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Allen & Heath XONE:92L DJ mixer

1. AC MANS IN 109 2407 RECORD LA JU iA i 2 FA m MAINS POWER ADDITIONAL ZONE 5 rT aL oo0000 2 1 MC MICROPHONE 0 1 DELAY UNIT lt I g 9 CD R RECORDER T XONE 92 User Guide The XONE 92 Application This diagram shows an example hook up to demonstrate how the XONE 92 can be connected in typical DJ application Note that you do not need to connect the channels in the order shown also that the connector types on the equipment you connect to may be different to that shown Use cables appropriate to your application Please read Plugging Up The System before connecting to your equipment The following describes how the console is used in this example application XONE 92 User Guide Microphone sources The DJ microphone is plugged into MIC 1 A second mic is plugged into MIC 2 typically for MC These signals route to the mix outputs and headphones They are not routed through the crossfader nor to the booth monitor so avoiding potential acoustic feedba
2. ON VCF TO CUE 1 2 1 HPF 0 3 BPF Ne P E E 45 Ll LPF 20 REN Y x m FREG d T rad Oo D 30Hz 4 4 7 FILTER 20kHz XFADE CURVE 2 92 User Guide 1234 9 2 Z ve ack 7 o m o m PRE PRE AX 2 2 _ o m PRE PRE n PHONO pm PHONO 2 UNE 20 LEVEL sy LEVEL oo oo HI E gt if Ht 6 o 6 MD 1 1 N 30 6 30 6 LE 30 30 6 10 E 027 gt O 6 FILTER FILTER 1 lt 7 gt 2 1 lt 7 gt 2 OFF OFF XFADE XFADE OFF OFF CUE CUE 00 6 43 BO oc 0 3 5 10 494 4 45 15 20 eT 20 z 00 Photocopy and use to log your console settings TEMPO ADJ AX M DATA oes eR d 2 QN 24 lt MIDI 7 0 T 3 wu START STOP 0 FI 1 Z 3 T N 5 m s d PRE PN FILTER 2 20 N PHONO L R MX 2 LNE LFO DEPTH CUE PRG SPLIT LEVEL vy gt 4 i34 p MIN MAX a 72 7 2 8 1 x LFO 1o 9 ON 00 oO 6 LFO 8 56 i 1 G Jx 2 8 MIX2 N 1 2 9 0 10 2 3 ps 2 1 C j 456 RESONANCE 2 BOOTH
3. 3 CH1 4 STEREO LINE input RCA phono Connect stereo line level music sources such as CD MD DAT drum machines keyboards or other instruments Do not connect turntables which require RIAA equalisation Use CABLE Alternatively you can connect to jack sources using this cable with RCA to jack adapters Avoid using low grade cables such as those often supplied with domestic equipment as these can quickly prove unreliable in use 4 CH1 4 STEREO PHONO input RCA phono Plug in turntables with magnetic cartridges requiring RIAA equalisation For non RIAA turntables plug into the LINE input instead Do not plug in line level sources to the phono inputs as these will overload the preamp and cause severe high level distortion Use high grade versions of CABLE A 5 Chassis earth terminal A screw terminal is provided for connecting the earth straps from turntables This connection earths the metal parts of the turntable to reduce hum buzz or similar audible noise getting into the system 6 RECORD output RCA phono This provides a music only output not affected by the main mix fader Connect to a stereo recorder such as MD DAT or cassette to record the show Use CABLE with or without adapters or a custom cable depending on the recorder connector type XONE 92 User Guide 7 AUX 1 2 output Impedance balanced TRS jacks Depend
4. V1 1 9 Ne BN oat N ure 6 FILTER MILD WILD 140 CUE ACTIVE OFF XFADE POST EQ yov OFF SPLIT CUE VCF J 2 4 AUX1 CUE 4 XFADER AUX2 HPF MONITOR 45 3 5 0 aC 12 A 40 P 15 TT 2 CN 4 N SN FREQ ES 30Hz o FILTER ON 29682 Y yo 156 Crossfader 39 Check out my Internet site http www xone co uk
5. LEVEL AUX FREQ RESONANCE LFO DEPTH HEADPHONES and BOOTH MONITOR controls to minimum Set EQ controls to their detented centre position Set all press switches to their up position Set all toggle switches to their centre position 2 Plug in a CD player This provides a good stereo audio Source as a starting point Plug into stereo channel 1 line input as shown Do not use the phono input for CD or other line level sources as this is intended for turntables with magnetic cartridges requiring RIAA equalisation 3 Plug in the headphones Plug into either of the top panel headphones sockets Use the best headphones you can afford for your application We recommend the professional grade closed ear type of 30 to 100 impedance and with 1 4 TRS jack plug 4 Connect AC mains power Check first that the correct mains lead with sealed plug suitable for your local supply has been provided with your console Plug into the AC MAINS IN socket making sure the connector is pressed fully in 5 Switch the console on Press the rear panel ON OFF switch You may notice that the console meters and various other LEDs flash briefly This is normal during power up 6 Select the line source Press the stereo channel 1 source select switch This lights red to indicate that the line source is selected 7 Adjust the channel level Start the CD player Adjust stereo channel
6. Plug in stereo headphones fitted with either a stereo 14 jack or mini jack Use closed ear headphones that provide maximum acoustic isolation when cueing your sources We recommend that you use high quality headphones rated between 30 to 100 ohms impedance 8 ohm headphones are not recommended 13 MIDI output 5 pin DIN socket Connect to either a MIDI interface or directly to MIDI compatible equipment using a standard 5 pin DIN MIDI lead WARNING avoid damage to your hearing do not drive headphones at high listening levels for long periods of time Start with the level control set to minimum and raise it until a comfortable listening level is achieved 17 MIC RETURN Input Channel These controls adjust the level and tone of each source before they are mixed Two input channels are provided Each has two inputs MIC RETURN channels 1 and 2 are used for microphone or alternative stereo line source They provide corrective source equalisation AUX 1 2 sends Adjust the levels of the channel signals to the stereo Aux outputs Turn fully anticlockwise to turn the signal off fully clockwise for a maximum 6 boost 2 PRE switches With the switch in its up position the signal to the Aux mix is sourced post fader This means that the Aux send follows the channel fader movements Press the switch to 2 3 source the send pre fader Set in this way the fad
