User manual ALLEN & HEATH XONE 92

USER GUIDE Publication AP5345 Limited One Year Warranty This product has been manufactured in the UK by ALLEN & HEATH and is warranted to be free from defects in materials or workmanship for period of one year from the date of purchase by the original owner. To ensure a high level of performance and reliability for which this equipment has been designed and manufactured, read this User Guide before operating. In the event of a failure, notify and return the defective unit to ALLEN & HEATH Limited or its authorised agent as soon as possible for repair under warranty subject to the following conditions Conditions Of Warranty 1. The equipment has been installed and operated in accordance with the instructions in this User Guide 2. The equipment has not been subject to misuse either intended or accidental, neglect, or alteration other than as described in the User Guide or Service Manual, or approved by ALLEN & HEATH. 3. Any necessary adjustment, alteration or repair has been carried out by ALLEN & HEATH or its authorised agent. 4. This warranty does not cover fader wear and tear. 5. The defective unit is to be returned carriage prepaid to ALLEN & HEATH or its authorised agent with proof of purchase. 6. Units returned should be packed to avoid transit damage. In certain territories the terms may vary. Check with your ALLEN & HEATH agent for any additional warranty which may apply. This product complies with the European Electromagnetic Compatibility directives 89/336/EEC & 92/31/EEC and the European Low Voltage Directives 73/23/EEC & 93/68/EEC. This product has been tested to EN55103 Parts 1 & 2 1996 for use in Environments E1, E2, E3, and E4 to demonstrate compliance with the protection requirements in the European EMC directive 89/336/EEC. During some tests the specified performance figures of the product were affected. This is considered permissible and the product has been passed as acceptable for its intended use. Allen & Heath has a strict policy of ensuring all products are tested to the latest safety and EMC standards. Customers requiring more information about EMC and safety issues can contact Allen & Heath. NOTE: Any changes or modifications to the console not approved by Allen & Heath could void the compliance of the console and therefore the users authority to operate it. XONE:92 User Guide AP5345 Issue 1 Copyright © 2004 Allen & Heath Limited. All rights reserved Manufactured in the United Kingdom by Allen & Heath Limited Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK http://www.allen-heath.com 2 XONE:92 User Guide Important Safety Instructions WARNINGS - Read the following before proceeding : CAUTION ATTENTION: RISQUE DE CHOC ELECTRIQUE ­ NE PAS OUVRIR Read instructions: Retain these safety and operating instructions for future reference. Adhere to all warnings printed here and on the console. Follow the operating instructions printed in this User Guide. Operate the console with its covers correctly fitted. Disconnect mains power by unplugging the power cord if the cover needs to be removed for setting internal options. Refer this work to competent technical personnel only. Connect the console to a mains power only of the type described in this User Guide and marked on the rear panel. Use the power cord with sealed mains plug appropriate for your local mains supply as provided with the console. If the provided plug does not fit into your outlet consult your service agent for assistance. Route the power cord so that it is not likely to be walked on, stretched or pinched by items placed upon or against it. Do not defeat the grounding and polarisation means of the power cord plug. Do not remove or tamper with the ground connection in the power cord. Do not remove cover: Power sources: Power cord routing: Grounding: WARNING: This equipment must be earthed. Water and moisture: To reduce the risk of fire or electric shock do not expose the console to rain or moisture or use it in damp or wet conditions. Do not place containers of liquids on it which might spill into any openings. Do not obstruct the ventilation slots or position the console where the air flow required for ventilation is impeded. If the console is to be operated in a rack unit or flightcase ensure that it is constructed to allow adequate ventilation. Do not locate the console in a place subject to excessive heat or direct sunlight as this could be a fire hazard. Locate the console away from any equipment which produces heat or causes excessive vibration. Switch off the equipment and unplug the power cord immediately if it is exposed to moisture, spilled liquid, objects fallen into the openings, the power cord or plug become damaged, during lightening storms, or if smoke, odour or noise is noticed. Refer servicing to qualified technical personnel only. Install the console in accordance with the instructions printed in this User Guide. Do not connect the output of power amplifiers directly to the console. Use audio connectors and plugs only for their intended purpose. Ventilation: Heat and vibration: Servicing: Installation: XONE:92 User Guide 3 Important Mains plug wiring instructions. The console is supplied with a moulded mains plug fitted to the AC mains power lead. Follow the instructions below if the mains plug has to be replaced. The wires in the mains lead are coloured in accordance with the following code: TERMINAL European L N E LIVE NEUTRAL EARTH GND BROWN BLUE GREEN & YELLOW WIRE COLOUR USA/Canada BLACK WHITE GREEN The wire which is coloured Green and Yellow must be connected to the terminal in the plug which is marked with the letter E or with the Earth symbol. This appliance must be earthed. The wire which is coloured Blue must be connected to the terminal in the plug which is marked with the letter N. The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L. Ensure that these colour codes are followed carefully in the event of the plug being changed. Precautions Damage : To prevent damage to the controls and cosmetics avoid placing heavy objects on the control surface, scratching the surface with sharp objects, or rough handling and vibration. Protect from excessive dirt, dust, heat and vibration when operating and storing. Avoid tobacco ash, smoke, drinks spillage, and exposure to rain and moisture. If the console becomes wet, switch off and remove mains power immediately. Allow to dry out thoroughly before using again. Avoid the use of chemicals, abrasives or solvents. The control panel is best cleaned with a soft brush and dry lint-free cloth. The faders, switches and potentiometers are lubricated for life. The use of electrical lubricants on these parts is not recommended. The console may be transported as a free-standing unit or mounted in a rack or flightcase. Protect the controls from damage during transit. Use adequate packing if you need to ship the unit. To avoid damage to your hearing do not operate any sound system at excessively high volume. This also applies to any close-to-ear monitoring such as headphones. Continued exposure to high volume sound can cause frequency selective or wide range hearing loss. Make sure that your system complies with any venue sound level and noise regulations which may apply. Environment : Cleaning : Transporting : Hearing : ! 4 XONE:92 User Guide Introduction This user guide presents a quick reference to the XONE:92. We recommend that you read this fully before starting. Included is information on installing, connecting and operating the console, panel drawings, system block diagram and technical specification. For further information on the basic principles of audio system engineering, please refer to one of the specialist publications available from bookshops and audio equipment dealers. Whilst we believe the information in this guide to be reliable we do not assume responsibility for inaccuracies. We also reserve the right to make changes in the interest of further product development. We are able to offer further product support through our world-wide network of approved dealers and service agents. You can also access our Web site on the Internet for information on our product range, assistance with your technical queries or simply to chat about matters audio. To help us provide the most efficient service please keep a record of your console serial number, and date and place of purchase to be quoted in any communication regarding this product. Check out our web site for information on the company and its pedigree, our full product range and our design philosophy. We also have a site dedicated to the exciting XONE console range. www.allen-heath.com www.xone.co.uk Contents Warranty ................................................ 