

LINE IN

Each mono input also eatures a balanced line input on a " connector.Unbalanced devices (mono jacks) can also be connected to these inputs.

Please remember that you can only use either the microphone or the lineinput of a channel at any one time. You can never use both simultaneously!

INSERT

Insert points enable the processing o a signal with dynamic processors or

equalizers. They are sourced pre-ader, pre-EQ and pre-aux send. Unlike reverbor other eects devices, whose signals are usually added to the dry signal,dynamic processors are most eective on the complete signal. In this case,aux send paths are a less-than-perect solution. It is better to interrupt thesignal path and insert a dynamic processor and/or equalizer. Ater processing,the signal is routed back to the console at precisely the same point it let.However, the channel signal path is interrupted only i a plug is inserted into thecorresponding jack (stereo phone plug: tip = signal output; ring = return input).All mono input channels are equipped with inserts.

Inserts can also be used as pre-EQ direct outputs, without interrupting thesignal path. To this end, you will need a cable tted with mono phone plugs onthe tape machine or eects device end, and a bridged stereo phone plug on theconsole side (tip and ring connec ted).

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LOW CUT

The mono channels o the mixing consoles have a high-slope LOW CUT lter oreliminating unwanted, low-requency signal components (0 Hz, dB/octave).

GAIN

Use the GAIN control to adjust the input gain. This control should always beturned ully counter-clockwise whenever you connect or disconnect a signalsource to one o the inputs.

The scale has dierent value ranges: the rst value range (+0 to +60 dB)reers to the MIC input and shows the amplication or the signals ed in there.

The second value range (+0 to -4 0 dB) reers to the line input andshows its sensitivity. The settings or equipment with standard line-levelsignals (-0 dBV or +4 dBu) look like this: While the GAIN control is turned all theway down, connect your equipment. Set the GAIN control to the external devicesstandard output level. I that unit has an output signal level display, it shouldshow 0 dB during signal peaks. For +4 dBu, turn up GAIN slightly, or -0 dBVa bit more. Tweaking is done using the LEVEL SET LED.

LEVEL SET

This LED lights up when the optimum operating signal level is achieved.During normal use, this LED should only light up during signal peaks.

COMPRESSOR

Each mono channel eatures a built-in compressor which lowers the dynamicrange o the signal and increases its perceived loudness. The loud peaks aresquashed down and the quiet sections are boosted.

Turn the COMP knob clockwise to add more compression eect.The adjacent LED with light when the eect is engaged.

2.1.2 Equalizer

All mono input channels include a -band equalizer. All bands provide boost

or cut o up to dB. In the central position, the equalizer is inactive.

The circuitry o the British EQs is based on the technology used in the best-knowntop-o-the-line consoles and providing a warm sound without any unwantedside eects. The result are extremely musical equalizers which, unlike simpleequalizers, cause no side eects such as phase shiting or bandwidth limitation,even with extreme gain set tings o dB.

Fig. .: The equalizer o the input channels

The upper (HIGH) and the lower band (LOW) are shelving lters that increaseor decrease all requencies above or below their cut-o requency. The cut-orequencies o the upper and lower band are kHz and 0 Hz respectively.The mid band is congured as a peak lter with a center requency o . kHz.Unlike shelving lters, the peak lter processes a requency range that extendsupwards and downwards around its middle requency.

2.1.3 Aux sends (MON and FX)

Fig. .: The AUX SEND controls in the channel strips

Aux sends take signals via a control rom one or more channels and sum thesesignals to a so-called bus. This bus signal is sent to an aux send connector andthen routed, or example, to an active monitor speaker or an external eectsdevice. The return rom an external eects device can then be brought backinto the console via the aux return connectors.

For situations that require eects processing, the aux sends are usually switchedpost-ader so that the eects volume in a channel corresponds to the positiono the channel ader. I this were not the case, the eects signal o the channelwould remain audible even when the ader is turned to zero.

When setting up a monitor mix, the aux sends are generally switched topre-ader; i.e. they operate independently o the position o the channel ader.

Both aux sends are mono, are sourced ater the equalizer and oer up to + dB gain.

If you press the MUTE switch of the respective channel, aux sends andreturns (MON and FX) are not being muted.