7. bring the effect into the mix and automatically lower the level of the source by 15dB Laptop PC Increasingly computer based sequencing is being used during a live set running dedicated sequencing software The MIDI out from the XONE 92 is used to provide master tempo and remote control of certain parameters within the software by mapping it to the controller codes generated by the mixer Mix 1 outputs These outputs feed the main house PA system The connections are balanced pro level 4dBu to feed long cable runs to the amplifier system They may plug into system processors such as protection limiters EQ and crossovers which in turn connect to the amplifiers Mix 2 outputs These outputs feed an external amplifier providing sound to an additional zone They may plug into external signal processors or even be used as additional auxiliary outputs MIDI output Featured front panel controls 6 output MIDI data to an external device such as a computer sequencer or effects controller This capability enables the DJ to additionally control MIDI compatible equipment during the performance Recording the set A dedicated music only stereo output connects to a recorder such as the CDR shown to record the performance Typically the mic signals are not recorded The signal is not affected by the master mix controls Booth monitor stereo speaker system provides the DJ with a music only local monitor This can be checked or worked in mono if requi
8. microphone picks up its own signal from the speakers It is usually a shrill and annoying squeal that should be quickly dealt with by reducing mic gain or equalising the system to notch out the offending frequencies Gain This is the boost or attenuation applied to the source signal in the channel preamp stage to match it to the console operating level For example large amount of gain is need to match low microphone signals It is set using the console meters Gain is not used for level volume control Headroom The amount of level available expressed in dB to handle peaks above the normal OdB operating level Hz Hertz The measurement of frequency The audio spectrum ranges from a low bass frequency of 20Hz to a high treble 20kHz Not many sound systems reproduce the full range Average hearing does not extend much beyond 15kHz or so Response is further impaired if the ear is subjected to continual high sound pressure levels Highpass filter that attenuates frequencies below the cut off frequency 32 Hum Apart from not knowing the words this is the audible noise that usually results from mains interference pickup earth loops bad interconnections and induced power supply and lighting fields It is usually at mains frequency 50 60 2 or a related harmonic Impedance 7 A technical term for the resistance of a signal conductor to ground Low impedance usually refers to microphones of 200 ohms or less and li
9. 1 LEVEL control until the average music level lights the channel meter blue 0 led with loudest peaks lighting the blue 6 led If no signal is present check that the music source is playing and the correct input is selected Reduce LEVEL if the red 10 Led lights This indicator is a warning that the signal is approaching clipping and that distortion may result if the level increases further XONE 92 User Guide gt lt XFADE CURVE O 410 20 L MIX CUE PRG SPLIT f C CUE ACTIVE POSTEQ SPLIT CUE oj AUX1 AUX2 MID 1 fo 30 2 MONITOR 8 Check the sound using the Cue system With the music XONE 92 User Guide playing press the large CUE switch The switch lights as well as the CUE ACTIVE led to show that the cue monitor is active The channel signal is now sent to the headphones Slowly turn up the headphones level control until you hear the music Avoid listening to loud headphones levels for long periods as this may damage your hearing The channel signal is now displayed on the main monitor meters Note that the cue system lets you monitor the channel signals pre fader In other words you can check or cue any source before you raise its fader to bring it into the mix 9 Route the signal to the main Mix 1 output Release the CUE switch The CUE light pipe turns off and the headphones a
10. 2 hot 1 ground BALANCED CABLE F BALANCED N XLR MALE Sleeve ground Ring cold Tip hot CABLE G UNBALANCED UNBALANCED o o XLR FEMALE UNBALANCED CABLE H o UNBALANCED XLR MALE 16 XONE 92 User Guide CH1 2 MIC input Balanced XLR Plug DJ guest or announcement microphone here Use good quality low impedance dynamic mics such as those specifically designed for vocals Do not use high impedance or unbalanced microphones or condenser types which require phantom power Use professional grade balanced cables wired as CABLE 0 Use the best cable and connectors you can afford as these are typically subject to intense use and abuse in the club environment 2 CH1 2 LINE RETURN input Unbalanced TRS jacks Connect mono or stereo line level sources which do not need to route through the crossfader For a mono source plug into the L M input only For a stereo source plug the left source into the L M input and right into the R input These are 3 pole TRS sockets which can accept balanced or unbalanced TRS or TS jack sources Depending on the source connector type use CABLE connect RCA phono jack sources you can use the standard CABLE A with RCA to jack adapters or custom make as required
11. Continued exposure to high volume sound can cause frequency selective or wide range hearing loss Make sure that your system complies with any venue sound level and noise regulations which may apply XONE 92 User Guide Introduction This user guide presents a quick reference to the XONE 92 We recommend that you read this fully before starting Included is information on installing connecting and operating the console panel drawings system block diagram and technical specification For further information on the basic principles of audio system engineering please refer to one of the specialist publications available from bookshops and audio equipment dealers Whilst we believe the information in this guide to be reliable we do not assume responsibility for inaccuracies We also reserve the right to make changes in the interest of further product development We are able to offer further product support through our world wide network of approved dealers and service agents You can also access our Web site on the Internet for information on our product range assistance with your technical queries or simply to chat about matters audio To help us provide the most efficient service please keep a record of your console serial number and date and place of purchase to be quoted in any communication regarding this product Check out our web site for information on the company and its pedigree our full product range and our design philosophy W
