Allen & Heath Xone:464
USER GUIDE
Publication AP4147
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 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 crossfader 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.
These terms of warranty apply to UK sales. In other territories the terms
may vary according to legal requirements. 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:464 User Guide AP4147 Issue 4
Copyright © 2001 Allen & Heath Limited. All rights reserved
Allen & Heath Limited
Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK
http://www.allen-heath.com
2
XONE:464 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.
Do not remove covers:
Operate the console with its covers correctly fitted. Disconnect mains
power by unplugging the power cord if the covers need to be removed
for setting internal options. Refer this work to competent technical
personnel only.
Power sources:
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.
Power cord routing:
Route the power cord so that it is not likely to be walked on, stretched
or pinched by items placed upon or against it.
Grounding:
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.
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.
Ventilation:
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.
Heat and vibration:
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.
Servicing:
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.
Installation:
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.
XONE:464 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
WIRE COLOUR
European
USA/Canada
L
LIVE
BROWN
BLACK
N
NEUTRAL
BLUE
WHITE
E
EARTH GND
GREEN & YELLOW
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
4
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.
Environment :
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.
Cleaning :
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.
Transporting :
The console may be transported as a free-standing unit or mounted in
a rack or flightcase. Ensure that the connector pod is secured in place
with the locking screws fitted to prevent movement. Protect the
controls from damage during transit. The faders are best positioned at
the top of their travel if the console is transported without a suitable
flightcase, rack or carton. Use adequate packing if you need to ship
the unit.
XONE:464 User Guide
Introduction
This user guide presents a quick reference to the function and application of the
XONE:464. 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.
Note that this user guide refers to the revised model XONE:464. This has minor changes
from the original model. Details are provided in the addendum at the rear of this guide.
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.
Contents
Warranty ................................................ 2
Connecting Auxiliary Outputs..............18
Important Safety Instructions ................ 3
Connecting Phones and Monitor ........19
Precautions ........................................... 4
User Connector Options......................19
Front and Rear Panel Drawings............ 6
Mono Input Channel ............................20
Welcome to the XONE:464 ................... 7
Stereo Input Channel...........................22
Specifications ........................................ 8
Crossfader ...........................................24
Block Diagram....................................... 9
Replacing the Crossfader....................25
Input and Output Connections ............. 9
VCF Filters ...........................................26
Quick Start........................................... 10
External Input.......................................28
Installing the Console.......................... 13
Master Mix............................................29
Connecting Mains Power.................... 14
Console Monitor System .....................30
Earthing ............................................... 14
Club Application .................................33
Plugging up the System...................... 15
Options ................................................34
Connecting the Mono Channel........... 16
Addendum: Model Changes ...............34
Connecting the Stereo Channel ......... 17
Tips and Troubleshooting ...................35
Connecting the External Input ............ 17
Cue Sheet ............................. Rear Cover
Connecting Mix1,2 Outputs ................ 18
XONE:464 User Guide
5
MIX 2
L
OUT
L
2 1
INSERT
R
MIX 1
L
OUT
R
R
MIX2
R
MIX1
L
M
STEREO INPUTS
L
INSERT
10
9
RIAA
MONO INPUTS
8
7
6
IN A
L
IN A
L
IN A
L
IN A
L
IN A
L
IN A
L
R
R
R
R
R
R
L
OUT
OUT
OUT
R
R
AUX 6
XLR OUT
1
2
3
IN B
L
IN B
L/M
R
AUX 5
AUX 4
IN B
L/M
R
AUX 3
AUX 2
R
IN B
L/M
IN B
L/M
R
AUX 1
TIP +
RING -
3
2
1
INSERT
INSERT
INSERT
IN
IN
IN
IN
4
3
2
1
DIR
OUT
4
DIR
OUT
3
DIR
OUT
2
DIR
OUT
1
IN B
L
R
LINE IN/OUT
+OUT
- OUT
4
INSERT
5
RIAA
R
INSERT
SEND
1
2
TIP
RETURN
RING
PHANTOM POWER
+IN
- IN
3
INPUT
TIP +IN
MIC 4
+48V
MIC 3
+48V
MIC 2
+48V
MIC 1
+48V
RING -IN
EXT IN
L/M
L
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
WARNING - THIS APPARATUS MUST BE EARTHED.
SUPPLY VOLTAGE RANGE:
LOCAL MONITOR
TIP = L
RING = R
CAUTION
R
R
AC MAINS IN ~
100 - 240V ~
47-63Hz ~ 30W MAX
OFF
ON
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
SYS-LINK OUT
FUSE
100 - 240V~ T500mA 250V 20mm
USER
(option)
Made in the UK by
A DIVISION OF HARMAN INTERNATIONAL INDUSTRIES Ltd.
6
WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE
REPLACE FUSE WITH SAME TYPE AND RATING
ATTENTION: REMPLACER LE FUSIBLE AVEC UN DES MEMES CARACTERISTIQUES.
REFER TO USER GUIDE BEFORE CONNECTING SUPPLY
NO USER SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
SERIAL No:
XONE:464 User Guide
Welcome to the XONE:464
The Allen & Heath XONE:464 presents a unique concept in combining a professional live
sound mixer with a serious DJ performance tool in a dedicated club format. And, above
all, it features sound quality second to none. XONE:464 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. We have had great
fun designing this new range. We are sure you will get even more enjoyment using it.
MONO Inputs The 4 mic/line inputs are ideal for live performances, or for your MC, DJ
and presenter microphones. An extensive Aux system lets you provide artists with
individual stage monitors, helping them to give their best performance. It can also feed
multiple effects processors such as reverb and delay. A 4 band EQ with swept frequency
mids is the same as that found on top end professional consoles, and helps you deal with
source problems, enhance clarity or sweeten the live mix. Insert jacks let you patch in
channel processors such as compressors to help control the dynamic range of individual
microphones. Smooth 100mm faders with 10dB available boost provide fine precision for
live mixing. Direct outputs are provided for recording, spot effects or channel linking.
STEREO Inputs The 6 dual stereo channels allow selection of up to 12 stereo sources
including 4 RIAA turntables. The 4 band performance EQ gives you a unique extra band
for solid bass control. Boost restricted to 6dB prevents system overload while an
extended cut of up to a massive 26dB provides complete sound sculpturing. Full routing
lets you assign any channel direct to the main mix or through either X or Y crossfader
channels. Large illuminated Cue switches and signal meters keep you in control of your
sources. The Aux system is tucked out of the way of the performance controls and
provides 2 mono and 2 stereo feeds for monitors, effects, recording or additional zones.
EXT Input Provides an additional stereo input to Mix1, Mix2 or both, ideal for stage
reverb returns or sub inputs. Or it can be configured as an external monitor source.
VCA Crossfader Uses a DC voltage to control the audio meaning no clicks, bangs or
crackles as the fader wears. The crossfade curve can be set for either 6dB dip in the
middle, ideal for seamless beat mixing, or for constant level, better suited to scratch
mixing. The fader is removable from the front panel for quick replacement. Crossfader
output can be fed to the Aux system which means that you can provide zone and effects
feeds from your mix. A Pan control provides yet more performance effect.
VCF Filters
Unique to XONE, two stereo state variable Voltage Controlled Filters
provide the DJ with a new tool for 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
100Hz to 20kHz. The 3 filter types HPF, BPF and LPF can be combined to create many
more amazing effects. A large Resonance control changes the ‘Q’ or sharpness of the
filter effect from subtle to extreme. Each VCF has its own in/out switch to toggle the
effect on or off.
MIX Outputs Mix1 and Mix2 are two independent stereo mixes on balanced XLR and
with inserts for patching in limiters and other processors. Use Mix1 for music only and
Mix2 for music + mics, or use them as completely different mixes, ideal when you want to
create separate stage and DJ mixes feeding independent rigs. Both include additional
stereo outputs suitable for recording your mix. A twin connector Mono output sums the L
and R signals from either Mix1 or Mix2 to provide additional mono zone and/or lighting
controller feeds.
MONITOR Section Extensive monitoring is provided so that you can keep a check on
every input and output signal to prevent overload and to cue your mix. A stereo meter
always shows Mix1 output level, another the selected monitor or cue source. An 8 way
switch bank selects which output to monitor, and is automatically overridden by any Cue
pressed. Two pairs of headphones can be plugged in. Split-CUE allows accurate track
matching. An independent stereo Booth Monitor feed includes Cue enable, Mono sum
and Mute functions to satisfy all your monitoring needs.