MON

In the XUSB, aux send (MON) is wired pre-ader and is thus particularlysuitable or setting up monitor mixes.

FX

The aux send labeled FX is or eeding external eects devices and is thus set upto be post-ader.

In the XUSB, the FX send is routed directly to the built-in eects processor.To make sure that the eects processor receives an input signal, you shouldntturn this control all the way to the let (-oo). Dont have the FX MUTE switchpressed, and you should also not have the FX SEND ader pulled down.

2.1.4 Pan, mute switch and channel ader

Fig. .4: Channel ader and additional control elements

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PAN

The PAN control determines the position o the channel signal within the stereoimage. This control eatures a constant-power characteristic, which means thesignal is always maintained at a constant level, irrespective o position in thestereo panorama.

MUTE

Use the MUTE switch to mute the channel. This means that the channel signalis no longer present in the main mix. However, the aux sends (MON and FX)remain active.

MUTE LED

The MUTE LED indicates that the relevant channel is muted.

CLIP LED

The CLIP LED lights up when the input signal is driven too high. In this case,lower apparent requency increase on the channel EQ to avoid distortion.For example, lower the mids and the highs somewhat to emphasize the bass.I you dont wish to change the EQ settings under any circumstances, try loweringthe GAIN control somewhat (counterclockwise).

I you inserted an external eects processor via the insert connector(e.g. a dynamic processor), then you should also control it s output signal level.It should not be higher than its input signal level (0 dB).

The channel ader determines the level o the channel signal in the main mix.

Attention: Since the aux path for the effect processor is connectedpost-fader, the channel fader has to be turned up in order to get thischannels signal to the effects processor!

2.2 Stereo channels

2.2.1 Channel inputs

Fig. .: Stereo channel inputs

Each stereo channel eatures two line-level inputs on " connectors or let andright channels. Channels 9/0 and / can also be used in mono i you only usethe connector labeled L.

Both channels /6 and / eature an additional balanced XLR input ormicrophones with available +4 V phantom power.

All stereo channel strips have a GAIN control or level setting. In those channelsin which a mic input is present in the channel, the GAIN control has two scales:just like in the mono channels, there is a 0 to +40 dB scale that shows thepreamplication o the mic signal; the +0 to -0 dB scale shows the sensitivityor the corresponding input level that is applied to the line input.

Both inputs can also be used with balanced or unbalanced connectors.

2.2.2 Equalizer stereo channels

The equalizer o the stereo channels is, o course, stereo. The lter characteristicsand crossover requencies are the same as those o the mono channels. A stereoequalizer is always preerable to two mono equalizers i requency correction o astereo signal is needed. There is oten a discrepancy between the settings o thelet and the right channels when using separate equalizers.

2.2.3 Aux sends stereo channels

In principle, the aux sends o the stereo channels unction in just the same wayas those o the mono channels. As aux send paths are always mono, the signalon a stereo channel is rst summed to mono beore it reaches the aux bus.

2.2.4 Balance, mute switch and channel ader

BAL

The unction o the BAL(ANCE) control corresponds to the PAN control inthe mono channels.

The balance control determines the relative proportion between the let andright input signals beore both signals are routed to the main stereo mix bus.

The MUTE switch, MUTE LED, CLIP LED and channel ader unction in the sameway as the mono channels.

2.3 Connector panel and main section

Whereas it was useul to trace the signal fow rom top to bottom in order to gain

an understanding o the channel strips, we now look at the mixing console romlet to right. The signals are, so to speak, collected rom one point on each o thechannel strips and then routed to the main section all together.

2.3.1 Monitor send and FX send channels

Fig. .6: Aux send controls o the main section

A channel signal is routed to the MON(ITOR) send bus i the MON control is turned

up on the corresponding channel.

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MON SEND

The aux send control MON SEND acts as master control or the monitor busand determines the level o the summed signal that is taken rom the mixervia the MON SEND connector and that can or example be ed to an amplieror monitor purposes.

Using the audio signal rom this output, you can also eed a subwooer i youdont require stage monitors. To this end, you should implement a crossover inyour signal path pre-subwooer and pre-amplier, so that only low requenciesare ed into the subwooer. You can achieve the same eect by using the built-ingraphical equalizer. Lower all requencies above 60 Hz and assign the equalizerto Monitor.