12. Q wide bandwidth when cutting This prevents accumulated gain when all EQ controls are fully clockwise 2 This is similar to MID 1 but affects the lower mid frequencies centred at 350Hz Boosting can enhance the warmth of the sound while cutting can reduce the unpleasant resonant or boomy effects XONE 92 User Guide LO This is similar to the HI control but affects the low bass frequencies below the 250Hz turning point When turned fully anticlockwise the response changes to a high pass filter 12dB Oct with all frequencies below the cut off point being progressively attenuated Use LO boost to accentuate the bass lines beats and cut to eliminate all LF content 6 FILTER assign switch Toggle this switch to route the channel signal through either of the two VCF FILTER sections Selecting the switch in the central OFF position bypasses both the VCF FILTER sections Note Routing the channels to the filters with the filter ON can produce audible clicks route the channels to either filter with the filter turned off to prevent this 7 XFADE assign switch Toggle this switch to route the channel signal to either side of the crossfader Selecting the switch in the central OFF position routes the signal direct to the mix outputs 8 CUE switch Press this switch to listen to the pre fader channel signal in the headphones and to display its signal on the main meters This does not affect the house mix or b
13. adding it to the mix Cue is post EQ for MIC RTN channels so that you can check the effect of adjusting the EQ The switch illuminates when pressed so that you can see at a glance which channel is cued 7 DUCK ON switch For MIC RETURN channels 1 and 2 use this to introduce the MIC RTN signal to the mix outputs Pushing the switch upwards non latching DUCK will add the channel input to the mix outputs until released and will simultaneously duck the stereo music channels by 15dB Pushing the switch down latching ON adds the channel input to the mix outputs without ducking the stereo channels The central default position is OFF where the Mic channel inputs are not added to the mix outputs 8 ON PK LED A dual colour led simultaneously displays which MIC RTN channel is switched ON and warns of channel signal peaks The led lights green to indicate that a channel is turned ON Reduce the gain if the led PK flashes red 9 Channel fader 60mm stereo fader adjusts the signal level from off to unity at the top of its travel This allows smooth fade ins and a visual indication of its contribution to the mix The fader does not affect the pre fade Aux sends 19 PHONO LINE Input Channel XFADE OFF 20 These controls adjust the level and tone of each source before they are mixed Four STEREO music channels are provided Each has two inputs STERE
14. cut to allow dramatic performance effects by killing selected frequencies Attenuate Reduce the signal level Aux Auxiliary An independent mix derived from the channels for various functions This can be set pre before or post after the channel fader Pre fade sends are often used for foldback monitors or DJ sampler effects feeds Post fade sends are often used for reverb effects zone and special recording feeds Balanced Unbalanced Refers to the type of input or output signal connection An unbalanced connection has two signal carrying conductors one of which is the cable shield A balanced connection has three conductors two for signal and a shield which is connected to earth Because the signal conductors are at the same impedance and of opposite polarity they are better able to cancel and therefore reject interference and noise pickup It is standard practice to use balanced connections for long cable runs for example to amplifiers or cables carrying sensitive or low level signals for example microphones Bandpass filter with a bell shaped response for attenuation of frequencies either side of the centre frequency Beat Mixing Using the variable pitch controls on turntables CD players to synchronise the rhythm track of two separate songs so that the beat remains constant when smoothly cross fading from one to the other Bi amping Providing separate amplifiers to drive the high and low frequency units in a
15. filter type interaction around the cut off point creates an interesting effect that varies from subtle to dramatic depending on the RESONANCE setting 25 Master Mix and Monitor System The XONE 92 provides two stereo main mix outputs with independent level control on balanced XLR and jack connections to drive the house PA amplifier system or additional zone feeds You can make a music only recording by connecting to the independent record output Full DJ monitoring facilities are available with independent headphones and booth monitors together with stereo metering system Every music channel signal can be checked individually or within any mix ideal for system setup and performance cueing Facilities such as Mono and Split Cue switching are well suited to the way the professional DJ works O 0 1 MIX MASTERS Two rotary master controls adjust the output levels feeding the house These are stereo controls which adjust the left and right signals simultaneously They affect the stereo 5 mix Note that they do not affect the record and E booth outputs The MIX 1 maximum position 20 represents unity The MIX 2 maximum L R MX position represents 10dB gain If you find yourself RS ES normally setting the controls in the lower part of their travel then the connected equipment may be too sensitive for the operating level of the console With the controls
16. flash 26 XONE 92 User Guide 4 HEADPHONES level control Adjusts the level of the signal in the stereo headphones This does not affect the level of the local booth monitor WARNING Some headphones are more sensitive than others and can produce higher output levels To avoid damage to your hearing start with the 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 5 POST EQ switch In the normal up position the headphones and meters monitor the Pre EQ cue signal from each music channel This means that you will not hear changes made in the EQ which can be useful if you dramatically alter the frequency response by cutting all LF but still need to monitor the beats to keep a track in sync Pressing this switch will allow you to monitor post EQ and hear any changes made to the channel EQ Toggling between pre and post EQ is useful to compare the effect of the EQ 6 SPLIT CUE switch 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 stereo cue signal With the switch pressed CUE overrides just the left channel leaving the program in the right channel The left monitor meter displays the cue signal right displays program This is invaluable in club mixing