2 Important Safety Instructions ................ 3 Precautions ........................................... 4 Front and Rear Panel Drawings............ 6 Welcome to the XONE:92..................... 7 The Application ..................................... 9 Quick Start........................................... 10 Gain and Operating Levels ................. 13 Connecting Mains Power.................... 14 Earthing ............................................... 14 Plugging up the System...................... 15 Cables and Connectors ...................... 16 MIC/RTN Input Channel ...................... 18 PHONO/LINE Input Channel............... 20 Crossfader and VCF............................ 22 Replacing the Crossfader....................23 LFO Modulation ...................................24 Filters Type Select ...............................25 Master Mix and Monitor System..........26 MIDI Control of External Devices ........28 MIDI Control Codes .............................29 MIDI Implementation Chart .................30 Glossary...............................................31 Specifications ......................................34 Block Diagram .....................................35 Glossary...............................................27 Installer Link Options ...........................36 Cue Sheet ............................................39 Internet Site............................Rear Cover XONE:92 User Guide 5 L CAUTION PHONO R L PHONO R L PHONO R L PHONO R MIDI OUT INPUT INPUT INPUT INPUT AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR. WARNING: THIS APPARATUS MUST BE EARTHED. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE APPARATUS TO RAIN OR MOISTURE. 4 3 L 2 R 1 AC MAINS IN ~ 100 - 240V~ 47-63Hz ~ 30W MAX L L LINE BOOTH R R L LINE MIX2 R L LINE R L AUX 2 LINE R AUX 1 L MIC 2 MIC 1 RECORD OFF 0 I L LEFT FUSE MIX 1 RIGHT L L/M RETURN ON SERIAL No: R 100 - 240V~ T500mAL 250V 20mm R R 2 R L/M RETURN 1 R WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES. MADE IN THE UK BY ALLEN & HEATH LIMITED + Channel faders for Rotary version. 6 XONE:92 User Guide Welcome to the XONE:92 The Allen & Heath XONE:92 presents a unique combination of performance tools for the professional DJ in a stylish and solidly built club format. Above all, it features sound quality second to none. XONE:92 has been designed and constructed using the same rigorous standards we apply to our large format professional consoles used and respected by top engineers throughout the world. XONE:92 provides 6 dual stereo channels, two offering mic inputs, adding up to a massive 10 stereo and 2 microphone inputs. A full range of connectors means that you can connect up to 4 turntables, 2 mics, CD players, MD players, drum machines, samplers, and pretty much anything else you might want to bring into the mix. MIDI (Musical Instrument Digital Interface) allows featured front panel controls to transmit MIDI data to enable remote control of external effects, samplers, sequencers etc. Tap Tempo related MIDI clocks are also transmitted to provide synchronisation of MIDI sound modules to pre-recorded sources playing through the mixer. 4 BAND EQ controls rather than the usual 3 for greater creativity. Each band has a safe +6dB boost. The HI and LO bands have infinite attenuation (total kill) with a sharp 12dB/oct roll-off and the MID bands have a massive -30dB of cut, enough to shape your sound well beyond normal EQ range, and without overloading your system. Stereo channels use high quality twin rail linear or rotary VCA faders. These control the audio using DC voltages meaning that they can take a huge amount of punishment without the bangs and crackles that inevitably creep in on regular audio faders. The high spec Penny & Giles VCA crossfader is easily removable from the top panel for quick replacement should it become worn. The curve can be swept between dipped response, ideal for seamless beat mixing, and fast-attack, suitable for scratch or cut mixing. Unique to XONE, two stereo state variable Voltage Controlled Filters provide the DJ with a new level of live performance creativity. These are very similar to those found on classic analogue synths but benefit from modern, quiet and stable technology. Use these to sweep the sound by accentuating or cutting frequencies from 30Hz to 20kHz. The 3 filter types HPF, BPF and LPF can be combined to create many more amazing effects. Low Frequency Oscillator controls enable cyclic LFO changes to be applied to each filter. A large Resonance control changes the `Q' or sharpness of the filter effect from subtle to extreme. Each VCF has its own `ON' switch. Combined with the extensive output and monitoring features, colour coded indicators, stylish layout and clear graphics visible in all lighting situations, you have an unbeatable performance console equally at home in dance clubs, home set-ups, live venues, and on the road. · · · · · · 6 Dual stereo inputs, 2 with mic inputs RIAA preamps for up to 4 turntables Input selectors with 2 colour indicators Smooth action level controls 2 Stereo aux sends with pre/post switching · · · · · · · · · · · · · · · · · Cue/Mix monitor balance control 2 Independent mix outputs 2 Rotary master level controls Dual stereo analogue VCF effects 3 Filter modes combine for more effects Independent frequency sweep controls Resonance control for subtle or wild effects Filter LFO Depth and tempo controls Illuminated Filter switches punch effect in or out Powerful headphones monitor with auto cue Headphones split cue and Aux 1 & 2 monitoring Stereo music only booth monitor output Booth mono and mute switching 9 led 3 colour main `bulls eye' LED meters Balanced 0dBu XLR stereo Mix 1 output Impedance balanced Line stereo Mix 2 output Pre-fade recording output · 4 band EQ - high definition of frequency bands, with `infinite kill' on HF and LF; wide Q for cut, narrow Q for boost MIDI output from VCF 1+2, crossfader, LFO 2 (MIDI clock), dedicated data control and start/stop button. Large `light-pipe' illuminated cue switches 9 led 3 colour channel `bulls eye' LED meters Crossfader and Filter assign switches Either smooth travel 60mm VCA faders or rotary VCA faders (Linear or Rotary versions) · · · · · Active Penny & Giles VCA crossfader allowing contour to be set from smooth to scratch mix XONE:92 User Guide 7 L CAUTION PHONO R L PHONO R L PHONO R L PHONO R MIDI OUT INPUT INPUT INPUT INPUT AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR. WARNING: THIS APPARATUS MUST BE EARTHED. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE APPARATUS TO RAIN OR MOISTURE. 