When you use the MAIN MIX fader to reduce the overall volume,keep in mind that the subwoofer is still receiving a signal!

FX TO MON

You can use this control to insert an eects signal rom the built-in eectsprocessor to your monitor mix. O course, to do this, your eects processor mustrst receive a signal, i.e. the FX controls in the channel strips must be turned up,and the FX SEND ader (see g. .6) hast to be open.

MON MUTE

I the MON MUTE switch is pressed, the monitor bus is muted, i.e. there isno signal at the MON SEND connector.

FX SEND

The FX SEND ader determines the overall level o the eects bus. Both externaleects processors (via the FX SEND connector) and the built-in processor onlyreceive an input signal i this control is open.

FX TO MAIN

Use the FX TO MAIN control to eed the eects signal into the main mix.

I the control is turned all the way to the let, no eects signal can be heard.

FX MUTE

I the FX MUTE switch is pressed, the eects channel is muted, i.e. no signal ispresent at the FX SEND connector and the eects processor no longer receivesan input signal.

2.3.2 Monitor send and FX send connector

Fig. .: Aux send connectors MON and FX

MON SEND

Connect the input o your monitor power amp or an active monitor system hereto make the monitor mix audible to the musicians on the stage. The signal mix iscreated using the channels MON controls.

FX SEND

The FX SEND connector outputs the signal you picked up rom the individualchannels using the FX controls. You can connect this to the input o an external

eects device in order to process the FX bus master signal. Once an eects mix iscreated, the processed signal can then be routed rom the eects device outputsback into the AUX RETURN connectors.

If the connected effects processor receives no input signal,the FX MUTE switch is probably pressed and/or the FX SEND controlis too low. This also goes for the built-in effects processor.

Adjust your external effects processor to 100% wet (effects signalonly), because the effects signal is added to the main mix along withthe dry channel signals.

2.3.3 Aux return connectors

Fig. .: Aux return connectors

AUX RETURN 1

The AUX RETURN connectors generally serve as the return path or the eectsmix generated using the FX send. This is where you connect the output signalo the external eects device. I only the let connector is used, the aux return automatically operates in mono.

You can also use these connectors as additional line inputs.

AUX RETURN 2

The AUX RETURN connectors are used exactly the same way as the AUX RETURN connectors. I these connectors already unction as additional inputs, you canroute the eects signal back into the console via a dierent stereo channel,with the added benet that the channel EQ can be used to adjust the requencyresponse o the eects return signal.

In this instance, the FX control of the channel being used as an effectsreturn should be turned fully counter-clockwise, otherwise feedbackproblems can occur!

2.3.4 CD/tape return channel, voice canceller andconnection socket

Fig. .9: CD/tape return channel

This channel, intended especially or connecting stereo signal sources(CD players, DAT recorders or even sound cards) eatures a particularlypractical eature: the VOICE CANCELLER.

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VOICE CANCELLER

Here, you have a lter circuitry that lets you almost entirely remove thevocal portion o a recording. The lter is constructed in such a way that voicerequencies are targeted without majorly aecting the rest o the signal.Additionally, the lter seizes only the middle o the stereo image, exactly therewhere the vocals are typically located.

Possible applications or the Voice Canceller are obvious: you can very simplystage background music or Karaoke events. O course, you can also do this athome or at your rehearsal room beore you hit the stage. Singers with their ownband can practice singing dicult parts using a complete playback rom a tapeplayer or a CD, thus minimizing rehearsal time.

STANDBY

I the STANDBY switch is pressed, all input channels with a mic connector(XLR connector) are muted. During breaks or stage conversion, you can preventnoise rom entering the sound system via the microphones. Such noise can in theworst-case scenario even irreparably damage loudspeaker membranes. The coolthing about this is that the main mix aders can remain open, so that you can playmusic rom a CD at the same time. Similarly, the aders or the muted channelscan also remain in their position.

To bring in other sound sources, you can use the CD/tape inputs, stereo inputchannels 9 to and the aux return inputs.

CD/TAPE MUTE

Using this switch, the input signal rom the CD/tape inputs is muted.