17. is solid to start with you are less likely to experience problems e 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 OV 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 chassis earth terminal is provided on the console rear panel to connect to turntable earth straps Use low impedance sources such as microphones and line level equipment rated at 200 ohms or less to reduce susceptibility to interference The console outputs are designed to operate at very low impedance to minimise interference problems Use balanced connections for microphones and mix output as these provide further immunity by cancelling out interference that may be picked up on long cable runs To connect an unbalanced source to a balanced console input link the cold input XLR pin 3 or jack ring to OV earth XLR pin 1 or jack sleeve at the console To connect a balanced XLR output to unbalanced equipment link the cold output to OV 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 st
18. loudspeaker This requires a crossover processor that splits the frequency band into low and high Bi amping usually produces a cleaner and more controllable sound in larger systems BPM Beats Per Minute The measurement of the rhythmic beat of the music Booth The area often enclosed where the DJ operates Usually provided with local booth monitor loudspeakers Cardiod The response of a microphone which is more sensitive in front than behind This is XONE 92 User Guide generally used for vocal miking to reduce acoustic feedback Cut Mixing Moving the cross fade control sharply from one side to the other to either pick out a sound a hi hat kick drum etc or to drop straight into another record Also known as chopping Cartridge The pickup in a turntable Uses a needle to pick up vibrations from the record vinyl and convert this to electrical signals that feed the console The cartridge is usually fitted to a removable headshell that plugs into the turntable arm Clipping The harsh distorted sound that results when the signal hits the maximum level possible This is set by the power rail voltage Above this there is simply no more voltage available so the signal is clipped Compact Disc CD Well established stereo player using digitally mastered pre recorded flat discs Becoming popular with DJs as a replacement or alternative to vinyl mixing Recordable CDs are now available Crossfader A short horizontally
19. mixing Experiment further by connecting two CD decks or turntables and assigning one to X the other to Y The channel s assigned to the crossfader are indicated by the green leds above 11 gt Qe 5 gt lt 25 gt XFADE CURVE TURNTABLES EARTH STRAPS FREQ WY 30Hz S 4 FILTER 20 2 she MILD WILD A HPF A A LPF 12 14 Changing the crossfader curve The control knob to the left of the crossfader sets the crossfader curve In the normal fully anticlockwise position the signal dips 5 at the middle position for smooth fading between tracks Turn the knob clockwise gradually for an increasingly dipless response whereby the signal starts to dip only once the fader has passed the mid position This is better suited to scratch or cut mixing where you layer the sounds 15 Crossfader mixing At this point you may wish to plug in a pair of turntables and experiment with DJ mixing Plug into stereo channel 1 and channel 2 phono inputs if your turntables require RIAA equalisation If not plug into the line inputs Remember to connect the turntable earth leads to the console chassis earth terminal Use CUE to set up the channel level as you did in step 7 Route channel 1 to X and channel 2 to Y of the crossfader 16 Adding VCF filter effects Each side of the c
20. mounted fader for smoothly fading one music track in while fading the other out Often used by the DJ for cutting and layering sounds while mixing Cue A monitor system provided for the DJ or console operator to check individual channel signals using headphones while lining up tracks ready to introduce into the mix This does not affect the main console outputs DAT Digital Audio Tape A type of digital 2 track recorder that uses a small tape cartridge to produce high quality recordings in a compact format dB Decibel The unit of measurement for audio signal level This is logarithmic to follow the response of the human ear dB is a relative measurement to compare one level with another for example gain from input to output dBu is an absolute measurement referenced to a voltage standard where OdBu 0 775V rms The console main outputs operate at the professional high standard of 4dBu 1 23V 0 reading on the meters dBV is a similar measurement but refers to a 1V standard It is common for consumer equipment to operate a the low standard of 10dBV 316mV dBA refers to sound pressure level and is measured using the A scale that hears in the same way as the human ear 31 DJ Disc Jockey The console operator sequencing and playing the music tracks Some simply play the tracks others talk over with introductions and announcements and others provide an entertaining performance by m
21. output MIDI data 0 farthest left to 127 farthest right Control Change CC92 XFADER 6 MIDI OUT socket chassis 5 pin DIN socket Outputs all XONE 92 MIDI data to an external MIDI compatible device 29 XONE 92 MIDI Implementation Chart O Available X Not used Function Transmitted Received Remarks Basis Channel Internal DIP switch Default 16 X setting Option 15 X Mode Default X X Messages X X Altered X X Note Number X X Velocity Note ON X X Note OFF X X Aftertouch Keys X X Channel X X Pitch Bend X X Control Change 12 X 13 X 92 X 94 X Internal jumper option Program Change X X System Exclusive X X System Common Song Position X X Song Select X X Tune Request X X System Real Time Clock X Commands X Aux Messages Local On Off X X All Notes Off X X Active Sensing X X System Reset X X 30 XONE 92 User Guide Glossary The following section is included to help you understand some of the technical terms and jargon referred to with consoles of this type It is by no means a complete reference Please refer to specialist audio publications should you wish to know more Amplitude Another term used for signal level Asymmetric An equaliser with a different amount of cut and boost of the frequency bands This is used to restrict the available boost so preventing system overload while providing extended