4 3 L 2 R 1 AC MAINS IN ~ 100 - 240V~ 47-63Hz ~ 30W MAX L L LINE BOOTH R R L LINE MIX2 R L LINE R L AUX 2 LINE R AUX 1 L MIC 2 MIC 1 RECORD OFF 0 I L LEFT FUSE MIX 1 RIGHT L L/M RETURN ON SERIAL No: R 100 - 240V~ T500mAL 250V 20mm R R 2 R L/M RETURN 1 R WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES. MADE IN THE UK BY ALLEN & HEATH LIMITED 8 XONE:92 User Guide The XONE:92 Application This diagram shows an example hook-up to demonstrate how the XONE:92 can be connected in a typical DJ application. Note that you do not need to connect the channels in the order shown, also that the connector types on the equipment you connect to may be different to that shown. Use cables appropriate to your application. Please read Plugging Up The System before connecting to your equipment. The following describes how the console is used in this example application: Microphone sources: The DJ microphone is plugged into MIC 1. A second mic is plugged into MIC 2, typically for MC. These signals route to the mix outputs and headphones. They are not routed through the crossfader, nor to the booth monitor, so avoiding potential acoustic feedback. Mix music sources: Stereo channels 1 and 2 are used for turntables. Stereo channels 3 and 4 line are used for CD decks. The turntable magnetic cartridges plug into the RIAA equipped phono inputs, the CD into the line inputs. This gives the DJ the choice of both vinyl and CD. Drum machine: It is increasingly popular for the DJ to cut in additional sources over the mix. A drum machine provides a creative instrument, ideal for enhancing the beat and bass line. This is shown plugged into stereo channel 1 line input. It can be assigned to either side of the crossfader or direct to the mix as required. The MIDI out from the XONE:92 provides the master MIDI clock to allow synchronisation to the pre recorded sources and enables remote Start/Stop of this device. Dynamic Effects Controller/ Delay Unit: The stereo Aux 1 & 2 sends are used to feed selected channels to external effects units, such as a DJ effects and Delay units. They are typically set pre-fader so that the effects can be set up while the channel faders are down. The devices outputs are returned into stereo return line inputs and can be added to the mix using the return faders. MIDI control of both of these devices is possible from the XONE:92 depending on MIDI controller compatibility. Refer to each devices user guide for details of its MIDI setup. The stereo return On switches can be used to drop an effect or delay into the mix by pushing the On switches up to the DUCK position; this will bring the effect into the mix and automatically lower the level of the source by 15dB. Laptop PC: Increasingly computer based sequencing is being used during a live set, running dedicated sequencing software. The MIDI out from the XONE:92 is used to provide master tempo and remote control of certain parameters within the software by mapping it to the controller codes generated by the mixer. Mix 1 outputs: These outputs feed the main house PA system. The connections are balanced pro level 0dBu to feed long cable runs to the amplifier system. They may plug into system processors such as protection limiters, EQ and crossovers which in turn connect to the amplifiers. Mix 2 outputs: These outputs feed an external amplifier providing sound to an additional zone. They may plug into external signal processors or even be used as additional auxiliary outputs. MIDI output: Featured front panel controls output MIDI data to an external device such as a computer sequencer or effects controller. This capability enables the DJ to additionally control MIDI compatible equipment during the performance. Recording the set: A dedicated music only stereo output connects to a recorder such as the CDR shown to record the performance. Typically the mic signals are not recorded. The signal is not affected by the master mix controls. Booth monitor: A stereo speaker system provides the DJ with a music only local monitor. This can be checked or worked in mono if required, or muted if the DJ wishes to check the main PA sound or work with headphones only. Headphones: Closed ear stereo headphones are recommended allowing the DJ to check and cue the music sources. Split-cue keeps the program in one ear while cueing with the other to synchronise the beat before introducing the source into the mix. Two front panel connections; 1/4" jack and a standard mini-jack headphone socket are provided for your convenience. XONE:92 User Guide 9 Quick Start We recommend that you read through all sections of this User Guide before starting. However, we provide these notes so that you can plug up and experiment with sounds from your XONE:92 immediately if you prefer to read the full guide later. Please note that you should first read and understand the Important Safety Instructions printed at the beginning of this guide. The following simple procedure requires a CD player and headphones. Alternatively you can connect a pair of turntables and start mixing right away. Please read the rest of this guide before connecting to your amplifier and speaker systems. 1 Set all controls to their starting condition. Set all FADERS (rotary and linear), LEVEL, AUX, FREQ, RESONANCE, LFO DEPTH, HEADPHONES and BOOTH MONITOR controls to minimum. Set EQ controls to their detented centre position. Set all press switches to their up position. Set all toggle switches to their centre position. 2 Plug in a CD player. This provides a good stereo audio source as a starting point. Plug into stereo channel 1 line input as shown. Do not use the phono input for CD or other line level sources as this is intended for turntables with magnetic cartridges requiring RIAA equalisation. 3 Plug in the headphones. Plug into either of the top panel headphones sockets. Use the best headphones you can afford for your application. We recommend the professional grade closed-ear type of 30 to 100ohms impedance, and with ¼" TRS jack plug. AC MAINS IN ~ 100 - 240V~ 47-63Hz ~ 30W MAX OFF 0 I ON SERIAL No: 4 Connect AC mains power. Check first that the correct mains lead with sealed plug suitable for your local supply has been provided with your console. Plug into the AC MAINS IN socket making sure the connector is pressed fully in. 100 - 240V~ T500mAL 250V 20m WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME 5 Switch the console on. Press the rear panel ON/OFF switch. You may notice that the console meters and various other LEDs flash briefly. This is normal during power up. 6 Select the line source. Press the stereo channel 1 source select switch. This lights red to indicate that the line source is selected. 7 Adjust the channel level. Start the CD player. Adjust stereo channel 1 LEVEL control until the average music level lights the channel meter blue 0 led with loudest peaks lighting the blue +6 led. If no signal is present check that the music source is playing and the correct input is selected. Reduce LEVEL if the red +10 Led lights. This indicator is a warning that the signal is approaching clipping and that distortion may result if the level increases further. 10 XONE:92 User Guide 8 Check the sound using the Cue system. With the music playing press the large CUE switch. The switch lights as well as the CUE ACTIVE led to show that the cue monitor is active. The channel signal is now sent to the headphones. Slowly turn up the headphones level control until you hear the music. Avoid listening to loud headphones levels for long periods as this may damage your hearing. The channel signal is now displayed on the main monitor meters. Note that the cue system lets you monitor the channel signals pre-fader. In other words you can check or cue any source before you raise its fader to bring it into the mix. 9 Route the signal to the main Mix 1 output. Release the CUE switch. The CUE light-pipe turns off and the headphones and monitor meters go quiet. Raise stereo channel 1 fader to its top position. With the XFADE toggle switch in its central position `OFF' the signal is routed direct to the mix. The signal is now displayed on the main meters at the same level as the channel meter. The level is now the same throughout the console signal path, as set by the channel gain control. This is the ideal setting with meters averaging 0dB so giving the best signal-to-noise performance while maintaining plenty of headroom to avoid clipping. 10 Listen to the main MIX 1 output. The music should be heard in the headphones. If not, then check that the AUX 1 and AUX 2 switches are released and that no CUE switches are selected. 11 Check the effect of the Stereo EQ. Try the effect of each of the 4 frequency bands on stereo channel 1. The EQ is designed for creative live performance control and provides a safe +6dB boost, and cut from a massive ­30dB to infinity. Experiment with cutting rather than boosting frequencies to create dramatic effects. 12 Route through the Crossfader. Using the XFADE toggle switch, select X to route the signal through the crossfader rather than direct to the mix. The green 1 led lights indicating that stereo channel 1 is assigned to the crossfader. 