CD/TAPE RET(URN)

This stereo ader assigns the input signal rom the CD/tape inputs into the main mix.

Fig. .0: -track connectors

CD/TAPE INPUT

The CD/TAPE INPUT RCA connectors are provided or connecting a -track machine(e.g. DAT recorder) or also a CD player. They can also be used as stereo line input.Alternatively, the output signal o a second XENYX or BEHRINGER ULTRALINKPRO MX can also be connected. I you connect a hi- amplier with a sourceselection switch to the CD/TAPE INPUT, you can easily switch between additionalsources (e.g. cassette recorder, MD player, sound card etc.).

Using the voice canceller unction, you can process all signals being brought intoyour mixing console via these connectors.

CD/TAPE OUTPUT

These connectors are wired pre graphic EQ and pre XPQ surround unction.They carry the main mix signal (unbalanced), eects mix included. Connect theCD/TAPE OUTPUT to the inputs o your recording device. I you wish to use yourmixer solely or recording purposes, the main outputs are also an alternative.

2.3.5 Main mix, main out connectorsand headphone connector

Fig. .: Main mix ader

MAIN MIX

Use the high-precision quality aders to control the output level o the main mix.

Fig. .: Main out connectors

MAIN OUT

The MAIN outputs carry the MAIN MIX signal and are on balanced XLR connectorswith a nominal level o +4 dBu. Depending on how you wish to use your mixerand which gear you own, you can connect the ollowing equipment:

Live PA systems:

A stereo dynamics processor (optional), stereo equalizer (optional) and the stereopower amplier or ull-range loud-speakers with passive crossovers.

I you wish to use multi-way loudspeaker systems without an integratedcrossover, you have to use an active crossover and several power ampliers.Oten, limiters are already built into active crossovers (e.g. BEHRINGER SUPER-XPRO CX0 and ULTRADRIVE PRO DCX496). Active crossovers are implementeddirectly beore the power amplier, and they divide the requency range intoseveral segments that are rst amplied in the ampliers and then passed ontothe corresponding loudspeakers.

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Recording:

For mastering, using a stereo compressor such as the COMPOSER PRO-XL MDX600can be recommended. Use it to custom-tailor the dynamic characteristics o yoursignal to the dynamic range o the recording equipment you are using. The signalis in this case passed on rom the compressor into the recorder.

PHONES

The PHONES control adjusts the volume o the headphones connected to thePHONS/CTRL connector. I you connect active monitors or an amplier, use thisconnector to adjust the output signal level.

! CAUTION! We would like to draw your attention to the fact that extreme volumes

may damage your hearing and/or your headphones or loudspeakers.Turn the MAIN MIX faders and the PHONES control in the main sectionfully down before you switch on the unit. Always be careful to set theappropriate volume.

Fig. .: PHONS/CTRL connector

PHONS/CTRL connector

You can connect headphones to this " TRS connector. The connector can alsobe used or eeding active monitor loudspeakers (or an amplier) in your controlroom. For this purpose, the signal is taken directly beore it is passed on to themain mix aders.

2.3.6 Level meter and level setting

Fig. .4: Level meter

POWER

The blue POWER LED indicates that the device is switched on.

+48 V

The red +4 V LED lights up when the phantom power supply is switchedon. The phantom power supply is necessary or condenser microphones andis activated using the corresponding switch on the rear o the device.

Connect microphones before you switch on the phantom powersupply. Please do not connect microphones to the mixer (or thestagebox/wallbox) while the phantom power supply is switched on.In addition, the monitor/PA loudspeakers should be muted before youactivate the phantom power supply. After switching on, wait approx.one minute to allow for system stabilization.

LEVEL METER/CLIP

The high-precision level meter accurately displays the appropriate signal level.

LEVEL SETTING:

When recording to a digital device, the recorders peak meter should not exceed0 dB. This is because, unlike analog recordings, slightly excessive levels can createunpleasant digital distortion.

When recording to an analog device, the VU meters o the recording machineshould reach approx. + dB with low-requency signals (e.g. kick drum). Due totheir inertia VU meters tend to display too low a signal level at requencies above kHz. This is why, or example, a Hi-Hat should only be driven as ar as -0 dB.Snare drums should be driven to approx. 0 dB.