22. shelving response with all frequencies above the 10kHz turning point affected Note that frequencies below 10kHz are affected by a decreasing amount Use HI boost to brighten up the sound by adding sparkle and cut to reduce source hiss and ambient high frequency pickup or to limit or lift the high response of vocal mics MID 1 Turn clockwise to boost and anticlockwise to cut the higher mid frequencies This has a bell shaped peak dip response that has maximum effect at 2 5kHz Boosting can enhance the intelligibility of vocals On the other hand some situations may require cutting to notch out a ringing frequency so increasing gain before feedback XONE 92 User Guide MID2 This is similar to MID 1 but affects the lower mid frequencies centred at 250Hz Boosting can enhance the warmth of the sound while cutting can reduce the unpleasant resonant or boomy effects LO This is similar to the shelving HI control but affects the low bass frequencies below the 100Hz turning point Note that frequencies above 100Hz are affected but by a decreasing amount Use LO boost to enhance low end punch or cut to reduce source hum and rumble or to remove the bassy sound of vocal mic proximity effect 6 CUE switch Press this switch to listen to the pre fader channel signal in the headphones and to display its signal on the main meters This does not affect the house mix or booth speakers and lets you audition the signal to check it before
23. ALLEN amp HEATH XDf IP 9o PROFESSIONAL DJ MIX ER USER GUIDE Limited One Year Warranty This product 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 amp HEATH Limited or its authorised agent as soon as possible for repair under warranty subject to the following conditions Conditions Of Warranty 1 The equipment has been installed and operated in accordance with the instructions in this User Guide 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 amp HEATH Any necessary adjustment alteration or repair has been carried out by ALLEN amp HEATH or its authorised agent This warranty does not cover fader wear and tear The defective unit is to be returned carriage prepaid to ALLEN amp HEATH or its authorised agent with proof of purchase Units returned should be packed to avoid transit damage In certain territories the terms may vary Check with your ALLEN amp HEATH agent for any additional warranty which may apply directives 89 336 EEC 4 92 31 EEC and the European Lo
24. C GN 524 7 MIX2 L RECORD OUT 5 gt 2 ON STEREO LATCHED c Vn 5 E 1 BOOTH L BOOTH p OD gt BOOTH R AUXI pO O L CUE ACTIVE ADD MIX e AUX 1 MIX ie m 1850 pd Ex 2 AUX1 YS A 00 1 L a Au AUX2 O O PHONES 1 4 T AUX J B H R 1 PHONES 3 5 gt 2MI 4 i 98 M H 1 99 postea 88 CUE MIX LR gt n CUE PRG SPLIT METER Connector Types XLR male and female connectors Pin 2 hot Pin 3 cold Pin 1 GND TRS input and output connectors Tip hot Ring cold Sleeve GND RCA PHONO pin connectors DIN 5 pin male MIDI connectors Standard MIDI cable Input Connections Type Impedance Sensitivity CH1 2 IN Mic Balanced XLR female lt 2k ohm 47 to 10dBu Stereo Return Unbalanced TRS jack 6k ohm 15 to 20dBu CH1 2 3 4 Phono RCA phono RIAA 47kohm 330pF 3 to 100mV Stereo Line RCA phono gt 20k ohm 10 to 20dBu Output
25. C92 Tremolo Level Data Controller internal option CC94 Celeste Level Tap Temp LFO 2 MIDI Clocks Start Stop MIDI Start Stop rewind TEMPO ADI 0 1 TEMPO ADJ DATA control The default DATA application for this control is to allow adjustment of VA the MIDI clock speed set by the VCF 2 TAP MIDI TEMPO button 3 With the control in its mid position the clock speed is unaffected Rotate anti START STOP 30Hz MIDI OUT XONE 92 User Guide clockwise to reduce or clockwise to increase the clock speed This allows external sequencers or drum machines to be accurately aligned to the BPM of pre recorded tracks An internal jumper can be reassigned to change the function of this control to a dedicated DATA send and will output Control Change CC94 See Service Options for details 2 START STOP button Sends MIDI start stop data to an external sequencer or MIDI device The Lights yellow when pressed Push once to transmit MIDI start data push again to transmit MIDI clock stop rewind data MIDI output ON 1 press STOP REWIND 27 press 3 TAP TEMPO button The tempo of the MIDI clock is set by tapping it in using the button The BPM is determined by the last two button presses 4 FREQ VCF sweep control Both controls independently output MIDI data 010 127 VCF 1 FREQ Control Change CC12 VCF2 FREQ Control Change CC13 5 CROSSFADER Move the crossfader to
26. Connections Type Impedance Nominal Level MIX OUT 1 L R XLR Servo Balanced XLR male 47 ohm 4dBu MIX OUT 2 L R jack Impedance balanced TRS jack 47 ohm 2dBu RECORD OUT RCA phono 600 ohm 10dBV AUX OUT 1 amp 2 L R Impedance balanced TRS jack 47 ohm 2dBu BOOTH OUT Impedance balanced TRS jack 47 ohm 2dBu HEADPHONES 4 and 3 5mm Tip 2L Ring R 3010600 ohm recommended XONE 92 User Guide 35 Installer Link Options CAUTION The following service instructions are for use by qualified personnel only To reduce the risk of electric shock do not perform any servicing other than that described in the operating instructions unless you are qualified to do so Refer all servicing to qualified service personnel The XONE 92 has several internal option settings designed in Some of these are primarily for setting up the mixer in a fixed installation situation and the others can be used to reconfigure the MIDI system To gain access to these options the top panel assembly needs to be separated from the chassis This operation should only be carried out by qualified service personnel IMPORTANT Disconnect mains input lead before removing the top panel Removal of the top panel requires the use of a Torx T10 screwdriver Use a good quality tool to prevent rounding the screw heads First remove the 4 pipped TORX screws located on rear panel in the center of each block of input channel RCA Phono connectors and then undo the 8 x 8 scr
27. L 250 20mm WARNING FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING ATTENTION REMPLACER LE FUSIBLE AVEC UN DES Earthing The connection to earth ground in an audio system is important for two reasons 1 SAFETY To protect the operator from high voltage electric 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 system engineer check the continuity of the safety earth from all points in the system including microphone bodies turntable chassis equipment cases and so on The same earth is also used to shield audio cables from external interference such as the hum fields associated with power transformers lighting dimmer buzz and computer radiation Problems arise when the signal sees more than one path to mains earth An earth loop ground loop results causing current to flow between the different earth paths This condition is usually detected as a mains frequency audible hum or buzz To ensure safe and trouble free operation we recommend the following e Have your mains system checked by a qualified electrician If the supply earthing