XONE:464 User Guide
7
Specifications
0dBu = 0.775 Volts rms
0dBV = 1 Volt rms
+4dBu = 1.23V rms
-10dBV = 316mV rms
Maximum output level
XLR
+26dBu into >2k ohm load
TRS jack
+21dBu into >2k ohm load
RCA phono
+15dBu into >10k ohm load
Channels
+21dB
Mix to output +23dB
Turn on 9dB before clipping
MIX1 / MONITOR Peak reading 12 led 3 colour
+0/-1dB 20Hz to 40kHz
< 0.006% THD+noise measured at +14dBu 1kHz
< 90dB Channel shutoff measured at 1kHz
Internal headroom
Peak indicators
Meters
Frequency response
Distortion
Crosstalk
Noise
MIC EIN
Residual output noise
Mix noise, ch routed
Measured rms 22Hz to 22kHz
-128dB referred to 150 ohm source
XLR
-90dBu (-94dB S/N)
TRS jack
-84dBu (-84dB S/N)
RCA phono
-92dBu (-84dB S/N)
XLR
-86dBu (-90dB S/N)
TRS jack
-83dBu (-83dB S/N)
RCA phono
-91dBu (-83dB S/N)
Power Supply
Internal switch mode power unit with auto sensing mains input.
MAINS IN socket IEC 3 pin
Power lead
Country dependent with moulded mains plug supplied
AC mains
100 to 240V AC @ 50/60Hz
Consumption
30W max
Mains fuse rating 100-240V AC T500mA 20mm
Dimensions and Weights
The connector pod can be rotated and fixed in one of two positions to allow either
desktop operation with rear facing connectors, or 19” rack mounting with underside
connectors in 10U space.
Width
Height
Depth
Desktop
483mm (19”)
192mm (7.6”)
530mm (20.9”)
Rack mounted
483mm (19”)
444mm (17.5”) 10U
135mm (5.3”)
Packed
590mm (23.2”)
260mm (10.2”)
610mm (24”)
Unpacked
Packed
Weight
10kg (22lbs)
13kg (29lbs)
Connector Types
XLR connections are Pin 2 = hot (+) Pin 3 = cold (-) Pin 1 = GND
TRS input and output connections are Tip = hot (+) Ring = cold (-) Sleeve = GND
TRS insert connections are Tip = SEND Ring = RETURN Sleeve = GND
8
XONE:464 User Guide
XFADE Y
XFADE X
MIX 2
AUX 1-6
CUE M
CUE LR
MIX 1
BLOCK DIAGRAM
SYS-LINK CONNECTION
SL
TIP= +
L/MONO
INPUT
MONO INPUTS x4
4 BAND EQ
INPUT
TIP= +
PEAK
+
-
TO MONITOR
PAN
ON
MIX1
MIX2
0dBu
TIP= +
R INPUT
FADER
MF1
AUX MIX
MF2
TIP= SEND
INSERT
BALANCED -10dBV
+4dBu OPTION
MIX2
LO-CUT
FILTER
-30dBu
LEVEL
CUE
HF
GAIN
PAD
BALANCED
EXT INPUT
DISABLE
+48V
2= +
MIX1
PHANTOM 48V
SL
AUX SENDS 1-6
AUX OUT
TIP= +
RING= RETURN
LF
POST-EQ
POST-ON
PRE-EQ
PRE-ON
TIP= +
DIRECT OUT
0dBu
RING= -
IMPEDANCE BALANCED
-2dBu
IMPEDANCE BALANCED
TO MONITOR
PRE-FADE
POST-FADE
L
POST
PRE
AUX
1
2
3
4
5
MIX 1 RECORD OUT
SL
6
-10dBV
R
INSERT
L MIX
BAL
-2dBu
MASTER
2=+
L
SL
R MIX
INSERT
MIX 1
+4dBu
BAL
-2dBu
2=+
R
STEREO INPUTS x 6
GAIN
METER
4 BAND EQ
TO MONITOR
CUE
TO MIX2
MONO SELECT
BAL
M
RIAA = CH 5,6,9,10 ONLY
FADER
HF
INPUT
SELECT
INPUT A
L
MF1
SL
L MIX
EQ IN
2=+
INSERT
BAL
-2dBu
XFADE ON
MASTER
2=+
L
RIAA
R
MF2
SL
R MIX
INPUT B
L/M
MIX 2
+4dBu
BAL
-2dBu
LF
2=+
R
POST-EQ
L
X
PRE-EQ
R
R
INSERT
POST-EQ
CUE
TO MONITOR
Y
L
MIX 2 RECORD OUT
PRE-EQ
-10dBV
R
LEFT CUE
POST-EQ
RCA PHONO = CH 5,10 ONLY
PRE-EQ
POST-EQ
SL
RIGHT CUE
AUX
POST
PRE
PRE-EQ
1
5-6
3-4
2
MONO TO STEREO CUE
SPLIT CUE
FILTER TYPE
CROSSFADER
CUE
MONO PRG
SL
HPF
CUE DC
RESONANCE
BPF
L MIX
LPF
XFADE VCA's
FREQUENCY
X
CUE ACTIVE
MONITOR
MONO
MONITOR SELECT
R MIX
ON
PHONES 1
PHONES
L
R
AUX1
X FILTER
L MIX
STEREO 1-2
AUX2
Y
VCF
R MIX
PHONES 2
L
R
AUX3
STEREO 3-4
FREQUENCY
AUX4
ON
AUX5
Y FILTER
STEREO 5-6
XFADE TO AUX
AUX6
CUE
ENABLE
LOCAL MONITOR
BOOTH
EXT
XFADE CURVE
PAN
1
2
3-4
5-6
Normally = MUTE
Cut links for 20dB DIM
MUTE
L
-2dBu
IMPEDANCE BALANCED
MIX1
ALL UP= MIX2
R
+
Switch to 0V = normal
-
Switch to 0V = MUTE (DIM)
Input Connections
CH 1-4 in (XLR)
Balanced XLR female
Balanced TRS jack
RCA phono RIAA
RCA phono
RCA phono
Balanced TRS jack
Balanced TRS jack
2k ohm
>10k ohm
>10k ohm
47kohm/330pF
>10k ohm
>10k ohm
>10k ohm
> 10k ohm
-60 to –20dBu PAD out
-30 to +10dBu PAD in
-30 to +10dBu
2 to 100mV
-10 to +10dBu
-10 to +10dBu
-10 to +10dBu
-10dBV (+4dBu option)
CH 1-4 in (TRS)
CH 5,6,9,10 in A
CH 7,8 in A
CH 5,10 in B
CH 6,7,8,9 in B
EXT in
Unbalanced TRS jack
Unbalanced TRS jack
SEND/RET
SEND/RET
<75/>3k ohm
<75/>3k ohm
Inserts
CH 1-4
MIX out 1,2
0dBu
-2dBu
Output Connections
DIR out 1-4
MIX out 1,2 (XLR)
MIX out 2 (RCA)
MONO out (XLR)
MONO out (TRS)
AUX out 1-6
LOCAL MON out
Impedance balanced TRS jack
Balanced XLR male
RCA phono
Balanced XLR male
Impedance balanced TRS jack
Impedance balanced TRS jack
Impedance balanced TRS jack
Headphones 1,2
Tip = L Ring = R
XONE:464 User Guide
<75 ohm
<75 ohm
<75 ohm
<75 ohm
<75 ohm
<75 ohm
<75 ohm
0dBu
+4dBu
-10dBV
+4dBu
-2dBu
-2dBu
-2dBu
30 to 600 ohm recommended
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:464 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. This simple procedure requires a microphone, 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.
MIC
CD PLAYER
Plug in a microphone. Plug a microphone into CH1
XLR input using a high grade balanced mic cable. We
recommend you use a professional standard low
impedance balanced dynamic microphone, such as used
for live performance vocals. Do not use inferior high
impedance or unbalanced microphones as these can
degrade the sound.
HEADPHONES
Plug in a CD player. This provides a good stereo audio
source as a starting point. Plug into CH5 Input B. Do not
use Input A as this is intended for turntables with
magnetic cartridges requiring RIAA equalisation.
IN B
AC MAINS
SUPPLY VOLTAGE RANGE:
AC MAINS IN ~
Set all controls to their starting condition. Set all
FADERS, GAIN, AUX, EXT IN, VCF, RESONANCE,
PHONES and MONITOR controls minimum. Set all PAN
and EQ controls to their detented centre position. Set all
switches to their up position.
100 - 240V ~
Plug in the headphones. You can plug into either the
top panel or the rear panel socket. Two pairs can be
plugged in at the same time. Use the best headphones
you can afford for your application. We recommend the
professional grade closed-ear type of 30 to 600ohms
impedance, and with ¼” TRS jack plug. Avoid using the
popular mini jack to ¼” adapters as these can quickly
prove unreliable.
