Behringer | Xenyx XL1600 | XENYX XL3200/XL2400/XL1600

XENYX XL3200/XL2400/XL1600
Large Format Mixers
XENYX XL3200
XL2400/XL1600
XENYX — Premium 16/24/32-Input
4-Bus Live Mixer with XENYX Mic
Preamps and British EQs
Ultra-low noise, high-headroom
analog mixer for live, front-of-house,
monitor, corporate and touring
audio applications
8 (XL1600)/16 (XL2400)/24 (XL3200)
Mono channels each feature:
• State-of-the-art XENYX
Mic Preamps
• Neo-classic “British” 4-band EQs
4 stereo channels each feature:
• Line inputs with ultra-high
RFI suppression designed for
live application
• 4-band shelving-type EQ
• Switchable to Mic input
4 Subgroup outputs with inserts plus
2 independent main outputs with
inserts on Main A
Mute, Solo, Subgroup and Main
routing switches on all channels
2 multi-functional stereo FX returns
with comprehensive routing options
2 Headphone and Speaker outputs
with selectable Main/CD/Tape inputs
Solo-In-Place with PFL/AFL function
Full featured Talkback function with
XLR input and Level control is
assignable to Mon/Aux/Group/Main
Introducing a bold new line of live
sound mixers that combine professional
features, dramatic styling and astounding
value. XL Series’ intuitive layout and
color-coded control interface is
designed to make them easier to use.
We’ve added the features you’ve been
asking for and then some more. And of
course the XL3200, XL2400 and XL1600
are build around our proven XENYX
high-headroom, low noise mic preamps
and warm, musical EQ.
The Ins and Outs
Some manufacturers can be sneaky
when they tell you how many inputs
their mixers have, counting features like
CD/TAPE IN as an input. But the XL series
really gives you 8 (XL1600), 16 (XL2400)
and 24 (XL3200) mono channels and
four stereo channels (with two ¼" inputs
apiece—an additional 8 line-level inputs
(which can also be used for 4 additional
mono mic channels), making it easy
to accommodate a wide variety of
live performance configurations.
Depending on which XL mixer you
choose, that means you can connect
up to 8, 16 or 24 microphones (or other
mono instruments) and up to four stereo
instruments (keyboards, for example).
You also get four buses, allowing you to
assign multiple channels—say all the mics
on a drum kit or all the backup singers’
mics—to a single fader.
Best of all, you don’t need a black belt
in engineering to operate the XL series.
To get started, assign all mics and
instruments to their channels by
connecting them to the corresponding
jacks on the back panel. Now, get ready
to quickly become acquainted with the
XL series’ incredibly user-friendly design.
Continued on next page
Page 2 of 8
Plenty of channels, all in living color
XENYX XL3200
XL2400/XL1600
All dials on the XL series are assigned
to colors that not only allow you to easily
locate each function, but to also quickly
identify corresponding faders.
14-LED ladders for Main and
Monitor level metering
At the top of each mono channel strip,
you’ll find a TRIM dial (white) for adjusting
input gain and an 80 Hz switch that can
eliminate unwanted infrasonics such as
mic-handling noise.
Separate pre/post Main B output
Long-wearing 60 mm logarithmictaper faders and sealed rotary
controls
Internal autorange power
supply for maximum flexibility
(100 – 240 V~), noise-free audio,
superior transient response plus
low power consumption for
energy saving
Each mono channel has a 4-band EQ
(High, High Mid, Low Mid, Low). High Mid
and Low Mid dials (blue) are each paired
with a FREQ control (lighter blue) that
allows you to select the frequency boosted
or cut. Directly below the EQ, there’s an
EQ switch allowing you to switch between
processed and unprocessed signals.
What the heck is “British EQ”?
British EQ is a smashing thing to have
on your side when you start reaching for
those channel equalization knobs at a live
concert or in the studio.
The EQ’s on British consoles from the
60’s and 70’s are what many engineers
believe does their sound the best justice.
When it comes to tweaking your sound,
they’re kind, gentle and above all, musical.