28. NO switch does not affect the headphones monitor 11 BOOTH MONITOR level control Adjusts the level of the signal to the stereo booth monitor output This does not affect the headphones 12 switch Press to mute the booth monitor output The red led lights when the monitor is muted The headphones and main outputs are not affected This is useful when the DJ chooses to work with headphones only check the sound level from the dance floor or quieten the monitor to talk to staff or take a request 27 MIDI Control of External Devices 28 MIDI is short for Musical Instrument Digital Interface conceived in the 1980 s so that keyboards and other electronic instruments could have a common interface allowing them to communicate with each another Applications now include sound and lighting consoles computer sequencing show control and performance effects control The XONE 92 is unique in being the first DJ mixer to include MIDI functionality Equipped with a MIDI out socket XONE 92 allows the DJ to control other external MIDI devices from featured front panel controls This adds to the unique combination of creative tools available to the DJ XONE 92 can be used to remotely control effects units sequencers drum machines etc via MIDI providing the unit you wish to control is compatible with the MIDI controller codes generated Most computer sequencing programs allows you to map different controller codes to vi
29. O LINE inputs 1 to 4 are used for CD decks or alternative stereo music sources and can be routed through the crossfader and Filter effects stage STEREO PHONO inputs 1 to 4 are used for the turntables and can also be routed through the crossfader and Filter effects stage These provide effective equalisation to creatively shape the sound during performance n PHONO O46 FILTER OFF XFADE Qrv OFF 81111 SIE el E el 1 AUX 1 2 sends Adjust the levels of the channel signals to the stereo Aux outputs Turn fully anticlockwise to turn the signal off fully clockwise for a maximum 6dB boost 2 PRE switches With the switch in its up position the signal to the Aux mix is sourced post fader This means that the Aux send follows the channel fader and crossfader movements Press the switch to source the send pre fader Set in this way the fader has no affect on the Aux level Post fade sends are typically used to send channel signals to effects devices such as reverb or delay processors The amount of signal sent to the device follows the fader level The processed wet signal returned to the mix elsewhere is therefore in proportion to the direct dry signal regardless of fader position Other post fade uses include special recording or zone feeds Pre fade sends are typically used for DJ effects or to feed monitor speakers such as stage foldback H
30. UVRIR WARNING THIS APPARATUS MUST BE EARTHED TO REDUCE THE RISK OF FRE OR ELECTRIC SHOCK DO NOT EXPOSE APPARATUS TO PAN OR MOISTURE S 2 L R L LINE R AC MAINS IN n 100 240 75 eS AUX wc 2 RECORD L TEMPO ADJ 9 DATA gt 9 FILTER 1 E FILTER 2 Y LFO DEPTH c LFO DEPTH yu X RESONANCE 9 4 900 46 RESONANCE _ POSTEQ SPLIT CUE ONOPK ON PKI PK X C LINK 2 1 5 VCFTO 1 2 XFADER P 22 XFADER AUX2 5 2 HPF MONITOR 6 XONE 92 User Guide Welcome to the XONE 92 The Allen amp Heath XONE 92 presents a unique combination of performance tools for the professional DJ in a stylish and solidly built club format Above all it features sound quality second to none XONE 92 has been designed and constructed using the same rigorous standards we apply to our large format professional consoles used and respected by top engineers throughout the world XONE 92 provides 6 dual stereo channels two offering mic inputs adding up to a massive 10 stereo and 2 microphone inputs A full range of connectors means that you can connect up to 4 turntables 2 mics CD players MD players drum machines samplers and pretty much anything else you might want to bring into the mix MIDI Musical Instrument Digital Interface a
31. User Guide 3 MIC RTN switch MIC RETURN Channels 1 and 2 are the MIC channels They can select either the XLR microphone input or the alternative jack stereo line return input In the up position MIC is selected indicated by the green led When pressed RTN is selected indicated by the led changing colour to red 4 LEVEL control Adjusts the input sensitivity of the channel to match the connected source to the console OdB operating level This provides a 35 37dB range with continuous adjustment for line level signals from 15dBu to 20dBu 47dBu to 10dBu for mics or to match a wide range of RIAA turntable cartridges Use the Cue system to correctly set the level Reduce LEVEL if the red PK led flashes MIC EQ The MIC RETURN channel 1 and 2 equaliser provides a powerful tool to adjust the tonal quality of the sound to correct source problems such as microphone characteristics proximity effect noise and feedback or to adjust the overall feel Start with the EQ controls set to their mid flat position Then adjust to achieve the desired sound Take time to experiment with these controls The XONE 92 equaliser provides separate tone control over four frequency bands The frequencies in each band may be boosted or cut by up to 15dB The centre flat position is detented for quick resetting HI Turn this control clockwise to boost and anticlockwise to cut the high treble frequencies This has a
32. ables away from mains power units and cables thyristor dimmer units or computer equipment Where this cannot be avoided cross the cables at right angles to minimise interference XONE 92 User Guide 15 PHONO L PHONO R CAUTION A MIDI OUT N AVIS RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR WARNING THIS APPARATUS MUST BE EARTHED TO REDUCE THE RISK FIRE ELECTRIC SHOCK SS DO NOT EXPOSE APPARATUS TO RAIN OR MOISTURE AC MAINS IN 100 240V 47 63Hz 30W uw RETURN 1 SERIAL No 7 100 240 T500mAL 250 20mm WARNING FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH TYPE AND RATING MADE IN THE UK BY ALLEN amp HEATH LIMITED adapter ABLE A RCA phono jacks 5954 Jj UNBALANCED CL E CABLE B UNBALANCED UNBALANCED CABLE C BALANCED BALANCED Sleeve ground Sleeve ground Ring cold Ring cold Tip hot Tip hot 2 hot 1 ground BALANCED CABLE D BALANCED aud His N 2 1 lt 1 2 3 3 XLR MALE XLR FEMALE 3 cold 3 cold CABLE BALANCED 1 ground 2 hot BALANCED d 1 2 o o 8 Sleeve ground XLR FEMALE 3 cold Ring cold Tip hot