47-63Hz ~ 30W MAX
OFF
ON
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 IEC
AC MAINS IN socket and switch mains on.
Switch the console on. Press the rear panel ON/OFF
switch. Check that the green POWER ON led at the top
of the panel lights. You may notice that the console
meters flash briefly. This is normal during power up.
Always switch connected amplifiers on last
and off first to avoid power on/off thumps.
Select the stereo source.
Start with the CH5 CD
source. Press the PHONO/LINE switch to select Input B.
The led should glow red when you select Input B, green
for Input A.
Adjust the channel gain. Start the CD player. Adjust
CH5 GAIN control until the average music level lights the
green 0 led with loudest peaks lighting the yellow +6 led.
Reduce GAIN if the red PEAK! Led lights. If no signal is
present check that the music source is playing and the
correct input is selected.
10
XONE:464 User Guide
Check the sound using the Cue system. With the
music playing press the large CUE switch. The switch
itself and the master section CUE led light 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 at comfortable volume.
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 giving you finer control in setting the gain. Note
that the cue system lets you monitor channel signals prefader. In other words you can check or cue any source
before you raise its fader to bring it into the mix.
Route the signal to the main Mix1 output. Release
the CUE switch. The CUE led turns off and the
headphones and monitor meters go quiet. Raise CH5
fader to its top ‘0’ position. Raise MIX1 master level to
maximum. With the XFADE ON switch in its up position
the signal is routed direct to Mix1. The signal is now
indicated on the Mix1 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.
Listen to the main Mix1 output. To hear the signal in
the headphones press the MIX1 monitor select switch.
Make sure the other select switches are up as these will
automatically override Mix1 if pressed. Similarly any
CUE switch pressed will override the monitor selection.
Check the effect of the Stereo EQ. Press CH5 EQ ON
switch. This lights to show that the signal is routed
through the equaliser. Now try the effect of each of the 4
frequency bands. The EQ is designed for creative live
performance control and provides a safe +6dB boost and
a massive –26dB cut. Experiment with cutting rather
than boosting frequencies to create dramatic effects.
These can be punched in or out using the EQ ON switch.
Route through the Crossfader. Press XFADE ON to
route the signal through the crossfader rather than direct
to Mix1. The green X led lights indicating that the
channel is assigned to the left (X) side of the crossfader.
Press the XY switch to assign the signal to the right (Y)
side. In this case the yellow Y led lights. Note the green
X and yellow Y leds above the crossfader to help you see
which channel is routed to which side.
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 beat mixing. Experiment further by connecting
two music sources such as CD or turntables and
assigning one to X, the other to Y. Use XFADE PAN to
adjust the balance between the left and right signals of
the active source, either to correct an imbalance or as an
effect in its own right.
XONE:464 User Guide
11
Adding VCF filter effects. Each side of the crossfader
includes a stereo Voltage Controlled Filter which
presents the DJ with a unique set of live performance
tools to create subtle or startling tonal effects. With the
signal assigned to the Y side of the crossfader, and the
crossfader moved fully to the right, the music is routed to
Mix1 and should be heard on the headphones. Press the
Y FILTER ON switch to route the signal through the
analogue filter section. The blue led 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.
Sweep the filter frequency.
Turn the VCF control
clockwise and you should progressively hear higher
audio frequencies returning to the mix. This control
sweeps the effect from low to high frequency.
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.
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.
Experiment with the microphone source. Finish off by
trying a microphone channel. Stop the CD and pull CH5
fader down. Next, press CH1 CUE and talk into the mic.
Gradually increase the mic GAIN control until the monitor
meters read an average 0dB for normal vocal level. You
should also hear yourself through the headphones.
Check the effect of the 100Hz lo-cut filter. Press this
switch to remove low frequencies below 100Hz. It is
standard practice to switch this in when working with
vocal mics as this effectively removes the proximity
‘popping’ effect when close miking.
Check the effect of the mic EQ. Experiment with the
EQ to learn what effect these controls have on the sound.
Unlike the stereo channel EQ, this is intended for
‘corrective’ equalisation such as smoothing out poor mic
response, brightening up the sound to make it more
intelligible, or dealing with problem feedback frequencies.
It is not usual to use this EQ as a live effect as you would
the stereo channel. It is good practice to start with the
controls flat and use only as much EQ as is really
needed, cutting rather than boosting frequencies.
Now… continue to read through the rest of this User
Guide.
12
XONE:464 User Guide
Installing the Console
The XONE Series features the Allen & Heath Quick Change Connector (QCC) system.
The rear connector pod may be hinged and locked into either of two positions. Rear
connectors allow desktop operation with the control panel sloped at a convenient 15
degrees. Underside connectors allow 19" rack mounting in a compact 10U space. The
connector position can be easily changed at any time to fit your application.
To
change
the
position remove the
crosshead
locking
screw on each side,
swing the connector
pod into position, and
refit the two screws
PRECAUTION :
Do not transport or carry the
console with the locking screws
removed.
Do not attempt to remove the
connector pod from the console.
19” Rack or Plinth Mounting
Mount the console in the
rack using 4x M6 bolts
each side for maximum
strength. We recommend
you fit the bolts with plastic
cup washers to protect the
panel, and they look
good... These should be
available from the supplier
of the rack unit or good
hardware store.
Flightcasing
The console can be easily
flightcased
in
either
connector mode. Provide
the dimensions shown here
to your flightcase supplier.
Desktop Operation
The console is fitted with
rubber feet to ensure it does
not slip or scratch the work
surface. The control panel
is angled at 15 degrees for
operating convenience.
XONE:464 User Guide
13
Connecting Mains Power
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK
DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
WARNING - THIS APPARATUS MUST BE EARTHED.
SUPPLY VOLTAGE RANGE:
CAUTION
AC MAINS IN ~
100 - 240V ~
47-63Hz ~ 30W MAX
OFF
ON
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
FUSE
100 - 240V~ T500mA 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.
REFER TO USER GUIDE BEFORE CONNECTING SUPPLY
NO USER SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
Read the SAFETY INSTRUCTIONS printed at
the front of this User Guide. Check that the
correct mains lead with moulded plug has been
supplied with your console. The power supply
accommodates 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. Ensure that the IEC mains
plug is pressed fully into the rear panel socket
before switching on.
Earthing
The connection to earth (ground) in an audio system is important for two reasons:
1.
SAFETY - To protect the operator from high voltage shock, and
2.
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 sound engineer check the continuity of the
safety earth from all points in the system including microphone bodies, turntable chassis,
guitar strings, connector cases, equipment panels 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 where possible 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 or local Allen & Heath agent for advice.
14
XONE:464 User Guide
Plugging Up The System
The XONE:464 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 most audio system failures are due to faulty interconnecting leads.
The following mating plugs may be used to connect audio signals to the console:
All 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 (-).
All 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. The sockets have 3 connector
pins: Inputs and outputs are Tip = signal hot (+), Ring = signal cold (-), Sleeve = ground
(screen). Insert connections are Tip = send, Ring = return, 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.
For live work 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 screening 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:464 User Guide
15
Connecting the Mono Channel
4
INSERT
IN
4
DIR
OUT
4
MIC 4
+48V
INPUT
The input provides both an XLR and a TRS jack connector. The XLR is
normalled through the jack connector. This means that plugging in a jack overrides the
XLR source. Plug a microphone into the XLR socket leaving the jack unplugged. Plug a
line level source into the jack socket and select the front panel PAD switch. For line level
sources on XLR plug into the XLR leaving the jack unplugged and select PAD. This
feature lets you connect a wide 70dB range of mic or line sources on either XLR or jack.
Both XLR and jack inputs are 3 wire balanced. This prevents interference pickup on long
cable runs when connecting to balanced sources such as microphones. To connect an
unbalanced XLR source link Pin 3 to Pin 1 in the XLR plug. The jack input automatically
grounds the cold (-) input to accept unbalanced TS (mono) jack sources. To connect an
unbalanced source using a TRS (stereo) jack you should link ring to sleeve in the plug as
shown above. Do not select +48V phantom power when connecting unbalanced sources.
MIC +48V Press this tamperproof underpanel switch when connecting to microphones
such as condenser types which require phantom power. This provides +48V DC to pins 2
and 3 of the XLR.
WARNING Do not connect unbalanced sources or cables to the XLR inputs
when phantom power is selected. Use +48V only with balanced microphones
which require powering. Note that harm will not be done to non powered
microphones as long as they are balanced. To avoid loud clicks always turn the
channel off by releasing the ON switch when switching +48V on or off and when
plugging or unplugging microphones with power applied.