13 Using the Crossfader. This lets you fade between signals routed to either side, typically to fade smoothly into a new music track or to creatively layer sounds when scratch or cut mixing. Experiment further by connecting two CD decks or turntables and assigning one to X, the other to Y. The channel(s) assigned to the crossfader are indicated by the green leds above. XONE:92 User Guide 11 14 Changing the crossfader curve. The control knob to the left of the crossfader sets the crossfader curve. In the normal fully anticlockwise position the signal dips by 5dB at the middle position for smooth fading between tracks. Turn the knob clockwise gradually for an increasingly dipless response; whereby the signal starts to dip only once the fader has passed the mid position. This is better suited to scratch or cut mixing where you layer the sounds. 15 Crossfader mixing. At this point you may wish to plug in a pair of turntables and experiment with DJ mixing. Plug into stereo channel 1 and channel 2 phono inputs if your turntables require RIAA equalisation. If not, plug into the line inputs. Remember to connect the turntable earth leads to the console chassis earth terminal. Use CUE to set up the channel level as you did in step 7. Route channel 1 to X and channel 2 to Y of the crossfader. 16 Adding VCF filter effects. Each side of the crossfader features a stereo Voltage Controlled Filter which presents the DJ with a unique set of live performance tools to create subtle or startling tonal effects. Route the channel to either of the two filters using the three way toggles; push the toggle to the left for filter 1 and to the right for filter 2. Activate the filter by pressing the FILTER ON switch. The blue led light-pipe lights to show that the filter is active. Check that the large LPF switch is illuminated indicating that the power up default lo-pass filter type is active. The sound should change to a rumbling bass line with higher frequencies removed. 17 Sweep the filter frequency. Turn the FREQ control clockwise and you should progressively hear higher audio frequencies returning to the mix. This control sweeps the effect from low to high frequency. 18 Adjust the filter resonance. Slowly turn the RESONANCE control clockwise as you sweep the frequency and you should hear the `Q' or `sharpness' of the effect changing from subtle to drastic as the roll-off knee sharpens and frequency boost is added. Increasing resonance boosts a narrow band of selected frequencies. Make sure you reduce the channel gain if the red peak meters start to flash. 19 Change the filter type. Press one or any combination of the large HPF, BPF and LPF filter type switches to experiment with different performance effects. For example pressing HPF and LPF together produces a notch effect. Once you are familiar with the creative power of these filters you can apply them to your performance. More information is available later. Now...continue to read through the rest of this User Guide. 12 XONE:92 User Guide Gain and Operating Levels ! It is most important that the system level settings are correctly set. It is well known that many DJs push the level to maximum with meters peaking hard in the belief that they are getting the best from the system. THIS IS NOT THE CASE ! The best can only be achieved if the system levels are set within the normal operating range and not allowed to peak. Peaking simply results in signal distortion, not more volume. It is the specification of the amplifier / speaker system that sets the maximum volume that can be achieved, not the console. The human ear too can fool the operator into believing that more volume is needed. Be careful as this is in fact a warning that hearing damage will result if high listening levels are maintained. Remember that it is the QUALITY of the sound that pleases the ear, not the VOLUME. The diagram above illustrates the operating range of the audio signal. NORMAL OPERATING RANGE. For normal music the signal should range between ­5 and +5 on the meters with average around 0dB. This allows enough HEADROOM for unexpected peaks before the signal hits its maximum CLIPPING voltage and distorts. It also achieves the best SIGNAL-TO-NOISE-RATIO by keeping the signal well above the residual NOISE FLOOR (system hiss). The DYNAMIC RANGE is the maximum signal swing available between the residual noise floor and clipping. The XONE:92 provides a massive 110dB dynamic range. Use the LEVEL TRIM 1 to match the input source to the normal operating level of the console. Adjust this so that the CHANNEL METER 4 averages 0dB with loudest moments reading +6. Press the CUE SWITCH 3 to listen to the signal on headphones and check the level on the MAIN METERS 9 . Adjust the CHANNEL FADER 5 so that they normally operate near the top of their travel. Make sure the amplifier/speaker system has been correctly calibrated for the loudest volume required at the fader top position. Boosting the EQ 2 also adds gain to the system. Reduce by turning back the LEVEL TRIM 1 if the meter red peak leds flash. Adjust the HEADPHONES 8 and BOOTH 7 monitor controls for safe listening levels. A final note ... The human ear is a remarkable organ with the ability to compress or `shut down' when sound levels become too high. Do not interprete this natural response as a reason to turn the system volume up further ! As the session wears on ear fatigue may set in, and the speaker cones may become hot so reducing the effectiveness of the system and listeners to gain any benefit from increased volume. BE SENSIBLE, BE SAFE WITH SOUND LEVELS 13 XONE:92 User Guide Connecting Mains Power L CAUTION PHONO R L PHONO R L MIDI OUT INPUT INPUT INPUT AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR. WARNING: THIS APPARATUS MUST BE EARTHED. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE APPARATUS TO RAIN OR MOISTURE. 4 3 L 2 R AC MAINS IN ~ 100 - 240V~ 47-63Hz ~ 30W MAX L L LINE BOOTH R R L LINE MIX2 R L Read the SAFETY INSTRUCTIONS printed at the front of this User Guide and on the rear panel. Check that the correct mains lead with moulded plug has been supplied with your console. The power supply accepts mains voltages within the range 100-240V without changing any fuses or settings. It is standard practice to turn connected power amplifiers down or off before switching the console on or off. This prevents any audible switch-on thumps. Ensure that the IEC mains plug is pressed fully into the rear panel socket before switching on. OFF 0 I LEFT FUSE MIX 1 RIGHT ON SERIAL No: 100 - 240V~ T500mAL 250V 20mm WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES. Earthing The connection to earth (ground) in an audio system is important for two reasons: 1. 2. SAFETY - To protect the operator from high voltage electric shock, and AUDIO PERFORMANCE - To minimise the effect of earth (ground) loops which result in audible hum and buzz, and to shield the audio signals from interference. For safety it is important that all equipment earths are connected to mains earth so that exposed metal parts are prevented from carrying high voltage which can injure or even kill the operator. It is recommended that the system engineer check the continuity of the safety earth from all points in the system including microphone bodies, turntable chassis, equipment cases, and so on. The same earth is also used to shield audio cables from external interference such as the hum fields associated with power transformers, lighting dimmer buzz, and computer radiation. Problems arise when the signal sees more than one path to mains earth. An `earth loop' (ground loop) results causing current to flow between the different earth paths. This condition is usually detected as a mains frequency audible hum or buzz. To ensure safe and trouble-free operation we recommend the following: · · Have your mains system checked by a qualified electrician. If the supply earthing is solid to start with you are less likely to experience problems. Do not remove the earth connection from the console