33. ck Mix music sources Stereo channels 1 and 2 are used for turntables Stereo channels 3 and 4 line are used for CD decks The turntable magnetic cartridges plug into the RIAA equipped phono inputs the CD into the line inputs This gives the DJ the choice of both vinyl and CD Drum machine It is increasingly popular for the DJ to cut in additional sources over the mix A drum machine provides a creative instrument ideal for enhancing the beat and bass line This is shown plugged into stereo channel 1 line input It can be assigned to either side of the crossfader or direct to the mix as required The MIDI out from the XONE 92 provides the master MIDI clock to allow synchronisation to the pre recorded sources and enables remote Start Stop of this device Dynamic Effects Controller Delay Unit The stereo Aux 1 amp 2 sends are used to feed selected channels to external effects units such as a DJ effects and Delay units They are typically set pre fader so that the effects can be set up while the channel faders are down The devices outputs are returned into stereo return line inputs and can be added to the mix using the return faders MIDI control of both of these devices is possible from the XONE 92 depending on MIDI controller compatibility Refer to each devices user guide for details of its MIDI setup The stereo return On switches can be used to drop an effect or delay into the mix by pushing the On switches up to the DUCK position this will
34. ct 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 Tip Try picking out individual sounds such as vocals and mixing them into the beat and bass of the opposite track to create a whole new mix Add 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 e Tip Try sweeping the LPF back to a low setting to keep the beat and energy going while bringing another track into the mix Try also punching in the filter and sweeping it back from high to low in time with the beat Punch it out at the start of the next bar In addition to the three basic filter types you can experiment with new effects by selecting combinations of switches together Press and release the switches together They illuminate to show which filter types are active For example NOTCH Used with low settings of RESONANCE you get a phasing effect Try sweeping the effect across the frequency range HPF BPF LPF ALL PASS A surprising effect considering that all frequencies are passed However the
35. e also have a site dedicated to the exciting XONE console range www allen heath com www xone co uk Contents WV AIAN 2 Replacing the Crossfader 23 Important Safety Instructions 3 LFO Modulation 24 PrecauliOris 4 Filters Type Select 25 Front and Rear Panel Drawings 6 Master Mix and Monitor System 26 Welcome to the XONE 92 7 MIDI Control of External Devices 28 The Application 9 MIDI Control Codes 29 QUICK Start sodio 10 MIDI Implementation Chart 30 Gain and Operating Levels 13 31 Connecting Mains Power 14 Specifications 34 Elio sec me 14 Block Diagram itt 35 Plugging up the System 15 ic TE 27 Cables and Connectors 16 Installer Link Options 36 MIC RTN Input Channel 18 Cue SHBOL teen 39 PHONO LINE Input Channel 20 Internet Site Rear Cover Crossfader and VCF 22 XONE 92 User Guide L PHONO R CAUTION AVIS RISQUE DE CHOC ELECTRIQUE NE PAS O
36. er S e LEVEL has no affect the Aux level 2 x NS 2 gt 4 Post fade sends are typically used to send channel signals to effects devices such as reverb processors The amount of signal sent to the device follows the fader level The processed wet signal returned to the mix elsewhere is therefore in 5 proportion to the direct dry signal regardless of fader position This could for example be used to add ambience to the DJ or guest vocal mic Other post fade uses include special recording or zone feeds o c m e c m Pre fade sends are typically used for DJ effects or to feed monitor speakers such as stage foldback D CK D CK Here it is important that fader changes made to 0 balance the house mix do not affect the monitor i ON levels ON ON PK When working with a sampler effects device you 1 2 could use either post or pre setting If you wish to D cue the sampler effect before raising the source fader into the mix then set it pre fade Use the sampler return channel fader to bring up or remove the effect from the mix 9 e You can use the Aux mix to cue your music when beat or cut mixing Set all sends pre fade and select the headphones monitor AUX switch to listen to the selected channels This lets you listen to the effect of mixing the sources or matching the beat before you bring it into the house mix 00 00 18 XONE 92
37. er produces a notch effect Once you are familiar with the creative power of these filters you can apply them to your performance More information is available later Now continue to read through the rest of this User Guide XONE 92 User Guide I Gain and Operating Levels It is most important that the system level settings are correctly set It is well known that many DJs push the level to maximum with meters peaking hard in the belief that they are getting the best from the system THIS IS NOT THE CASE The best can only be achieved if the system levels are set within the normal operating range and not allowed to peak simply results in signal distortion not more volume It is the specification of the amplifier speaker system that sets the maximum volume that can be achieved not the console The human ear too can fool the operator a into believing that more volume is needed Be careful as this is in fact a warning that hearing damage will result if high listening levels are maintained Remember that it is the QUALITY of the sound that pleases the ear not the VOLUME rn PHONO LINE LEVEL MID gt 2 M P 3046 8 BOOTH 7 9 A cue active MONITOR 45 37 2 1 X 8 llll Use the LEVEL TRIM 1 to match the input source to the normal operating level of the console Adjust this so that the CHANNEL METER 4 averag
38. ere it is important that fader changes made to balance the house mix do not affect the monitor levels When working with a sampler effects device you could use either post or pre setting If you wish to cue the sampler effect before raising the source fader into the mix then set it pre fade Use the sampler return channel fader to bring up or remove the effect from the mix You can use the Aux mix to cue your music when beat or cut mixing Set all sends pre fade and select the headphones monitor AUX switch to listen to the selected channels This lets you listen to the effect of mixing the sources or matching the beat before you bring it into the house mix XONE 92 User Guide 3 PHONOLLINE switch Channels 1 to 4 are the stereo MUSIC channels In the up position the switch selects the PHONO input indicated by the green led This input provides standard RIAA equalisation for high quality magnetic cartridge turntables When pressed LINE is selected indicated by the led changing colour to red Use this to select non RIAA or alternative stereo music sources 4 LEVEL control Adjusts the input sensitivity of the channel to match the connected source to the console OdB operating level This provides 20dB range with continuous adjustment for line level signals from 10dBu to 10dBu Use the Cue System to correctly set the level Reduce LEVEL if the red 10 led flashes MUSIC EQ Stereo Channels 1 to 4 featu