INSERT You do not need to plug anything into the insert socket for normal operation. It
is a break point that lets you plug in an external signal processor such as a compressor
or noise gate if required. Plugging in a jack breaks the signal path after the input pre-amp
and before the EQ. The signal is unbalanced and operates at a nominal 0dBu line level.
Use a TRS jack wired as shown above to connect the SEND to the processor input and
the RETURN from the processor output. The sleeve provides the common ground for
cable screening. Use a TRS Y-adapter and two standard jack leads or wire two leads to
a TRS plug. If required you can tap off the send to provide an alternative pre-EQ direct
output by plugging in a lead with tip and ring shorted together so that the channel signal
path is not interrupted.
DIR OUT This provides a post-fader direct output for connection to external processing
or recording equipment. This can be set to pre-fader by changing an internal link option.
The output operates at 0dBu and is impedance balanced on TRS jack to provide the
benefit of interference rejection when connecting to equipment with balanced inputs. You
can also connect to unbalanced equipment as shown above.
16
XONE:464 User Guide
Connecting the Stereo Channel
10
9
RIAA
IN A
L
IN A
L
R
R
IN B
L
R
IN B
L/M
R
INPUT A This provides a pair of RCA phono sockets for connection to stereo sources.
Channels 5,6,9,and 10 provide RIAA equalisation for magnetic cartridges to connect up
to 4 turntables (record decks). Make sure the turntables are correctly earthed by
connecting their earth straps to the console chassis earth terminal. Channels 7 and 8
inputs are unbalanced and can accept line levels signals from as low as –10dBu to a high
+10dBu for to connect stereo equipment such as CD and MiniDisc players. The level is
matched to the console using the front panel GAIN control.
INPUT B This provides either a pair of TRS jack or RCA phono sockets for connection
to line sources. Channels 5 and 10 provide RCA phono sockets for connection to stereo
sources. Channels 6,7,8 and 9 provide TRS jack sockets. For stereo sources plug into
both the L/M and R sockets. For mono sources plug into just the L/M socket leaving the
R socket unplugged. In this case the signal is normalled through the R socket to the right
channel. The jack inputs are balanced to provide interference rejection when connecting
to 3 wire balanced sources using long cables. The socket automatically grounds the cold
(-) input to accept unbalanced 2 wire TS jack sources. To connect an unbalanced source
using a TRS jack you should link ring to sleeve in the plug as shown above. The inputs
can accept line level signals from as low as –20dBu to a high +10dBu. The level is
matched to the console using the front panel GAIN control.
Connecting the External Input
EXT IN
L/M
R
EXT IN This provides a pair of TRS jack sockets for connection to line level sources such
as effects, 2-track or monitor returns. Tamperproof front panel switches determine
whether the signal feeds Mix1, Mix2 or both, or just the monitor select switch bank. For
stereo sources plug into both the L/M and R sockets. For mono sources plug into just the
L socket leaving the R socket unplugged. In this case the signal is normalled through the
R socket to the right channel. The inputs are balanced to provide interference rejection
when connecting to 3 wire balanced sources using long cables. The socket automatically
grounds the cold (-) input to accept unbalanced 2 wire TS jack sources. To connect an
unbalanced source using a TRS jack you should link ring to sleeve in the plug as shown
above. The operating level is –10dBV but may be set for +4dBu by changing an internal
link option.
XONE:464 User Guide
17
Connecting Mix1 and Mix2 Outputs
MIX 2
MIX
L
L
OUT
2 1
R
INSERT
R
R
MIX2
1
L
OUT
INSERT
R
L
MIX1
L
M
L
OUT
OUT
OUT
R
R
INSERT Both MIX1 and MIX2 provide insert points for left and right channels. You do
not need to plug anything into the insert socket for normal operation. It is a break point
that lets you plug in an external signal processor such as a limiter or equaliser if required.
Plugging in a jack breaks the signal path after the buss mix amp and before the master
fader. The signal is unbalanced and operates at a nominal –2dBu line level. Use a TRS
jack wired as shown above to connect the SEND to the processor input and the RETURN
from the processor output. The sleeve provides the common ground for cable screening.
Use a TRS Y-adapter and two standard jack leads or wire two leads to a TRS plug.
L,R XLR OUTPUTS The Mix1 and Mix2 main left and right outputs are on balanced XLR
connectors. 3 Pin female XLR plugs are required to connect to these. Connect to
balanced equipment for maximum interference rejection on long cable runs. To connect
to unbalanced equipment link Pin 3 to Pin 1 in the XLR plug as shown. Alternatively use
the unbalanced RCA phono outputs. Signal level is a nominal +4dBu (0 on the meters).
These outputs typically feed the main amplifier/speaker systems or stereo DJ to large
FOH console. Mix1 can feed Mix2 by pressing a tamperproof front panel switch.
Typically this could provide a music only zone or clean feed.
L,R RCA OUTPUTS These are intended for connection to recorders but can be used as
additional zone feeds, or as an alternative to the XLR outputs, for example when
connecting to domestic hi-fi amplifiers.
M XLR OUTPUT This provides a sum of the post-fader left and right signals. Use the
rear panel switch to select either Mix1 or Mix2 as the source. The output is balanced
XLR operating at a nominal +4dBu. Connect to balanced or unbalanced equipment as
described above for the L R outputs. Typical uses include feeding mono speaker,
submix, centre fill, sub bass, mono zone, sound to light and recording systems.
Connecting Auxiliary Outputs
AUX 6
AUX 5
AUX 4
AUX 3
AUX 2
AUX 1
AUX 1-6 OUTPUTS Each of the six auxiliary sends is available on a 3 pole TRS jack
socket. These are impedance balanced to reduce noise pickup on long cable runs.
Connect to balanced or unbalanced equipment as shown above. Nominal operating level
is –2dBu but gain is available using the send master control to drive +4dBu if required.
Use pre-fade auxes to feed stage monitor, foldback and cue systems. Use post-fade
auxes to feed effects processors such as reverb, and to provide independent zone,
cleanfeed and recording feeds.
18
XONE:464 User Guide
Connecting the Headphones and Local Monitor
L
LOCAL MONITOR
TIP = L
RING = R
R
LOCAL (BOOTH) MONITOR OUTPUTS A pair of 3 pole TRS jack sockets provide left
and right outputs from the console local monitor system. These are impedance balanced
and can be connected to balanced or unbalanced equipment as shown above. Nominal
operating level is –2dBu but gain is available to drive +4dBu if required. Independent
control is provided for the local and the headphones monitor systems. This output
typically feeds the DJ booth monitor with the music only mix, and Cue if required.
HEADPHONES 2 OUTPUT Two outputs are available for stereo headphones, one on
the front panel, the other on the rear panel. This is convenient for permanent installation
or when two headphones are required at the same time, for example presenter and guest
in a broadcast application. The same signal is available from both. Headphones are
available in many different styles, impedances and volume ratings. To get the best from
your system we recommend that you use high quality closed ear headphones in the
range 30 to 600 ohms. 8 Ohm headphones are not recommended.
WARNING
Some headphones are more sensitive than others and can
produce higher output levels. To avoid damage to your hearing start with the
PHONES level control at minimum and turn up only as much as is needed to
maintain comfortable listening level. Do not drive headphones at high listening
levels for long periods of time.
User Connector Options
SYS-LINK OUT
REMOTE
(option)
(user connections)
SYS-LINK OUT
REMOTE
(option)
(user connections)
SYS-LINK OUTPUT The console is supplied with a blank plate fitted here. An optional
kit of parts is available to install a 25 pin D-connector and circuit card which provides all
console outputs on a single connector. This is convenient when connecting the
XONE:464 as an expander to another console. Use a standard 25 pin one-to-one
shielded cable to plug this output into any Allen & Heath console fitted with SYS-LINK
input. Alternatively wire a custom cable as required. SYS-LINK operates unbalanced at
–2dBu and is not intended for long cable runs. Note that SYS-LINK input is not available
on the XONE:464. Contact your Allen & Heath agent for further details.
USER CONNECTOR The console is supplied with a blank plate fitted here. A 25 pin Dconnector may be installed and custom wired to satisfy the particular requirements of the
application. The installation of this connector should be carried out only by qualified
personnel. Contact your agent for further details.
XONE:464 User Guide
19
Mono Input Channel
PAD Affects both the XLR (if no TRS jack is plugged in) and the TRS jack
input to attenuate the input signal by 30dB. Press PAD when plugging in line
level sources, or when the signal is too high with the GAIN control turned down.
GAIN
Adjusts the input sensitivity to match the connected source to the
console 0dB operating level. This provides a wide 70dB range with continuous
adjustment for signals from –60dBu to –20dBu with PAD switched off, and –
30dBu to +10dBu with PAD on. Use the Cue system to correctly set the gain
using the console meters.