mains plug. The console chassis is connected to mains earth through the power cable to ensure your safety. Audio 0V is connected to the console chassis internally. If problems are encountered with earth loops operate the audio `ground lift' switches on connected equipment accordingly, or disconnect the cable screens at one end, usually at the destination. Make sure that turntables are correctly earthed. A chassis earth terminal is provided on the console rear panel to connect to turntable earth straps. Use low impedance sources such as microphones and line level equipment rated at 200 ohms or less to reduce susceptibility to interference. The console outputs are designed to operate at very low impedance to minimise interference problems. Use balanced connections for microphones and mix output as these provide further immunity by cancelling out interference that may be picked up on long cable runs. To connect an unbalanced source to a balanced console input, link the cold input (XLR pin 3 or jack ring) to 0V earth (XLR pin 1 or jack sleeve) at the console. To connect a balanced XLR output to unbalanced equipment, link the cold output to 0V earth at the console. Use good quality cables and connectors and check for correct wiring and reliable solder joints. Allow sufficient cable loop to prevent damage through stretching. If you are not sure ... Contact your service agent or local Allen & Heath dealer for advice. · · · · · 14 XONE:92 User Guide Plugging Up The System The XONE:92 uses professional grade 3 pin XLR, 1/4" TRS jack and RCA PHONO sockets. To ensure best performance, we recommend that you use high quality audio cables and connectors, and take time to check for reliable and accurate cable assembly. It is well known that many audio system failures are due to faulty interconnecting leads. The following mating plugs may be used to connect audio signals to the console: The input and output XLR connectors are 3 wire differentially balanced. These have 3 connector pins: Pin 1 = ground (screen), Pin 2 = signal hot (+), Pin 3 = signal cold (-). The jack sockets are the 3 pole TRS type. These are wired to work with both the balanced TRS or the unbalanced 2 pole TS type plugs without cable modification. The sockets have 3 connector pins: Inputs and outputs are Tip = signal hot (+), Ring = signal cold (-), Sleeve = ground (screen). Headphones are Tip = left, Ring = right, Sleeve = ground. The RCA phono connectors are the 2 wire unbalanced type typical of those found on equipment such as CD players, turntables and domestic amplifiers. Avoid reversing + and - on balanced connections as this will result in out of phase signals (reverse polarity) which may cause signal cancellation effects. Where long cables runs are required, balanced interconnections should be used. However, interconnections between more affordable 2-wire (signal, ground) unbalanced equipment and the console are unlikely to cause problems if the cables are kept short. Refer to the following diagram for unbalanced to balanced connections. Dealing with Ground Loops, Buzz and Interference For optimum performance all audio signals should be referenced to a solid, noise-free ground (earth) point, frequently referred to as the `star point' or `clean earth'. A ground loop is created when the signal has more than one path to ground. Should you experience hum or buzz caused by ground loops, check first that each piece of equipment has its own separate path to ground. If so, operate ground lift switches on connected equipment in accordance with the instruction manuals. Alternatively disconnect the cable screen at the destination end only. This breaks the offending loop while still maintaining the signal shielding down the length of the cable. WARNING For your safety do not remove the earth (ground) connection in the power lead of the console or connected equipment. To avoid interference pickup keep audio cables away from mains power units and cables, thyristor dimmer units or computer equipment. Where this cannot be avoided, cross the cables at right angles to minimise interference. XONE:92 User Guide 15 L CAUTION PHONO R L PHONO R L PHONO R L PHONO R MIDI OUT INPUT INPUT INPUT INPUT AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR. WARNING: THIS APPARATUS MUST BE EARTHED. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE APPARATUS TO RAIN OR MOISTURE. 4 3 L 2 R 1 AC MAINS IN ~ 100 - 240V~ 47-63Hz ~ 30W MAX L L LINE BOOTH R R L LINE MIX2 R L LINE R L AUX 2 LINE R AUX 1 L MIC 2 MIC 1 RECORD OFF 0 I L LEFT FUSE MIX 1 RIGHT L L/M RETURN ON SERIAL No: R 100 - 240V~ T500mAL 250V 20mm R R 2 R L/M RETURN 1 R WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING. ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES. MADE IN THE UK BY ALLEN & HEATH LIMITED 16 XONE:92 User Guide 1 CH1-2 MIC input. Balanced XLR. Plug in a DJ, guest or announcement microphone here. Use good quality low impedance dynamic mics such as those specifically designed for vocals. Do not use high impedance or unbalanced microphones, or condenser types which require phantom power. Use professional grade balanced cables wired as CABLE D . Use the best cable and connectors you can afford as these are typically subject to intense use and abuse in the club environment. 7 AUX 1-2 output. Impedance balanced TRS jacks. Depending on the application of the Aux mix these stereo line level outputs can be used to feed samplers and other effects units, an additional monitor, zone or recorder. Connect to balanced or unbalanced equipment using CABLE B C F or H . To connect RCA phono jack sources you can use the standard CABLE A with RCA to jack adapters, or custom make as required. 8 BOOTH output. Impedance balanced TRS jacks. Provides a line level music only stereo feed to the DJ local monitor amplifier system. It is not affected by the master fader or cue system. Connect to balanced or unbalanced equipment using CABLE B C F or H . 9 MIX 1 output. Balanced XLR. This is the main output that feeds the house PA system. Plug into the house processor/amplifier system using balanced CABLE D or E . It is not usual for unbalanced equipment to be used here. 10 MIX 2 output. Impedance balanced TRS jacks. This is an additional output that can feed the house PA system or other remote audio system. Plug into the house processor/amplifier system using balanced CABLE C or F . It is not usual for unbalanced equipment to be used here. 11 AC MAINS input. IEC cable with moulded mains plug suitable for the local supply. Please refer to Connecting Mains Power. 12 HEADPHONES outputs. Stereo TRS jack and mini-jack. Plug in stereo headphones fitted with either a stereo ¼" jack or mini-jack. Use closed-ear headphones that provide maximum acoustic isolation when cueing your sources. We recommend that you use high quality headphones rated between 30 to 100 ohms impedance. 8 ohm headphones are not recommended. 2 CH1-2 LINE RETURN input. Unbalanced TRS jacks. Connect mono or stereo line level sources which do not need to route through the crossfader. For a mono source plug into the L/M input only. For a stereo source plug the left source into the L/M input, and right into the R input. These are 3-pole TRS sockets which can accept balanced or unbalanced TRS or TS jack sources. Depending on the source connector type, use CABLE B C E or G . To connect RCA phono jack sources you can use the standard CABLE A with RCA to jack adapters, or custom make as required. 3 CH1-4 STEREO LINE input. RCA phono. Connect stereo line level music sources such as CD, MD, DAT, drum machines, keyboards or other instruments. Do not connect turntables which require RIAA equalisation. Use CABLE A . Alternatively, you can connect to jack sources using this cable with RCA to jack adapters. Avoid using low grade cables such as those often supplied with domestic equipment as these can quickly prove unreliable in use. 4 CH1-4 STEREO PHONO input. RCA phono. Plug in turntables with magnetic cartridges requiring RIAA equalisation. For non-RIAA turntables plug into the LINE input instead. Do not plug in line level sources to the phono inputs as these will overload the preamp and cause severe high level distortion. Use high grade versions of CABLE A . 