The peak meters of your XENYX display the level virtually independentof frequency. A recording level of 0 dB is recommended for allsignal types.

2.3.7 USB input/output

Fig. .: USB input/output

The XENYX mixer line has built-in USB connectivity, allowing stereo signals tobe sent to and rom the mixer and a computer. The audio sent rom the mixer toa computer is identical to the MAIN MIX. Audio being sent to the mixer rom acomputer can be routed to the main mix with the -TR/USB TO MAIN button.

Connect the USB type B plug into the USB jack on the mixer, and the other endinto a ree USB port on your computer. There are no required drivers, but werecommend that PC users install the included ASIO driver. The driver can alsobe downloaded rom behringer.com.

2.4 Graphic 7-band equalizer

Fig. .6: The graphic stereo equalizer

The graphic stereo equalizer allows you to tailor the sound to the room acoustics.

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FBQ FEEDBACK DETECTION

The switch turns on the FBQ Feedback Detection System. It uses the LEDs in therequency band aders to indicate the critical requencies. On a per-need basis,lower the requency range in question somewhat in order to avoid eedback.The graphic stereo equalizer has to be turned on in order to use this unction.

Logically, at least one (ideally several) microphone channels have to beopen for feedback to occur at all!

Feedback is particularly common when stage monitors (wedges) areconcerned, because monitors project sound in the direction o microphones.Thereore, you can also use the FBQ Feedback Detection or monitors by placingthe equalizer in the monitor bus (see MAIN MIX/MONITOR).

EQ IN

Use this switch to activate the graphic equalizer. When activated, the ader LEDswill illuminate.

MAIN MIX/MONITOR

This toggles the graphic equalizer between the main mix and the monitor mix.With the switch up (not depressed), the equalizer is active in stereo on the main

mix, and inactive on the monitor mix.

When the switch is depressed the equalizer is active in mono on the monitor mix,and inactive on the main mix.

2.5 Rear view o X1222USB

Fig. .: Voltage supply and use

FUSE HOLDER/IEC MAINS RECEPTACLE

The console is connected to the mains via the cable supplied, which meets therequired saety standards. Blown uses must only be replaced by uses o thesame type and rating. The mains connection is made via a cable with IEC mainsconnector. An appropriate mains cable is supplied with the equipment.

POWER

Use the POWER switch to power up the mixing console. The POWER switch

should always be in the O position when you are about to connect yourunit to the mains.

To disconnect the unit rom the mains, pull out the main cord plug. When installingthe product, ensure that the plug is easily accessible. I mounting in a rack,ensure that the mains can be easily disconnected by a plug pull or by an all-poledisconnect switch on or near the rack.

Attention: The POWER switch does not fully disconnect the unit fromthe mains. Unplug the power cord completely when the unit is not usedfor prolonged periods of time.

PHANTOM

The PHANTOM switch activates the phantom power supply or the XLR microphoneinputs, which is required to operate condenser microphones. The red +4 V LEDlights up when phantom power is on. As a rule, dynamic microphones can stillbe used with phantom power switched on, provided that they are wired in abalanced conguration. In case o doubt, contact the microphone manuacturer!

Connect microphones before you switch on the phantom power supply.Please do not connect microphones to the mixer (or the stagebox/wallbox) while the phantom power supply is switched on. In addition,the monitor/PA loudspeakers should be muted before you activate thephantom power supply. After switching on, wait approx. one minute toallow for system stabilization.

Caution! You must never use unbalanced XLR connectors(PIN 1 and 3 connected) on the MIC input connectors if you want to usethe phantom power supply.

SERIAL NUMBER

Please note the important inormation on the serial number given in chapter ...

3. Digital Eects Processor andXPQ Surround Function

3.1 Digital eects processor

Fig. .: Eects presets overview

24-BIT MULTI-EFFECTS PROCESSOR

Here you can nd a list o all presets stored in the multi-eects processor.This built-in eects module produces high-grade standard eects such asreverb, chorus, fanger, delay and various combination eects. The integratedeects module has the advantage o requiring no wiring. This way, the dangero creating ground loops or uneven signal levels is eliminated at the outset,completely simpliying the handling.