100HZ FILTER Switches in the high pass filter to cut frequencies below 100Hz
with a slope of 12dB/octave. Use this to clean up vocals by reducing
microphone proximity popping and low frequency ambient pickup, and to filter
out hum and rumble. The filter is post-insert and pre-EQ so that it affects the
signal returned from any inserted equipment by removing the unwanted low
frequencies before equalisation.
EQUALISER The channel equaliser is a powerful tool to creatively tailor the
sound within the mix, or to deal with source problems such as poor microphone
characteristics, noise and feedback. Start with the EQ controls set to their mid
(flat) position and make sure you have chosen the best type and position of
microphone for the source. Then adjust the EQ to achieve the sound you want.
Take time to experiment with the controls so you get to learn the effect the
equaliser can have on the sound.
The XONE:464 mono channel provides separate tone control over four
frequency bands including two swept frequency (parametric) mids. 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 12kHz turning point affected. Note that frequencies below 12kHz are
affected by a decreasing amount. Use HI boost to brighten up the sound by
adding sparkle, and cut to reduce source hiss or ambient high frequency pickup.
MID 1 Turn the +/- control clockwise to boost and anticlockwise to cut the
higher mid frequencies. This has a bell shaped peak/dip response that has
maximum boost or cut at the selected frequency. Use the upper control to
select this centre frequency between 500Hz and 15kHz. Boosting around 3kHz
can enhance the intelligibility of vocals helping them to cut through the mix.
Cutting to notch out a ringing frequency can help to increase the gain before
feedback.
MID 2 This is similar to MID 1 but affects the lower mid frequencies selectable
from 35Hz to 1kHz. Boosting can enhance the warmth of the sound while
cutting can reduce the effect of resonant or boomy frequencies.
LO Turn this control clockwise to boost and anticlockwise to cut the low (bass)
frequencies. This has a shelving response with all frequencies below the 60Hz
turning point affected. Note that frequencies above 60Hz are affected but by a
decreasing amount. Use LO boost to enhance low end punch, and cut to
further reduce source hum and rumble.
20
XONE:464 User Guide
AUXILIARY SENDS These controls route the channel signal to the AUX 1
to 6 mix. These are independent from the main mix and can therefore provide
additional outputs for monitors, effects, cleanfeed, zone, recording feeds etc.
AUX LEVEL Adjusts the level of the channel signal in each mix. Turn fully
anticlockwise to turn the signal off, fully clockwise for a maximum +6dB boost.
The normal ‘0’ position is marked. Each of the 6 aux mixes has its own
dedicated channel level control. Note that Auxes 3-4 and 5-6 are fed as a
stereo pair from the stereo channels. Adjust the two related level controls when
feeding the mono channel to a stereo aux.
PRE/POST Auxes 1-4 are always pre-fade. Aux 5-6 can be switched pre or
post-fade. With the switch in the up position the post-fader channel signal is
routed. Press the switch to select the pre-fader signal instead.
Set the switch to POST to send to external 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) routed signal regardless of fader position. Postfade sends are also used to provide zone or recording feeds where the outputs
should follow the fader movements.
Set the switch to PRE to send to monitors such as stage or remote foldback or
recording cue. The amount of signal in the monitor mix is independent of the
fader movements. therefore adjustments made to the main mix will not affect
the balance of the monitors. Note that selected channels in a monitor mix can
still be set post-fader if required, for example to prevent ‘dressing room’ talk
when working with radio microphones. The pre-fade sends are set post-EQ
post-ON as standard. These can be reconfigured pre-EQ and/or pre-ON by
resoldering internal links.
PAN Positions the channel signal between left and right in the stereo mix to
create the required image. The centre (mono) position is detented for quick
resetting.
ON
Turns the channel signal on or off. The green LED lights when the
channel is turned on. All outputs except the insert send and Cue are muted
when the channel is turned off. Note that the pre-fade aux sends can be
internally reconfigured so that they are not affected by this switch if required.
PEAK The red LED lights when the channel is within 9dB of clipping. This
warns that you should turn back the GAIN control to reduce the signal level.
CUE
Press CUE to listen to the pre-fader channel signal using the
headphones or local monitor (if enabled). This does not affect the main outputs
and lets you audition the signal before you raise the fader and introduce it into
the mix. The signal level is also displayed on the console monitor meters so
that GAIN can be set to achieve the correct operating levels. The PEAK LED
half lights to show which channel PFL has been selected.
MIX1 (2) Routes the post-PAN channel signal to Mix1 and Mix2. None, one or
both may be selected.
FADER A 100mm long throw fader adjusts the level of the channel signal and
provides a clear visual indication of its contribution to the mix. It does not affect
the pre-fader AUX sends. It does affect DIR OUT unless it has been
reconfigured pre-fader. The ‘0’ mark indicates normal operating position. The
fader can be set above or below this depending on the balance required in the
mix. A further 10dB of boost is available at the top of its travel. Use the Cue
system to check that the channel gain is correctly set before raising the fader to
add the channel to the mix.
XONE:464 User Guide
21
Stereo Input Channel
AUXILIARY SENDS
This section is positioned at the top of the stereo
channel to be out of the way of the live performance controls. The controls
route the stereo channel signal to the AUX 1 to 6 mix. These are independent
from the main mix and can therefore provide additional outputs for monitors,
effects, cleanfeed, zone, recording feeds etc.
AUX LEVEL Adjusts the level of the channel signal in each mix. Turn fully
anticlockwise to turn the signal off, fully clockwise for a maximum +6dB boost.
The normal ‘0’ position is marked. Aux 1 and 2 are independent mono mixes
fed from the sum of the left and right channel signals. Aux 3-4 and Aux 5-6 are
stereo pairs with left signal feeding odd, and right feeding even outputs.
PRE/POST Auxes 1, 2 and 3-4 are always pre-fade. Aux 5-6 is post-fade but
can be switched pre-fade. With the switch in the up position the post-fader
channel signal is routed. Press the switch to select the pre-fader signal instead.
Set the switch to POST to send to external 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) routed signal regardless of fader position. Postfade sends are also used to provide zone or recording feeds where the outputs
should follow the fader movements. Note that the post-fade sends do not follow
the crossfader setting. Use the XFADE Aux sends instead if the level should be
affected by the crossfader.
Set the switch to PRE to send to monitors such as stage or remote foldback or
recording cue. The amount of signal in the monitor mix is independent of the
fader movements. That means that adjustments made to the main mix will not
affect the balance of the monitors. Note that selected channels in an Aux 5-6
monitor mix can still be set post-fader if required, for example to prevent
‘dressing room’ talk when working with radio microphones. The pre-fade sends
are set post-EQ post-ON as standard. These can be reconfigured pre-EQ
and/or pre-ON by resoldering internal links.
INPUT SELECT The channel accepts two stereo sources, Input A and
Input B. In the up position Input A (Phono) is selected. Press the switch to
select Input B (Line). The two colour indicator glows green for Input A, red for
Input B.
Input A provides RCA phono sockets. CH 5,6,9,10 have RIAA (Record
Industry of America Association) equalisation for connection to high quality
magnetic cartridge turntables (phonograph). Only connect turntables to these
inputs. The middle channels CH 7 and 8 are standard line level inputs for CD,
MiniDisc, DAT, hard disk players and so on.
Input B accepts standard line level equipment. CH 5 and 10 provide RCA
phono sockets for unbalanced connection. CH 6,7,8, and 9 provide TRS ¼”
jacks ideal for balanced or unbalanced connection to professional players,
effects processors and stereo instruments.
GAIN
Adjusts the input sensitivity to match the connected source to the
console 0dB operating level. This provides a 20dB range with continuous
adjustment for line level signals from –10 to +10dBu or to match RIAA
cartridges. Use the channel meter and Cue system to correctly set the gain.
Reduce GAIN if the channel PEAK! Or main meter PK leds flash.
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XONE:464 User Guide
EQUALISER The EQ on a DJ mixer provides a very different function to
that on any other mixing console. As most music sources are pre-recorded
corrective EQ as found on the microphone channels is not required. Instead,
the EQ is used by the DJ to creatively shape the sound during live performance.
It is important that a wide range of control is available without danger of signal
overload during over-zealous performance.
The XONE:464 stereo equaliser is a unique 4 band asymmetric design. It 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
signal overload and resultant distortion. Cut is increased to a massive –26dB
which completely sucks out the affected frequencies dramatically changing the
effect of the sound. This is almost twice as much cut as found on conventional
mixers.