5 Chassis earth terminal. A screw terminal is provided for connecting the earth straps from turntables. This connection earths the metal parts of the turntable to reduce hum, buzz or similar audible noise getting into the system. 13 MIDI output. 5 pin DIN socket. Connect to either a MIDI interface or directly to MIDI compatible equipment using a standard 5 pin DIN (MIDI) lead. WARNING To avoid damage to your hearing do not drive headphones at high listening levels for long periods of time. Start with the level control set to minimum and raise it until a comfortable listening level is achieved. 6 RECORD output. RCA phono. This provides a music only output not affected by the main mix fader. Connect to a stereo recorder such as MD, DAT or cassette to record the show. Use CABLE A with or without adapters, or a custom cable, depending on the recorder connector type. XONE:92 User Guide 17 MIC/RETURN Input Channel These controls adjust the level and tone of each source before they are mixed. Two input channels are provided. Each has two inputs. MIC/RETURN channels 1 and 2 are used for microphone or alternative stereo line source. They provide corrective source equalisation. 1 AUX 1-2 sends. Adjust the levels of the channel signals to the stereo Aux outputs. Turn fully anticlockwise to turn the signal off, fully clockwise for a maximum +6dB boost. 2 PRE switches. With the switch in its up position the signal to the Aux mix is sourced postfader. This means that the Aux send follows the channel fader movements. Press the switch to source the send pre-fader. Set in this way the fader has no affect on the Aux level. Post-fade sends are typically used to send channel signals to effects devices such as reverb processors. The amount of signal sent to the device follows the fader level. The processed (wet) signal returned to the mix elsewhere is therefore in proportion to the direct (dry) signal regardless of fader position. This could, for example, be used to add ambience to the DJ or guest vocal mic. Other post-fade uses include special recording or zone feeds. Pre-fade sends are typically used for DJ effects or to feed monitor speakers such as stage foldback. Here, it is important that fader changes made to balance the house mix do not affect the monitor levels. When working with a sampler effects device you could use either post or pre setting. If you wish to cue the sampler effect before raising the source fader into the mix then set it pre-fade. Use the sampler return channel fader to bring up or remove the effect from the mix. You can use the Aux mix to cue your music when beat or cut mixing. Set all sends pre-fade and select the headphones monitor AUX switch to listen to the selected channels. This lets you listen to the effect of mixing the sources or matching the beat before you bring it into the house mix. 18 XONE:92 User Guide 3 MIC/RTN switch. MIC/RETURN Channels 1 and 2 are the `MIC' channels. They can select either the XLR microphone input or the alternative jack stereo line return input. In the up position MIC is selected, indicated by the green led. When pressed, RTN is selected, indicated by the led changing colour to red. 4 LEVEL control. Adjusts the input sensitivity of the channel to match the connected source to the console 0dB operating level. This provides a 3537dB range with continuous adjustment for line level signals from ­15dBu to +20dBu, ­47dBu to ­10dBu for mics, or to match a wide range of RIAA turntable cartridges. Use the Cue system to correctly set the level. Reduce LEVEL if the red PK! led flashes. 5 MIC EQ. The MIC/RETURN channel 1 and 2 equaliser provides a powerful tool to adjust the tonal quality of the sound to correct source problems such as microphone characteristics, proximity effect, noise and feedback, or to adjust the overall `feel'. Start with the EQ controls set to their mid (flat) position. Then adjust to achieve the desired sound. Take time to experiment with these controls. The XONE:92 equaliser provides separate tone control over four frequency bands. The frequencies in each band may be boosted or cut by up to 15dB. The centre flat position is detented for quick resetting. HI Turn this control clockwise to boost and anticlockwise to cut the high (treble) frequencies. This has a shelving response with all frequencies above the 10kHz turning point affected. Note that frequencies below 10kHz are affected by a decreasing amount. Use HI boost to brighten up the sound by adding sparkle, and cut to reduce source hiss and ambient high frequency pickup, or to limit or lift the high response of vocal mics. MID 1 Turn clockwise to boost and anticlockwise to cut the higher mid frequencies. This has a bell shaped peak/dip response that has maximum effect at 2.5kHz. Boosting can enhance the intelligibility of vocals. On the other hand, some situations may require cutting to notch out a ringing frequency so increasing gain before feedback. MID 2 This is similar to MID 1 but affects the lower mid frequencies centred at 250Hz. Boosting can enhance the warmth of the sound while cutting can reduce the unpleasant resonant or boomy effects. LO This is similar to the shelving HI control but affects the low (bass) frequencies below the 100Hz turning point. Note that frequencies above 100Hz are affected but by a decreasing amount. Use LO boost to enhance low end punch, or cut to reduce source hum and rumble, or to remove the bassy sound of vocal mic proximity effect. 6 CUE switch. Press this switch to listen to the pre-fader channel signal in the headphones and to display its signal on the main meters. This does not affect the house mix or booth speakers and lets you audition the signal to check it before adding it to the mix. Cue is post-EQ for MIC/RTN channels so that you can check the effect of adjusting the EQ. The switch illuminates when pressed so that you can see at a glance which channel is cued. 7 DUCK / ON switch. For MIC/RETURN channels 1 and 2 use this to introduce the MIC/RTN signal to the mix outputs. Pushing the switch upwards (non-latching) `DUCK' will add the channel input to the mix outputs until released and will simultaneously duck the stereo music channels by 15dB. Pushing the switch down (latching) `ON' adds the channel input to the mix outputs without ducking the stereo channels. The central, default position is `OFF' where the Mic channel inputs are not added to the mix outputs. 8 ON / PK! LED. A dual-colour led simultaneously displays which MIC/RTN channel is switched ON, and warns of channel signal peaks. The led lights green to indicate that a channel is turned ON. Reduce the gain if the led PK! flashes red. 9 Channel fader. A 60mm stereo fader adjusts the signal level from off to unity at the top of its travel. This allows smooth fade ins and a visual indication of its contribution to the mix. The fader does not affect the pre-fade Aux sends. XONE:92 User Guide 19 PHONO/LINE Input Channel These controls adjust the level and tone of each source before they are mixed. Four STEREO music channels are provided. Each has two inputs. STEREO LINE inputs 1 to 4 are used for CD decks or alternative stereo music sources and can be routed through the crossfader and Filter effects stage. STEREO PHONO inputs 1 to 4 are used for the turntables and can also be routed through the crossfader and Filter effects stage. These provide effective equalisation to creatively shape the sound during performance. 1 AUX 1-2 sends. Adjust the levels of the channel signals to the stereo Aux outputs. Turn fully anticlockwise to turn the signal off, fully clockwise for a maximum +6dB boost. 