It’s like drinking a fine scotch instead of
fortified wine—or maybe receiving a warm
hug instead of a kick to the crotch.
British EQ’s distinct configuration
of wider curves/lower Q and harmonic
phase characteristics allows you to add
or subtract EQ more generously than you
can with conventional EQ circuit designs.
When you add low midrange, you get
a firmer sound instead of a nasty bonk.
When you back high frequencies off a
bit, treble backs off just a hair instead of
turning muffled.
Back to the Strip
Controls for the channel’s FX (orange),
MON (blue) and AUX (red) sends are
directly below the EQ section. Use these
to assign a channel to an outboard
FX processor or monitor and auxiliary
channels. Further down the channel
strip, the PAN control (black) determines
the signal’s position in the stereo mix.
The channel fader (black) adjusts the level
of the channel signal as part of the main
mix. Press the 1-2 or 3-4 switches to assign
the channel to a bus.
Stereo channels are configured
in the same way, but with a
fixed-frequency 4-band EQ (blue).
They are equipped with ¼" stereo
inputs, as well as XLR mono inputs,
providing 4 additional Mic channels.
Rockin’ Bureaucracy
Once all mics and instruments are
connected, it’s time to take a look at
the MAIN, subgroup, MONITOR and
FX sections.
All four subgroups’ controls are
positioned in the lower right corner of
the mixer. They feature individual faders
with CLIP LEDs, SOLO switches and
PAN controls to adjust the signal’s position
in the stereo image.
The FX section is positioned on the
middle right section of the console.
Both FX 1 and FX 2 signals have orange
faders; SOLO and MUTE switches; 1-2
and 3-4 switches that assign the signal to
subgroups; MAIN switches to route the
signals to the main outputs; MON dials
(blue) that determine the level of FX heard
in Monitor sends 1 & 2; and SEND dials
(orange) for adjusting the volume of all
FX send signals.
Both monitor sends also have their own
dedicated faders (blue), as well as MUTE
and SOLO switches.
Continued on next page
Page 3 of 8
The back story
XENYX XL3200
XL2400/XL1600
The MAIN A section lies in the bottom right
section of the board. It gives you a channel
fader (light grey); a 13-LED master level meter
in the top right corner gives you a dynamic
visual gauge of overall output; a MUTE switch
(red) mutes all input channels except CD/TAPE
inputs; and a BAL control (black) adjusts the
mix of the left and right output signal before
they are routed through the MAIN A output.
Above, you’ll find the MAIN B section, which
governs the signal sent through the MAIN B
outputs on the back panel. Use the MAIN B
section and outputs to connect to a separate
power amplifier and multiple loudspeakers, or to
a stereo recording system.
Talking back, listening up
The XL series features a Talkback section in
the upper right corner with its own XLR input,
LEVEL control (red), and switches that allow you
to send its signal to either the MON, AUX, GROUP
or MAIN outputs.
Finally, a pair of headphone outputs at the top
of the board allows you to personally monitor
your mix, and a pair of BNC lamp outputs ensures
you’ll never have to mix in the dark.
¼" FX
1&2
outputs
The back panel of XL series mixers
features an intuitive patch bay that gives
you tons of flexibility in configuring a live
show. In the upper left corner you’ll find
the MAIN OUTPUTS section. There’s left
and right XLR outputs for connecting to
PA speakers, as well as dual ¼" inserts
for connecting a dynamics processor or
equalizer to further tweak the main signal.
There’s also dual OUT B jacks governed by
the MAIN B dial on front.
Next door to the MAIN OUTPUTS section
is the FX/MON/AUX SENDS section. The FX 1
and FX 2 ¼" outputs send signal to outboard
effects processors. MON 1 and MON 2 XLR
outputs send signal to monitors, and AUX
1 and AUX 2 XLR outputs can be used for
either effects processors or monitors.
The next section to the right
contains the AUX RETURNS. Stereo AUX
inputs 1 & 2 allow you to connect
more effects processors or submixers,
while stereo FX 1 & 2 returns accept
processed signals sent from the FX 1 and
FX 2 outputs.