Large, clearly spaced, soft touch knobs are provided for these important
performance controls. They are centre detented so that the middle ‘flat’ position
can be quickly found.
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 to highlight or remove sounds such
as cymbals or strings, or add sparkle to vocals.
MID 1
This has a bell shaped peak/dip response that affects the mid
frequencies centred around 1kHz. It is most effective in highlighting or
removing the intelligibility of vocals, lead synth, the warmth of strings and so on.
MID 2 This is similar to MID 1 but affects the lower mid frequencies centred
around 250Hz. It can drastically alter the ‘texture’ of the bass sound. Boost
gives a hard edge to bass frequencies, useful for Techno style music. Cut gives
a soft deep Dub sound bass, great for Garage or Drum and Bass. Cutting HI,
MID 1 and MID 2 together leaves just the bass line.
LO Turn this control clockwise to boost and anticlockwise to cut the low (bass)
frequencies. This has a shelving response with all frequencies below the
100Hz turning point affected. Note that frequencies above 100Hz are affected
but by a decreasing amount. Use LO boost to enhance low end punch, and cut
to completely remove all low bass. Use with MID 2 to alter the bass sound of a
track.
EQ ON Press to route the signal through the stereo equaliser. The switch cap
illuminates to show EQ active. This provides a useful performance tool to
punch an EQ effect in or out.
CUE Press the large CUE switch to listen to the pre-fader channel signal using
the headphones or local monitor. This does not affect the main outputs and lets
you audition the signal to cue a track before you raise the fader and introduce it
into the mix. The signal level is also displayed on the console monitor meters
so that GAIN can be accurately set to achieve the correct operating levels. The
switch cap illuminates so that you can see at a glance which channel is cued.
METER A 4 led meter bar always shows the presence of pre-fader signal on
the stereo channel. Adjust the GAIN control for normal music levels averaging
0dB with loudest moments reaching +6. Reduce gain if the red PEAK! Led
flashes.
FADER A 60mm stereo fader adjusts the level of the channel signal and
provides a clear visual indication of its contribution to the mix. It does not affect
the pre-fade AUX sends. The ‘0’ mark at the top of its travel indicates normal
operating position.
XONE:464 User Guide
23
Crossfader
The crossfader is the one feature that instantly sets the DJ mixer apart from a
conventional mixer. It 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 and can be easily replaced if it becomes
damaged or worn through exceptional mechanical operation.
VCA CROSSFADER
The XONE:464 uses four high
performance voltage controlled amplifiers (VCA), a pair
for each side of the stereo crossfader. The robust 45mm
fader simply 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.
ASSIGNING A CHANNEL TO THE CROSSFADER
Each of the 6 stereo
channels can be routed direct to the main Mix1 or to either side of the
crossfader. The output of the crossfader is routed to Mix1.
Press XFADE ON to route the stereo channel signal to the crossfader. To route
to the left (X) side make sure the XY switch below is in its up position. Press
XY to route to the right (Y) side. The green X led or yellow Y led light to show
which side is routed. Both leds are off if the signal is not routed through the
crossfader. An led above each side of the crossfader helps you visually check
which channel is routed to which side.
CHANGING THE CROSSFADER CURVE Using the VCA system means that
the fader law (curve) can be easily changed to suit the style of mixing. Set the
crossfader CURVE switch to the position required. Two standard curves are
available. Experiment with both to understand their effect on the sound:
Cut Curve When the switch is pressed each signal has no attenuation in the
middle position. Attenuation starts as the fader moves beyond the middle. This
gives a more dramatic response better suited to cut or scratch mixing, layering
different sounds, or to emphasis a mix.
Dip Curve With the switch in its normal up position each signal is attenuated
by 6dB in the middle position. This means that there is no overall change in
level as the two similar signals mix, ideal for seamless beat mixing when fading
smoothly from one track to another.
XFADE TO AUX These controls feed the Aux system with the output of the
crossfader. For example, you could feed the DJ mix to the presenter (MC)
stage monitor mix, send music only to mono or stereo zones, or add effects to
the music mix . Aux 1 and 2 sum the left and right signals to provide two mono
sends. Aux 3-4 and 5-6 are two stereo sends.
XFADE PAN Adjust PAN to change the balance between the left and right
crossfader output signals. Use this to correct an imbalance in the stereo output,
or as a dynamic performance effect. For normal performance make sure the
PAN control is in its detented centre position.
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XONE:464 User Guide
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 and the fader may need replacement.
The XONE:464 crossfader is removable and can easily be replaced in a few
minutes. The spare fader is supplied as a plug-in assembly which can be
ordered through your Allen & Heath dealer.
Note: There are two versions of crossfader assembly.
interchangable. Make sure you order the correct version.
These are not
The original model uses the Alps crossfader assembly:
XONE:464 Crossfader Assembly
Part number XONE:XFADER
The revised model uses the Penny & Giles crossfader assembly :
XONE:464 Crossfader Assembly
Part number XONE2:XFADER
To replace either version of crossfader 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 or circuit assembly (depending on
version) and plug on the new assembly. Check that the connector is correctly
aligned and seated.
Replace the assembly making sure the cable faces the left side of the console.
Refit the screws and test for correct operation.
XONE:464 User Guide
25
VCF Filters
The XONE:464 is unique in being the first DJ mixer to include an analogue
voltage controlled filter (VCF) section. These filters provide live performance
tools far more powerful than any equaliser or kill switch. They produce the
same warm analog resonant frequency sweeping sound as made popular by
well known classic analogue synthesisers, but using the latest high performance
technology for quiet, stable operation.
A voltage controlled filter is an audio filter whose 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 of the filter response to create unlimited
combinations of effect.
Each X and Y side of the crossfader is provided with its own stereo VCF. Each
can be switched in or out, and each has its own frequency sweep control. The
filter type and resonance effect are globally selected affecting both filters
simultaneously.
RESONANCE 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 roll-off ‘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.
High RESONANCE settings 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.
FILTER ON Each X and Y filter has its own ON switch. The blue led 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.
VCF SWEEP Each X and Y 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 the dynamic sweeping effects desired by
performing DJs. These large controls are positioned either side of the
crossfader for convenient live operation. Separate controls for X and Y mean
that the effect can be applied to each track independently and faded in as the
crossfader is operated.
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XONE:464 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. The selected type affects both X and Y filters.
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 shown).
HPF
Press this switch to select the high-pass 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.
HI-PASS FILTER
+20
+15
+10
LO
+5
HI
0dB
-5
-10
-15
-20
20
100
1kHz
10k
20k
BAND-PASS FILTER
+20
BPF Press this switch to select the band-pass 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.
+15
+10
LO
+5
Try switching the HPF in with VCF set fully clockwise at
highest frequency, then sweeping the frequency back to
minimum. This can create an atmosphere of anticipation
as the dance floor awaits the power of the beat to kick in.
HI
0dB
-5
-10
-15
-20
20
+20
100
1kHz
10k
20k
LO-PASS FILTER
+15
+10
LO
+5
HI
0dB
-5
-10
-15
-20
20
100
1kHz
10k
20k
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.
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.
Try sweeping the LPF back to a low setting to keep the
beat and energy going while talking over 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 beginning
of the next bar.
In addition to the three basic filter types you can experiment with new effects by
selecting combinations of switches together. For example:
HPF+LPF = NOTCH. Used with RESONANCE you get a phasing effect.
HPF+BPF+LPF = ALL PASS. But with RESONANCE creates a dramatic effect.
Take some time to experiment with the filters before ‘going live’…
XONE:464 User Guide
27
External Input
An external input is provided in addition to the mono and stereo
channels. Use this either as another input to the mix or as an external
monitor source only.
INPUTS A pair of ¼” TRS jacks accepts a line level stereo or mono
source. For stereo sources plug into the L and R inputs. For mono
sources plug into the L input only leaving the R input unplugged. In
this case the mono signal is normalled through the R input socket.
Operating level is –10dBV as standard but may be changed to +4dBu
by resoldering an internal link.
ROUTING SWITCHES Two switches route the signal to Mix1, Mix2,
both or none. These are tamperproof to prevent accidental operation
during performance. Decide how the external inputs are to be used.
There are two main applications:
Mix Input To connect additional stereo or mono sources to either or
both Mix1 and Mix2. For example, you could return the processed
output from an effects device such as reverb back into the mix, you
could accept an input from a submixer to feed the same speaker
system, or you could replay a recording through the PA. Cue the
source by pressing the monitor selector EXT switch. The signal is
monitored pre-level. Use a pointed object such as a pen to select the
routing switches as required.
Monitor Only Input To return sources to the monitor selector for
monitoring only. With both switches in the up position the signal feeds
the monitor source selector and is not affected by the level control.