2 PRE switches. With the switch in its up position the signal to the Aux mix is sourced postfader. This means that the Aux send follows the channel fader and crossfader movements. Press the switch to source the send pre-fader. Set in this way the fader has no affect on the Aux level. Post-fade sends are typically used to send channel signals to effects devices such as reverb or delay processors. The amount of signal sent to the device follows the fader level. The processed (wet) signal returned to the mix elsewhere is therefore in proportion to the direct (dry) signal regardless of fader position. Other post-fade uses include special recording or zone feeds. Pre-fade sends are typically used for DJ effects or to feed monitor speakers such as stage foldback. Here, it is important that fader changes made to balance the house mix do not affect the monitor levels. When working with a sampler effects device you could use either post or pre setting. If you wish to cue the sampler effect before raising the source fader into the mix then set it pre-fade. Use the sampler return channel fader to bring up or remove the effect from the mix. You can use the Aux mix to cue your music when beat or cut mixing. Set all sends pre-fade and select the headphones monitor AUX switch to listen to the selected channels. This lets you listen to the effect of mixing the sources or matching the beat before you bring it into the house mix. 20 XONE:92 User Guide 3 PHONO/LINE switch. Channels 1 to 4 are the stereo `MUSIC' channels. In the up position the switch selects the PHONO input, indicated by the green led. This input provides standard RIAA equalisation for high quality magnetic cartridge turntables. When pressed, LINE is selected, indicated by the led changing colour to red. Use this to select non-RIAA or alternative stereo music sources. 4 LEVEL control. Adjusts the input sensitivity of the channel to match the connected source to the console 0dB operating level. This provides a 20dB range with continuous adjustment for line level signals from ­10dBu to +10dBu. Use the Cue system to correctly set the level. Reduce LEVEL if the red +10 led flashes. 5 MUSIC EQ. Stereo Channels 1 to 4 feature a unique four band equaliser providing infinite attenuation of high and low frequencies and -30dB attenuation of mid frequencies. This provides the DJ with effective equalisation to creatively alter and shape the sound during live performance rather than simply correct source problems. This type of equaliser is known as `asymmetric' because the amount of boost and cut is not the same. Boost is restricted to a safe +6dB to highlight selected sounds while preventing system overload through heavy use. Cut on the other hand, is used to completely suck out affected frequencies allowing two or more tracks to be mixed together without vocals or bass lines clashing. HI Turn this control clockwise to boost and anticlockwise to cut the high (treble) frequencies. This has a shelving response when turned clockwise with all frequencies above the 2.5kHz turning point affected. When turned fully anticlockwise the response changes to a low pass filter (12dB/Oct) with all frequencies above the cutoff point being progressively attenuated. Use HI boost to brighten up the sound by adding sparkle, and cut to eliminate all HF content. MID 1 Turn clockwise to boost and anticlockwise to cut the higher mid frequencies. This has a bell shaped peak/dip response that has maximum effect at 2kHz. Frequencies in this range can be boosted by 6dB or attenuated by 30dB. The "Q" or frequency bandwidth also alters from a high Q (narrow bandwidth) on boost to a low Q wide bandwidth when cutting. This prevents accumulated gain when all EQ controls are fully clockwise. MID 2 This is similar to MID 1 but affects the lower mid frequencies centred at 350Hz. Boosting can enhance the warmth of the sound while cutting can reduce the unpleasant resonant or boomy effects. XONE:92 User Guide LO This is similar to the HI control but affects the low (bass) frequencies below the 250Hz turning point. . When turned fully anticlockwise the response changes to a high pass filter (12dB/Oct) with all frequencies below the cut-off point being progressively attenuated. Use LO boost to accentuate the bass lines/beats, and cut to eliminate all LF content. 6 FILTER assign switch. Toggle this switch to route the channel signal through either of the two VCF FILTER sections. Selecting the switch in the central `OFF' position bypasses both the VCF FILTER sections. Note: Routing the channels to the filters with the filter ON can produce audible clicks; route the channels to either filter with the filter turned off to prevent this. 7 XFADE assign switch. Toggle this switch to route the channel signal to either side of the crossfader. Selecting the switch in the central `OFF' position routes the signal direct to the mix outputs. 8 CUE switch. Press this switch to listen to the pre-fader channel signal in the headphones and to display its signal on the main meters. This does not affect the house mix or booth speakers and lets you audition the signal to cue a track before adding it to the mix. Cue is typically pre-EQ for music channels so that you do not lose your reference when beat mixing, regardless of the EQ effect, but can be selected to be post EQ by selecting the POST EQ switch in the master section. The CUE light-pipe illuminates so that you can see at a glance which channel is cued. Selecting one cue will automatically cancel the previous cue. Multiple cues can be selected by pressing two or more together, but make sure all cues are OFF first. 9 Channel meter. A 9 led meter bar always shows the presence of the pre-fader channel signal. Adjust the LEVEL control for normal music averaging 0dB with loudest moments reaching +6. Reduce the level if the red +10 led flashes. 10 Channel fader. A 60mm linear or rotary stereo VCA fader adjusts the signal level from off to the normal top position. This allows smooth fade ins and a visual indication of its contribution to the mix. The fader does not affect the pre-fade Aux sends. 21 Crossfader and VCF The crossfader is applied to the stereo music channels and lets you smoothly fade from one track into another using a single fader. It is also used as a creative performance tool to layer or interact between two sounds when cut or scratch mixing . It is fully assignable from each music channel and can be easily replaced if it becomes damaged or worn through exceptional mechanical operation. The high quality Penny & Giles type is used. The XONE:92 includes an enhanced version of the acclaimed analogue voltage controlled filter (VCF) section first introduced on the XONE:62. These filters provide live performance tools far more powerful than any equaliser or kill switch. They produce the same warm analogue resonant frequency sweeping sound as made popular by well known classic analogue synthesisers, but using the latest high performance technology for quiet, stable operation. 1 VCA Crossfader. The XONE:92 uses eight high performance voltage controlled amplifiers (VCA), a pair for each music channel. The robust 45mm fader produces a DC control voltage which determines the signal level of the VCAs. The voltage is filtered to prevent any audible noise, clicks or scratchiness resulting should the fader track become worn. This benefit would not be possible if the signal were routed through a conventional audio fader. 2 Crossfader assignment indicators. Four green leds above the crossfader help you visually check which channels are routed to the crossfader. 