Each subgroup has its own
INSERT and OUT ¼" jacks. The inserts
allow you to connect noise gates,
compressors or equalizers, while the
OUT jacks send the subgroup signal to,
for example, a multi-track recorder.
Along the bottom of the back
panel, you’ll find the mono and stereo
channel inserts. Mono channels feature
both a ¼" and XLR input, as well as
an INSERT jack for applying outboard
equipment and a DIRECT OUT jack for
sending signal to a device such as a
multi-track recorder. Stereo channels feature
a single XLR input and dual ¼" inputs.
Take On The World
Not every town on the planet uses
the same voltage common in yours.
Unfortunately, this sometimes doesn’t
occur to jet-setting sound technicians
until they’re 5,000 miles from home. With
the XL series mixers, this is never an issue.
The internal autorange power supply can
run on anything from 100 to 240 V with
noise-free audio, top-quality transient
response and low power consumption.
Left and right SPEAKER ¼" outputs
allow you to connect monitor speakers
that provide the same signal as the
headphone outputs.
Balanced
XLR
Monitor
outputs
¼" AUX
returns
¼" ouputs
for monitor
speakers
¼" Subgroup INS
for compressors,
etc., and ¼"
Subgroup OUT to
recording device
¼"
DIR(ect)
OUT
Insert I/O
for signal
processing
on individual
channels
(pre-fader, preEQ and pre-aux
send)
¼" INS jacks
for dynamics
processors or
equalizers
XLR main
outputs
¼" TRS
balanced/
unbalanced
input
XLR
OUT B
outputs
Phantom
power
switch
Balanced
XLR AUX 1
& 2 outputs
RCA CD/TAPE
IN/OUT
Left and right
balanced/
unbalanced line
level ¼" TRS inputs
8/16/24 Mono channels,
each with balanced
XLR In with XENYX mic
preamp and phantom
power for condenser
mics
Page 4 of 8
XENYX XL3200
XL2400/XL1600
Incredible features, outstanding sound,
unbelievable price
easy-to-learn choice on the market.
You could always pay for a name, but
wouldn’t you rather grab a badass mixer
and still have enough money left over to
start purchasing other essentials?
The XL series mixers pack all the most
desirable features—British EQ, XENYX mic
preamps, etc.—into the most affordable,
Input Wiring
MDX2600
HA4700
XL1600 Rear Panel
ULM 2000
ULR2000
VT30FX
DI400P
Keyboard
XM8500 Mics
Electric
Guitar
FBQ6200
Bass Guitar
REV2496
CD
Player
MDX2600
VP1220
VP1800
EP4000
MD Recorder
B215XL
Drums
DSP2024P
Page 5 of 8
XENYX XL3200
XL2400/XL1600
TRIM control
adjusts input gain
Phantom
Power LED
MIC
TRIM
80 Hz switch
activates highpass filter
12 kHz
shelving
HIGH EQ
HIGH MID EQ is
sweepable from
100 Hz to 8 kHz
LOW MID EQ is
sweepable from
100 Hz to 2 kHz
LINE
TRIM
HIGH MID control
boosts and cuts
frequencies
centered at 3 kHz
SOLO LEVEL adjusts
the volume level of all
solo signals routed to
the headphone and
loudspeaker outputs
80 Hz shelving
LOW EQ
LOW MID control
boosts and cuts
frequencies
centered at 300 Hz
FX 1 & 2 dials
adjusts volume
signal of channel
to FX unit
EQ switch activates
the equalizer
MON 1 & 2 dials
adjusts volume
signal of channel to
monitors
PAN control sets
position of the
channel signal in