These eect presets are designed to be added to dry signals. I you move the

FX TO MAIN control, you mix the channel signal (dry) and the eect signal.This also goes or mixing eects signals with the monitor mix. The maindierence is that the mix ratio is adjusted using the FX TO MON control. O course,a signal has to be ed into the eects processor via the FX control in the channelstrip or both applications.

Fig. .: Connection socket or the ootswitch

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FOOTSWITCH

Connect a standard ootswitch to the ootswitch connector; use this to switch theeects processor on and o. A fashing dot at the bottom o the display indicatesi the eects processor is muted via the ootswitch.

In chapter 4.2, you will find an illustration showing how to connectyour footswitch correctly.

Fig. .: Digital Eects module and XPQ Surround Function control elements

LEVEL

The LED level meter on the eec ts module should display a suciently high level.Take care to ensure that the clip LED only lights up at peak levels. I it is litconstantly, you are overloading the eects processor and this could causeunpleasant distortion. The FX SEND ader determines the level that reachesthe eects module.

PROGRAM

You can select the eect preset by turning the PROGRAM control. The displayfashes the number o the current preset. To recall the selected preset, press thebutton; the fashing stops. You can also recall the selected preset usingthe ootswitch.

3.2 XPQ surround unction

The surround unction can be enabled/disabled with the XPQ TO MAIN switch.This is a built-in eect that widens the stereo width, thus making the sound morelively and transparent. Use the SURROUND control to determine the intensity othis eect.

4. Installation

4.1 Rack mounting

The packaging o your mixing console contains two 9" rack mount bracketswhich can be installed on the side panels o the console.

Beore you can attach the rack mount brackets to the mixing console, you needto remove the screws holding the let and right side panels. Use these screws toasten the two brackets onto the console, being careul to note that each bracketts a specic side. With the rack mount brackets installed, you can mount themixing console in a commercially available 9" rack. Be sure to allow or proper

air fow around the unit, and do not place the mixing console close to radiators orpower amps, so as to avoid overheating.

Only use the screws holding the mixing console side panels to fastenthe 19" rack mounts.

4.2 Cable connections

You will need a large number o cables or the various connections to and romthe console. The ollowing illustrations show the wiring o these cables. Be sureto use only high-grade cables.

strain relief clamp

sleeve

tip

sleevepole 1/ground

tippole 2

The footswitch connects both poles momentarily

" TS footswitch connector

Fig. 4.: " TS ootswitch connector

4.2.1 Audio connections

Please use commercial RCA cables to wire the -track inputs and outputs.

You can, o course, also connect unbalanced devices to the balanced input/outputs. Use either mono plugs, or ensure that ring and sleeve are bridged insidethe stereo plug (or pins & in the case o XLR connectors).

Caution! You must never use unbalanced XLR connectors(pins 1 and 3 connected) on the MIC inputs if you intend to use thephantom power supply.

output

For unbalanced use, pin 1 and pin 3have to be bridged

1 = ground/shield2 = hot (+ve)3 = cold (-ve)

input

12

3

1 2

3

Balanced use with XLR connectors

Fig. 4.: XLR connections

strain relief clamp

sleeve

tip

sleeve(ground/shield)

Unbalanced " TS connector

tip(signal)

Fig. 4.: " TS connector

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strain relief clamp

sleeve

ring

tip

sleeveground/shield

For connection of balanced and unbalanced plugs,ring and sleeve have to be bridged at the stereo plug.

Balanced " TRS connector

ringcold (-ve)

tiphot (+ve)

Fig. 4.4: " TRS connector

strain relief clamp

sleeve

ring

tip

sleeveground/shield

Connect the insert send with the input and theinsert return with the output of the eects device.