This is the case when the input is used for monitoring only and should
not feed the main mix, for example checking your recording of the mix.
The tamperproof underpanel routing switches prevent accidental
operation. If the switch were accidentally pressed during recording
the signal would route back on itself and feed back electronically.
LEVEL The rotary control adjusts the level of the external input to
Mix1 or Mix2 or both as selected on the routing switches above. Note
that it does not affect the feed to the monitor selector. The control
adjusts from fully off to a maximum +6dB boost. The normal 0
operating position is marked.
MONITOR SELECT Press EXT in the monitor select switch bank to
listen to the input in the headphones and local booth monitor. The
signal level is displayed on the monitor meters. The EXT selection is
automatically overridden when any Aux monitor or Cue switch is
pressed. Pressing EXT overrides the Mix1 and Mix2 selection. For
example, you could be listening to the music mix with MIX1 pressed,
then press EXT to check the recording. You do not need to release
MIX1 first.
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XONE:464 User Guide
Master Mix
The XONE:464 provides two independent stereo mix outputs, Mix1
and Mix2. The mono channels can be routed to either or both
outputs. The stereo channels route to Mix1 only, either direct or
through the crossfader. However, Mix1 can be routed to Mix2 as the
music feed to the main music + mics mix if required.
Both outputs provide master fader control, inserts, metering, balanced
XLR main outputs, and RCA phono secondary outputs, ideal for
recording the performance. An additional mono output with both XLR
and TRS jack outputs can be assigned from either mix using a rear
panel switch. These are ideal for feeding a sub-bass, mono zone and
sound-to-light system. This unique output capability is able to satisfy
the most demanding audio system applications.
MIX1 METERS
A pair of meter bars displays the post-master left
and right output levels of stereo Mix1. Each meter has 12 leds to
indicate signal levels from as low as –30dB. Green and yellow leds
indicate normal operating levels. The top red led lights at +16dB to
warn that you are within 5dB of clipping. Meter ‘0’ represents +4dBu
at the main outputs. The meters are peak responding. This means
that they have a fast attack and are able to display fast transients
accurately. With the output masters at maximum you should adjust
the mix so that the signal averages ‘0’ on the meters with highest
peaks no more than ‘+6’. This still leaves plenty of mix headroom.
MONITOR / MIX2 METERS A pair of meter bars displays the level of
the selected monitor source or CUE. With all selector switches up
these default to display the post-master left and right output levels of
stereo Mix2.
MIX1 to MIX2 Routes the pre-master Mix1 signal to Mix2 to create a
stereo subgroup. For example, use Mix1 to feed the dance floor, Mix2
to feed the stage PA. Press the underpanel MIX1 to MIX2 switch to
route the music only dance mix to the stage PA. Note that the Mix1
master control does not affect the Mix1 level to Mix2. This is a
tamperproof underpanel switch to avoid accidental operation in
situations where Mix1 and 2 are used as independent outputs. It
should be selected using a pen or similar pointed object.
MASTER ROTARIES Mix1 and Mix2 each have a rotary master
control to adjust the output level. Each is a stereo rotary which
adjusts the left and right signals at the same time. The ‘10’ mark
indicates maximum level operating position. If you find yourself
normally setting the master control in the lower half of its travel then
the connected equipment may be too sensitive for the operating level
of the console. With the master control set to its ‘10’ position adjust
the input level trim of the connected equipment for the loudest output
required. Note that the insert points are pre-master. These can be
used to patch in compressors and limiters to protect the system from
excessive sound levels.
In a club or similar installation strict sound level and noise
regulations may apply. Check that your system levels are
correctly set up to comply.
XONE:464 User Guide
29
Console Monitor System
The XONE:464 provides extensive console monitoring facilities.
Every signal can be checked individually or within any mix. Two
systems are provided, headphones and local monitor. The local
monitor typically feeds the DJ booth speaker system. The Cue
system lets you quickly check channel signals, correctly set the gain,
and cue tracks ready to bring into the mix. Facilities such as Mono
and Split-Cue switching are well suited to the way the professional DJ
works.
HEADPHONES 1 OUTPUT Two outputs are available for stereo
headphones, one on the front panel, the other on the rear panel. The
same signal is available from both. Headphones are available in
many different styles, impedances and volume ratings. To get the
best from your system we recommend that you use high quality
closed-ear headphones in the range 30 to 600 ohms. 8 Ohm
headphones are not recommended.
WARNING
Some headphones are more sensitive than
others and can produce higher output levels. To avoid damage
to your hearing start with the PHONES level control at minimum
and turn up only as much as is needed to maintain comfortable
listening level. Do not drive headphones at high listening levels
for long periods of time.
MONITOR / MIX2 METERS A pair of meter bars displays the level of
the selected monitor source or CUE. With all selector switches up
these default to display the post-fader left and right output levels of
stereo Mix2. When SPLIT CUE is selected the left meter displays the
active CUE signal, the right displays PRG (program), the switch bank
source in mono.
Each meter has 12 leds to indicate signal levels from a low –30dB.
Green and yellow leds indicate normal operating levels. The top red
led lights at +16dB to warn that you are within 5dB of clipping. Meter
‘0’ represents +4dBu at the XLR outputs. The meters are peak
responding. This means that they have a fast attack and are able to
display fast transients accurately.
CUE A large red led lights when a channel CUE is active. This
indicates that the selected channel CUE signal is heard in the
headphones and displayed on the monitor meters. CUE also
overrides the local monitor if CUE ENABLE has been selected.
It is important to use CUE to set the channel gains correctly to
maintain the wide dynamic range achievable with this console. You
should adjust the channel gain so that the signal averages ‘0’ on the
monitor meters with highest peaks no more than ‘+6’. Reduce the
gain if the red PK leds flash.
HEADPHONES LEVEL Adjusts the level of the signal in the stereo
headphones. This does not affect the level of the local monitor. Read
the warning printed above regarding loud listening levels.
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XONE:464 User Guide
MONITOR SOURCE SELECTOR An 8 way switch bank is used to
select which signal is heard in the headphones, local monitor and
displayed on the meters. This defaults to post-fader Mix2 signal with
all switches up. Press the required switch to monitor Mix1, Aux 1 to 6,
or Ext in. CUE automatically overrides the selected source. Press a
related pair of Aux switches to monitor them in stereo, for example
Aux 5 on left, Aux 6 on right. Press a single AUX switch to check it in
mono.
Switch priority is CUE overrides Aux 1/2 overrides Aux 3/4 overrides
Aux 5/6 overrides Ext overrides Mix1 overrides Mix2. For example
you can select Mix1 as your source, then press Ext to check a
recording level without having to first deselect Mix1.
BOOTH MONITOR LEVEL Adjusts the level of the signal to the
stereo local monitor output jacks. This does not affect the level in the
headphones.
CUE ENABLE With this switch in its down position CUE automatically
overrides the selected source in the local monitor. The switch is
recessed to prevent accidental operation once it has been configured.
In the up position CUE affects the headphones but not the booth
monitor. In club mixing the local monitor feeds a booth speaker
system. The DJ may prefer to cue using headphones only.
MUTE Press this switch to mute the local monitor output. The switch
cap lights when the monitor is muted. The headphones are not
affected. An internal option reconfigures the switch to attenuate the
signal by 20dB rather than mute it if required, for example to keep
some program audible at all times. Refer this work to competent
service or installation personnel.
SPLIT CUE Press this switch to change the way CUE operates.
Normally, pressing a channel CUE switch overrides both left and right
monitor program signals with the cue signal. With the switch pressed,
CUE overrides just the left channel. The left program signal sums
with the right so that the program remains in the right monitor but in
mono. The left monitor meter displays the cue signal, right displays
program. This is invaluable in club mixing where the main program
should remain audible while cueing other channels ready to bring
them into the mix. It is very useful when beat mixing using
headphones.
MONO Sums the left and right monitor signals together so that the
selected stereo source can be checked in mono. Use this to check for
mono compatibility and phase problems, especially important in dance
floor and recording applications. A drop in level or loss of low
frequencies when pressed indicates reversed phase between the left
and right signals.
XONE:464 User Guide
31
DANCE FLOOR
32
XONE:464 User Guide
The Club Application
The XONE:464 build quality, versatility and number of inputs and outputs make
it ideal for high performance professional club installation.
Hybrid application
The console provides facilities for dance/DJ and
live/cabaret mixing. As a ‘house’ mixer it would be expected to alternate
between house DJ, performance DJs, live acts, cabaret, karaoke, background
music, and so on. The following example is just one of many possibilities, each
dependent on the particular application. Refer to the diagram opposite.