the stereo mix
CLIP LED
PRE switch changes
routing of both effects
paths from “postfader” to “pre-fader”
AUX 1 & 2 dials
adjust volume
signal of channel
to AUX sends
MUTE switch
mutes the
channel
SOLO switch isolates
channel signal in
the headphones
SIG LED
ROUTING SWITCHES
(1-2, 3-4) assign
channel to a subgroup
MAIN switch routes the
channel signal to the
main mix
Silky-smooth faders on
all channels and buses
Page 6 of 8
XENYX XL3200
XL2400/XL1600
¼" PHONES
outputs
BNC lamp
connectors
13-segment
LEVEL meters
for MAIN and
MONITOR output
FX SEND control for
adjusting volume of
all FX send signals at
the corresponding FX
send jacks and at the
inputs of the built-in FX
processor
Assignment
Switches
MONITOR
section
MAIN switch
routes signal to
MAIN outputs
PHONES A/B control
adjusts volume of
headphone output
LEVEL control
adjusts the volume
level of the signal
routed to the
MAIN B output
AUX master
section
BAL control adjusts
mix of left and right
output signal before
they are routed to the
MAIN A output
XLR mic input
for talkback
section
TALKBACK section
with XLR mic input,
LEVEL control
and assignment
switches
MON controls add an
effect signal to the
monitor buses 1 and 2
PFL/AFL switch
changes solo
function from PFL
mono to AFL stereo
LEVEL control
adjusts signal
volume of CD/TAPE
IN in main mix
SPKR control
adjusts level of
SPEAKERS output
SOURCE switch
selects signal source
for headphone and
loudspeaker outputs
(main or CD/TAPE
signal)
STEREO/MONO
switch changes the
MAIN B signal from
mono to stereo
PRE/POST switch is
used to determine
whether the signal
is tapped in front or
behind the MAIN A
fader
MAIN MUTE
switch mutes
all input
channels
MAIN A fader
SUBGROUP sections with
faders, SOLO switches, PAN
control and MAIN switch
Page 7 of 8
XENYX XL3200
XL2400/XL1600
MONO INPUTS
Microphone inputs (XENYX Mic preamp)
Type XLR connector, electronically balanced,
discrete input circuit RF rejection filters
Mic E.I.N.1 (20 Hz - 20 kHz)
@ 0 Ω source resistance 127 dB/129.7 dB A-weighted
@ 50 Ω source resistance 126 dB/128.3 dB A-weighted
@ 150 Ω source resistance 125 dB/126.5 dB A-weighted
Frequency response
To Direct Out To Insert Send Gain range Max. input level Impedance
Signal-to-noise ratio Distortion <10 Hz - 50 kHz (-1 dB)
<10 Hz - 100 kHz (-3 dB)
<10 Hz - 90 kHz (-1 dB)
<10 Hz - 170 kHz (-3 dB)
0 dB to +60 dB
+24 dBu @ 0 dB Gain
approx. 2.6 kΩ balanced
120 dB / 122 dB A-weighted
(0 dBu In @+22 dB Gain)
(THD+N) typ. 0.0008 %
Line input
Type Impedance Gain range Max. input level ¼" TRS jack, electronically balanced
approx. 20 kΩ balanced,
approx. 10 kΩ unbalanced
-10 dB to +40 dB
+22 dBu @ 0 dB Gain
Channel inserts
Type Max. input level ¼" TRS jack, unbalanced
+22 dBu
Channel direct outs
Type ¼" TRS jack, balanced
Impedance 75 Ω balanced
Max. input level +22 dBu
Crosstalk2
Main fader closed 100 dB
Channel muted 90 dB
Channel fader muted 85 dB
AUX/MON SEND
Type Impedance
Max. output level XLR connector, electronically balanced
approx. 75 Ω
+22 dBu
Frequency response (Mic In  Main Out)