Insert send return " TRS connector

ringreturn (in)

tipsend (out)

Fig. 4.: Insert send return " TRS connector

strain relief clamp

sleeve

ring

tip

sleeveground/shield

" TRS headphones connector

ringright signal

tipleft signal

Fig. 4.6: " TRS connector or headphones

5. Specifcations

Mono Inputs

Microphone Inputs (XENYX Mic Preamp)

Type XLR, electronically balanced,discrete input circuitry

Mic E.I.N. (20 Hz - 20 kHz)

@ 0 source resistance -4 dB / . dB A-weighted

@ 0 source resistance - dB / . dB A-weighted

@ 0 source resistance -9 dB / 0. dB A-weighted

Frequency response

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Channels 9/10, 11/12

Stereo line inputs

Type x " TRS connector, unbalanced

Impedance approx. 40 k @ 0 dB Gain

Gain range -0 dB to +0 dB

Max. input level + dBu @ 0 dB Gain

CD/Tape In

Type RCA connectors

Impedance approx. 0 k

Max. input level + dBu

EQ Mono Channels

Low 0 Hz / dB

Mid . kHz / dB

High kHz / dB

Low cut 0 Hz, dB/oct.

EQ Stereo Channels

Low 0 Hz / dB

Mid . kHz / dB

High kHz / dB

MON/FX Send

Type " TS connector, unbalanced

Impedance approx. 0 Max. output level + dBu

Aux Returns

Type " TRS connector, unbalanced

Impedance approx. 0 k

Max. input level + dBu

Main Outputs

Type XLR, electronically balanced

Impedance approx. 40 balanced

approx. 0 unbalancedMax. output level + dBu

Headphone Output

Type " TRS connector, unbalanced

Max. output level +9 dBu / 0 (+ dBm)

CD/Tape Out

Type RCA connectors

Impedance approx. k

Max. output level + dBu

DSP Texas Instruments

Converter 4-bit Sigma-Delta64/-times oversampling

Sampling rate 40 kHz

USB

Audio Stereo In/Out

Connector Type B

Converter 6-bit

Sample Rate 4 kHz

Main Mix System Data

Noise

Main mix @ -, -99 dBChannel ader - -0 dB A-weighted

Main mix @ 0 dB, -4 dBChannel ader - - dB A-weighted

Main mix @ 0 dB, -0 dBChannel ader @ 0 dB - dB A-weighted

Power Supply

Mains Voltage 00 - 40 V~, 0 - 60 Hz

Power consumption 40 W

Fuse T .6 A H 0 V

Mains connection Standard IEC receptacle

Physical

Dimensions (H x W x D) approx. 7/ x 18/32 x 5/32"approx. 9 x 4 x 4 mm

Weight (net) approx. . lbs.approx. .0 kg

Measuring conditions:

1: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain.

2: 20 Hz - 20kHz; measured at main output. Channels 1 - 4 unity gain; EQ flat; all channels on main mix;

channels 1/3 as far left as possible, channels 2/4 as far right as possible. Reference = +6 dBu.

BEHRINGER is constantly striving to manintain the highest professional standards. As a result of these ef forts,

modifications may be made from time to time to existing products without prior notice. Specifications and

appearance may differ from those listed or illustrated.

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FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

Responsible Party Name: MUSIC Group Services US Inc.

Address: 18912 North Creek Parkway,Suite 200 Bothell, WA 98011,USA

Phone/Fax No.: Phone: +1 425 672 0816Fax: +1 425 673 7647

XENYX X1222USB

complies with the FCC rules as mentioned in the ollowing paragraph:

This equipment has been tested and ound to comply with the limits or a Class B

digital device, pursuant to part o the FCC Rules. These limits are designed

to provide reasonable protection against harmul intererence in a residential

installation. This equipment generates, uses and can radiate radio requency

energy and, i not installed and used in accordance with the instructions, may cause

harmul intererence to radio communications. However, there is no guarantee that

intererence will not occur in a particular installation. I this equipment does cause

harmul intererence to radio or television reception, which can be determined

by turning the equipment o and on, the user is encouraged to try to correct the

intererence by one or more o the ollowing measures:

Reorient or relocate the receiving antenna.

Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit dierent rom that to which the

receiver is connected.

Consult the dealer or an experienced radio/TV technician or help.

This device complies with Part o the FCC rules. Operation is subject to the

ollowing two conditions:

() this device may not cause harmul intererence, and

() this device must accept any intererence received, including intererence that may

cause undesired operation.

Important information:Changes or modications to the equipment not expressly approved by MUSIC Group

can void the users authority to use the equipment.

XENYX X1222USB

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