Overview Here we have a club venue that features both house and guest DJ
sessions providing a sound and light experience for the dance floor. XONE:464
presents the DJ with a unique set of easy to use live performance tools to
creatively manipulate the sound and excite the audience. The club maintains its
appeal by staging live cabaret and music acts as well as the dance sessions. A
typical evening may start with background music, move to dancing as the house
DJ takes over, introduce the featured guest DJ performance, and then change
the mood for some live cabaret, all this under the control of XONE:464. The
sound system can be divided into three key areas:
BOOTH This is where the sound is controlled, typically overlooking the dance
floor and raised so that the performance of the DJ can be seen. Flanked by the
music sources the XONE:464 forms the heart of the system. This example
shows no fewer than 4 RIAA turntables, 2 CD decks, a background music CD
player, and MiniDisc and DAT players for alternative format material. Note that
while this illustrates the capability of XONE:464 many real club applications
may not need as many sources as this. The performance is enhanced by
patching in a sampler effects unit. The DJ uses headphones to cue the
sources, split-cue helping him match the beat between tracks. The local
monitor output feeds high power booth monitor speakers so that the DJ can
‘feel’ the music. In this case the music only mix feeds these speakers with cue
disabled to prevent cue spill on to the dance floor and to avoid feedback should
he cue his own microphone. A stereo recorder is fed from Mix1 to record the
music only performance.
DANCE FLOOR This is the dance area with high tech music system and light
show. Typically, 4 speakers are hung, one at each corner, supplemented by a
sub bass cabinet on the floor to enhance the low bass. XONE:464 feeds these
speakers with the music only mix derived from Mix1 output. The mono output is
switched from Mix1 to feed the sub bass system. A socket is also provided to
send the mono mix to the sound-to-light controller for music linked lighting
effects. Sound level control is maintained by inserting output limiters to prevent
system or hearing damage, or indeed a visit from the regulations authorities!
STAGE This is where the cabaret and live music acts are performed, typically
alongside the dance floor. This example shows a solo singer/guitarist using
MiniDisc backing tracks, and the club MC (Master of Ceremonies) who
introduces the performances. Most of these small club acts do not require, or
cannot afford, their own engineer driven mixing consoles. XONE:464 provides
all the facility needed to mix up to 4 microphones and additional stereo sources.
As with professional live consoles, compressors are inserted into the mic
channels to keep unexpected peaks in check. Similarly a reverb processor is
patched in to add ambience to the live act. Dedicated left and right speakers
face the dance floor and are fed with the Mix2 output. This is the microphone
mix with music added by selecting the Mix1 to Mix2 underpanel routing switch.
Note that the mic signals are prevented from getting to the dance floor speakers
and lighting controller. Two stage monitor speakers are shown giving the
musician and the MC their own independent mix fed from Aux 1 and 2.
XONE:464 User Guide
33
Options
The XONE:464 is designed to offer the utmost flexibility to satisfy your application without
modification. However, the following internal link options are provided to allow
customisation to satisfy the more specialist applications. Further information and details
are printed in the XONE:464 Service Manual or available from Allen & Heath.
This work requires access to the internal assemblies and resoldering of
circuit card links and should be carried out by competent technical personnel only.
Mono channel AUX options The pre-fade sends are set post-EQ, post-ON as
standard. Links on the mono circuit cards can be resoldered to reconfigure
pre-EQ and/or pre-ON.
Stereo channel AUX options The pre-fade sends are set post-EQ as
standard. Links on the stereo circuit cards can be resoldered to reconfigure
pre-EQ. Similarly the post-EQ cue feeds can be reconfigured pre-EQ.
Mono channel DIRECT outputs These are derived post channel fader as
standard. A link on each card can be resoldered to reconfigure pre-fader. The
direct out pre-fade source is the same as that configured to feed the aux sends.
EXT input level option The external inputs are set for –10dBV line level as
standard. These can be reconfigured for +4dBu operation by cutting track links
on the connector card.
MUTE switch function This mutes the local monitor as standard. It can be
reconfigured to attenuate the signal by 20dB by cutting a pair of track links on
the right master circuit card.
Remote control of the MUTE function The right master circuit card provides
solder pads to wire to the 25 pin REMOTE connector so local monitor MUTE
can be activated by an external switch.
REMOTE user connector
The blanking plate may be replaced with a
standard 25 pin chassis mount female D-connector for custom wiring.
SYS-LINK output
The blanking plate can be replaced with a 25 pin Dconnector with circuit card. This provides access to all the console outputs and
is compatible with any Allen & Heath console already fitted with the SYS-LINK
expander system. A kit of parts is available from Allen & Heath.
Addendum: Model Changes – October 2000
There are minor changes between the original XONE:464 and the revised
model which replaces it and is referred to in this user guide. The order code
XONE2:464/ refers to the revised model.
Styling The original stainless steel finish is replaced with a new textured silver
paint. Several knob and pushbutton types have been changed to further coordinate the styling. There are minor changes to the graphics.
Master Level Controls The original MIX1 and MIX2 master linear faders have
been replaced with rotary master controls.
Crossfader The new high grade Penny & Giles fader is fitted instead of the
original Alps version. These are not interchangeable.
Headphones Socket
lower right.
34
The front panel socket has been moved from the top to
XONE:464 User Guide
Tips and Troubleshooting
For your safety do not remove the
EARTH (ground) connection in the power lead
of the console or connected equipment.
☺
Have your MAINS SYSTEM checked by a
qualified electrician. If the earthing is solid to
start with you are less likely to experience
problems.
☺ Use high grade AUDIO CABLES and
check them for reliable connection. It is well
known that many audio system problems are
due to faulty cables and connectors.
In a club or similar installation strict
SOUND LEVEL and noise regulations may
apply. Check that your system levels are
correctly set up to comply.
To avoid damage to your hearing start
with the HEADPHONES level control at
minimum and turn up only as much as is
needed to maintain comfortable listening level.
Do not drive headphones at high listening
levels for long periods of time.
Always switch connected AMPLIFIERS
on last and off first to avoid thumps when the
console and connected equipment is turned on
or off.
Reduce gain if the red meter PEAK led
flashes. These warn you that you are near
clipping which may result in system overload
and distortion. The XONE:464 provides plenty
of drive and headroom when operated around
the 0 to +6 meter points.
Increasing VCF RESONANCE boosts a
narrow band of selected frequencies. Make
sure you reduce the channel gain if the red
peak meters start to flash. It is best to start
experimenting with this control set to minimum.
☺
Use split-CUE to match the beat between
two tracks when beat mixing. Alternatively,
you can monitor Aux 3-4 and raise the sends
on the two channels to give you a pre-fade
PREVIEW of the mix which does not affect the
main output. Select Aux 3 and 4 monitor
switches together to listen in stereo. Pressing
any CUE switch will override the preview.
☺ To control vocal microphone dynamics
patch a COMPRESSOR into the mono
channel insert. Start with its threshold set to
0dB and ratio around 2 or 3:1.
XONE:464 User Guide
?
There are loud clicks when I plug
microphones in. Check that the rear panel
+48V switches are selected only for
microphones that require phantom powering.
Do not connect unbalanced sources or cables
to the XLR inputs when phantom power is
selected. To avoid loud clicks always turn the
channel off by releasing the ON switch when
switching +48V on or off and when plugging or
unplugging microphones with power applied.
?
The stereo channel sounds very
distorted with excessive bass. Check that
you plug only turntables needing RIAA
equalisation into CH 5,6,9 and 10 Phono A
inputs. Other equipment should be plugged
into these channel B inputs.
?
There is a hum on the turntable
channels. Check that the turntable earth strap
has been correctly connected to the console
chassis earth post.
?
Only one side of the stereo mix is
working. Check that the XFADE PAN control
is not set fully to either L or R.
?
When the VCF is switched on there is
very little sound. Operate the VCF frequency
control to restore the frequency content of the
sound.
?
There is no microphone output when I
raise the channel fader. Check that the mic
channel ON switch is pressed and that the
Mix1,2 routing switches are correctly set. Also
check that any compressors or other
processors plugged into the inserts are turned
on and correctly adjusted.
?
There is no monitor output. Check that a
channel CUE switch is not already selected.
This is indicated by the red CUE led under the
monitor meters.
?
There is no stereo channel signal.
Check that the input selector switch is in the
correct position.
?
CUE is not working on the booth
speakers. Set the underpanel CUE DISABLE
switch as required.
?
The EXT input is not working. Check
that the underpanel routing switches are
correctly set.
?
The crossfader works backwards. Check
that it has been re-fitted the right way round if
previously removed.
35
XONE:464 CUE SHEET
Photocopy and use to log your console settings
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