3 Crossfader Curve. XONE:92 allows the response of the crossfader to be altered to match all mixing styles. Turning the crossfade curve control fully anticlockwise gives a progressive curve with a dip (4dB) in the centre position. Rotating the control clockwise gradually reduces the centre dip and sharpens the attack. Fully clockwise the response is almost instantaneous and full signal level is reached as soon as the crossfader knob is moved from its end stop. 4 XFADE select switch. In the central position the music signal level is unaffected by the crossfader. Toggle to route the VCA control signal through the crossfader. To route to the left (X) side make sure the switch is in its left position. Switch to the right position to route to the right (Y) side. The relevant channel crossfader assignment indicator 2 will light. XONE:92 User Guide 22 Replacing the Crossfader The crossfader on a DJ mixer is heavily used and can suffer considerable wear and tear. The audio design using VCAs prevents clicks and scratchiness as the fader wears. However, the movement can become mechanically stiff or sloppy in time, or become ingrained with dirt. Should this be the case the fader may need replacement. The XONE:92 crossfader is removable and can easily be replaced in a few minutes. Make sure you order the correct Penny & Giles version from your Allen & Heath dealer: Part number 002-719. The VCF Filters A voltage controlled filter is an audio filter where the cut-off frequency is altered by a DC control voltage rather than a variable resistor. This produces a much wider operating range and more control over the filter response to create unlimited combinations of tonal effect. Two stereo VCFs are provided, one either side of the crossfader. Each can be switched in or out, has its own frequency sweep control and can be assigned to either side of the crossfader. Two independent Low Frequency Oscillators LFO provide filter modulation. 5 FILTER ON switch. Each filter has its own ON switch. The blue light-pipe lights when the filter is switched on. The signal is not affected by the filter if the switch is in its off position. Use this to punch the filter effect in or out. 6 FILTER assign switch. In the central position the music signal is not affected by the filter. Toggle to route the signal through the filter. To route to the left (X) filter make sure the switch is in its left position. Switch to the right position to route to the right (Y) filter. To avoid audible clicks only route channels to the filters when the filter is OFF. Use a medium size cross-point (Pozidriv) screwdriver to undo and remove the two outer screws on the crossfader plate. Do not remove the inner screws. Lift the crossfader assembly up and away from the console panel. Unplug the cable from the old crossfader and plug in the new assembly. Check that the connector is correctly aligned and pushed on. Replace the assembly making sure the cable faces the left side of the console. Refit the screws and test operation. 7 FREQ VCF sweep control. The VCF control sets the cut-off frequency of the filter (-3dB point). Each filter has its own frequency sweep control to adjust the cut-off point anywhere from low to high frequency. Rotating the control during performance produces dynamic sweeping effects or filter sweeps. These large soft touch controls are positioned either side of the crossfader for convenient live operation. 0dB -20 -40 -60 -80 0dB -20 -40 -60 -80 DIP CUT XONE:92 User Guide 23 8 RESONANCE control. Adjust this to change the `Q' or `sharpness' of the filters. This affects how they respond around the cut-off frequency. At the minimum MILD setting the filters have a gentle rolloff `knee' giving a subtle, smooth response. At the clockwise WILD setting they produce a resonant feedback boost around cut-off resulting in some very dramatic performance effects. The sound varies according to the filter type selected. To avoid unexpected results it is best to start experimenting with RESONANCE set to a low position. Set the control to the "two o'clock" position for the flattest frequency response RESONANCE LFO modulation The XONE:92 VCF filters are further enhanced by two independent LFOs. The LFOs can be applied to either VCF for additional cyclic filter modulation effects. 11 LFO ON switch. Each LFO has its own ON switch. The red led lights when the LFO is switched on. The filter is not affected by the LFO if the switch is in its off position. Use this to punch the LFO effect in or out. HI (WILD) MID 0dB LO (MILD) 12 LFO DEPTH control. Rotate control knob clockwise to increase the depth (amount) of the LFO modulation applied to the VCF. LO FREQUENCY HI High RESONANCE settings can result in significant boost of selected frequencies. Reduce the channel GAIN if the signal levels increase enough to light the red PK leds in the output meters. Failure to do this may result in system overload and distortion. 13 TAP tempo control. `Tapping' the button sets the speed of the LFO in time with the last two button presses. Once set, the light-pipe flashes red in time with the LFO. 14 X2 tempo switch. Press this switch to double the LFO speed; determined by setting the TAP tempo 13 . 9 VCF TO XFADER control. Press this switch to assign either filter to the crossfader. The crossfader can then be used instead of the FREQ VCF sweep control to create filter effects whilst crossfading. 10 VCF LINK 2-1. Press this switch to link FILTER 2 VCF to FILTER 1VCF. FILTER 2 FREQ can now be controlled by the FREQ VCF sweep control of FILTER 1. This can be used to synchronise the cut-off point of both filters. For instance, assign Channel 1 to Filter 1 and Channel 2 to Filter 2. Select a low pass filter on filter 1 and a high pass on filter 2. With both filters ON and the link switch selected, the low frequencies of channel 1 will be accurately joined to the high frequencies of channel 2. This can be used to produce to incredibly smooth mixes or to mix tracks that would otherwise clash when mixed conventionally. 24 XONE:92 User Guide Filter Type Select The filters are `state variable'. This means that they provide three simultaneous filter types, high-pass, band-pass and low-pass. Three large illuminated switches select which type is active. You can press any combination together to create different response types such as `notch' and an interesting `all-pass' effect. The switches are `soft switched' for live performance, meaning that the audio signal is ramped between filter states to prevent audible clicks. Note that the last selected type is lost when power is removed from the console. The LPF is always selected when power is applied. The graphs below show the effect on the audio frequency response for the three filter types. The range of sweep from low to high frequency is shown together with the effect of adjusting RESONANCE (one frequency with several resonance settings shown). The vertical scale shows the amount of cut or boost around the normal 0dB operating level. The horizontal scale shows the change in frequency from low (bass) to high (treble). 11 HPF. Press this switch to select the highpass filter. Frequencies below the cut-off point are removed. The cut-off point is adjusted using the large VCF control. At minimum little effect is heard as only sub bass frequencies are removed. Sweep clockwise to gradually remove the bass line followed by the higher frequencies. The highest frequency is limited to 10kHz as little useful material is heard beyond this. Tip. Use the HPF with the VCF as a mix aid. Set the VCF control to the nine o'clock position to remove all the low frequencies when bringing a track into the mix. Progressively rotate the VCF control anticlockwise to bring in the bass. 12 BPF. Press this switch to select the bandpass filter. Frequencies above and below the cut-off point are removed leaving just a narrow band of sound. Sweep VCF around its mid position to affect lead sounds such as keyboard and vocals. Tip. Try picking out individual sounds such as vocals and mixing them into the beat and bass of the opposite track to create a whole new mix. Add a little resonance to the BPF to lift the sound out of the mix. +20 +15 +10 +5 0dB -5 -10 -15 -20 HI-PASS FILTER LO HI 13 LPF. Press this switch to select the low-pass filter. Frequencies above the cut-off point are removed. The cut-off point is adjusted using the VCF control. At minimum only sub bass remains. Sweep clockwise to gradually introduce the bass line followed by higher frequencies into the mix. Tip. 20 100 1kHz 10k 20k +20 +15 +10 +5 0dB -5 -10 -15 -20 BAND-PASS FILTER LO HI Try sweeping the LPF back to a low setting to keep the beat and energy going while bringing another track into the mix. Try also punching in the filter and sweeping it back from high to low in time with the beat. Punch it out at the start of the next bar. In addition to the three basic filter types you can experiment with new effects by selecting combinations of switches together. Press and release the switches together. They illuminate to show which filter types are active. For example: 20 100 1kHz