<20 Hz - 20 kHz +0 dB / -1 dB
<10 Hz - 160 kHz +0 dB / -3 dB
FX send
Type Impedance Max. output level ¼" TRS jack, balanced
75 Ω
+22 dBu
STEREO INPUTS
Type Impedance Gain range Max. input level 2 x ¼" TRS jack, balance
approx. 20 kΩ balanced, 10 kΩ unbalanced
-20 dB to +20 dB
+22 dBu @ 0 dB Gain
AUX/FX Returns
Type Impedance
Max. input level ¼" TRS jack, unbalanced
approx. 20 kΩ
+22 dBu
CD/TAPE IN
Type Impedance
Max. input level
RCA connector
approx. 10 kΩ
+22 dBu
Subgroup outputs
Type Impedance
Max. output level ¼" TRS jack, unbalanced
approx. 75 Ω
+22 dBu
Group inserts
Type Max. output level ¼" TRS jack, unbalanced
+22 dBu
EQUALIZER
EQ mono channels
LOW HIGH MID LOW MID HIGH LOW CUT
80 Hz / ±15 dB
100 Hz to 2 kHz / ±15 dB
400 Hz to 8 kHz / ±15 dB
12 kHz / ±15 dB
80 Hz, 12 dB/oct.
EQ stereo channels
LOW 80 Hz / ±15 dB
LOW MID
300 Hz / ±15 dB
HIGH MID
3 kHz / ±15 dB
HIGH 12 kHz / ±15 dB
Channel inserts
Type
Max. input level
¼" TRS jack, unbalanced
+22 dBu
MAIN OUTPUTS A/B
Type XLR connector, electronically balanced
Impedance approx. 240 Ω balanced, 120 Ω unbalanced
Max. output level
+25 dBu
MAIN INSERTS
Type Max. input level ¼" TRS jack, unbalanced
+22 dBu
SPEAKERS
Type Impedance Max. output level ¼" TRS jack, unbalanced
75 Ω
+22 dBu
Page 8 of 8
XENYX XL3200
XL2400/XL1600
PHONES A/B OUTPUT
Type ¼" TRS jack, unbalanced
Max. output level +22 dBu / 600 Ω
CD/TAPE OUTPUT
Type
Impedance Max. output level POWER SUPPLY
XL2400
Power consumption
Dimensions (H x W x D)
Weight (net) XL1600 XL2400 RCA connector
approx. 1 kΩ
+15 dBu
XL3200 Main mix system data3 (Noise)
Main mix @ -∞,
channel fader @ -∞ -110 dB / -114 dB A-weighted
Main mix @ 0 dB,
channel fader @ -∞ -95 dB / -98 dB A-weighted
Main mix @ 0 dB,
channel fader @ 0 dB -92 dB / -95 dB A-weighted
FUSE
60 W
65 W
70 W
(100 - 240 V~, 50/60 Hz) T 2,0 A H 250 V
Mains connector Standard IEC receptacle
PHYSICAL/WEIGHT
XL1600
Dimensions (H x W x D)
Weight (net) 11.7" x 31.3" x 25.25"
298 x 796 x 641 mm
35.3 lbs / 16 kg
XL3200
Dimensions (H x W x D)
Weight (net)
11.7" x 39.5" x 25.25"
298 x 1004 x 641 mm
43.5 lbs / 19.7 kg
Please note these specifications are preliminary and conceptual in nature,
and as such are subject to change as product development progresses.
This information is supplied for market research purposes only and is not
to be made public in any manner. This document is solely the property of
The MUSIC Group, or one of its subsidiaries, and must be surrendered upon
request of the owner.
11.7" x 23.1" x 25.25"
298 x 587 x 641 mm
26.5 lbs/12 kg
For service, support or more information contact the BEHRINGER location nearest you:
Europe
MUSIC Group Services UK
Tel: +44 156 273 2290
Email: CARE@music-group.com
USA/Canada
MUSIC Group Services NV Inc.
Tel: +1 702 800 8290
Email: CARE@music-group.com
Japan
MUSIC Group Services JP K.K.
Tel.: +81 3 6231 0454
Email: CARE@music-group.com
Technical specifications and appearances are subject to change without notice and accuracy is not guaranteed. BEHRINGER is part of the MUSIC Group (music-group.com). All trademarks are the property of their respective owners. MUSIC Group accepts no liability for any loss
which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. Colors and specifications may vary from actual product. MUSIC Group products are sold through authorized fullfillers and resellers only.
Fullfillers and resellers are not agents of MUSIC Group and have absolutely no authority to bind MUSIC Group by any express or implied undertaking or representation. This manual is copyrighted. No part of this manual may be reproduced or transmitted in any form or by any
means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of MUSIC 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. 985-10000-00391
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