39. es OdB with loudest moments reading 6 Press the CUE SWITCH 3 to listen to the signal on headphones and check the level on the MAIN METERS 9 Adjust the CHANNEL FADER 5 so that they normally operate near the top of their travel Make sure the amplifier speaker system has been correctly calibrated for the loudest volume required at the fader top position Boosting the EQ 2 also adds gain to the system Reduce by turning back the LEVEL TRIM 1 if the meter red peak leds flash Adjust the HEADPHONES 8 and BOOTH 7 monitor controls for safe listening levels XONE 92 User Guide 20 16 12 HEADROOM SIGNAL OPERATING RANGE DYNAMIC RANGE NOISE SIGNALTO NOISE RATIO The diagram above illustrates the operating range of the audio signal NORMAL OPERATING RANGE For normal music the signal should range between 5 and 5 on the meters with average around OdB This allows enough HEADROOM for unexpected peaks before the signal hits its maximum CLIPPING voltage and distorts It also achieves the best SIGNAL TO NOISE RATIO by keeping the signal well above the residual NOISE FLOOR system hiss The DYNAMIC RANGE is the maximum signal swing available between the residual noise floor and clipping The XONE 92 provides a mass
40. ews that hold the front panel to the chassis Lift the front edge of the top panel until the two filter PCBs are clear of the chassis and then pull the top panel gently forward and up until access can be gained to unplug the power cable from the power supply located on the right hand side of the chassis Continue to lift the front edge of the top panel up until it is possible to unplug the two harnesses from the rear connector PCB Lift the top panel clear of the base and place on a clear work surface Reassembly is the reverse procedure but take great care to fit the harnesses correctly and to ensure that the ribbon cables do not get trapped between any of the PCBs and the chassis Refit the panel screws first and tighten evenly with the chassis held firmly on a flat work surface Finally refit the rear connector screws 8 off AB0074 x 8 4 off AB2810 Pipped TORX 36 XONE 92 User Guide lt Input Channel There are two configuration options designed into the input channel one to convert the RIAA turntable input to operate with Line sources the other to disable the input level 10dB gain To disable the functions plug the jumpers on to one leg of the connector This retains them for future use if needed Input Gain Disable Locate and remove the two jumper sleeves JP5 JP6 illustrated in detail A to disable the input gain Full clockwise rotation of the input level control will now provide unity ga
41. ffects This produces the popular disco effects with lights flashing in time to the beat Split Cue A facility to listen to the cue signal in one ear while keeping the program in the other Used for matching the beat while cueing a new track Sub Bass loudspeaker designed to reproduce only very low frequency sound typically from around 50 to 120Hz A crossover is used to route only the low frequencies to the sub TRS Jack Refers to the 3 pole stereo 2 jack plug with Tip Ring and Sleeve connections Turntable Otherwise known as a record deck this plays vinyl discs still the most popular source for DJ mixing It is common for the cartridge to plug directly into the mixing console phono input which provides the RIAA equalisation required The turntable usually has variable speed control so that the DJ can synchronise the beat between tracks Voltage Controlled Amplifier An audio gain element whose level is controlled by a remote DC voltage rather than through a fader or rotary control VCA Crossfader Functions as an audio crossfader but with the audio level controlled by a DC voltage produced by the fader This voltage can be electronically filtered and is therefore able to remove the clicks scratches and drop outs associated with worn audio faders VCF Voltage Controlled Filter An audio filter whose cut off frequency is controlled by a remote DC voltage rather than a rotary or switched control This pr
42. g and on balanced connections as this will result in out of phase signals reverse polarity which may cause signal cancellation effects Where long cables runs are required balanced interconnections should be used However interconnections between more affordable 2 wire signal ground unbalanced equipment and the console are unlikely to cause problems if the cables are kept short Refer to the following diagram for unbalanced to balanced connections SOURCE UNBALANCED TO BALANCED CONNECTION DESTINATION GROUND DISCONNECT GROUND HERE IF GROUND LOOP EXISTS 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 f so operate ground lift switches on connected equipment in accordance with the instruction manuals Alternatively disconnect the cable screen at the destination end only This breaks the offending loop while still maintaining the signal shielding down the length of the cable WARNING For your safety do not remove the earth ground connection the power lead of the console or connected equipment To avoid interference pickup keep audio c
43. hat uses a disc similar to but smaller than that used by computers It records up to 74 minutes of stereo material and is regarded as the modern replacement for the audio cassette recorder It has the added facility to label and edit tracks Mono The left and right stereo signals summed together as one Mute To turn off the signal Noise Generic term for an unwanted signal This may be residual electronic hiss hum buzz clicks and pops or simply loud undesirable music Noise Floor This is the term for the residual electronic noise produced by all powered audio equipment It usually sounds like a constant hiss although some equipment may suffer from residual hum as well XONE 92 User Guide Omni directional The response of a microphone which picks up sounds equally all round Not suited to live vocal applications as they are more prone to feed back Pan Panoramic A control that adjusts the balance of the signal in the left and right speakers Peak Meter A type of signal meter that has a very fast attack and slower release This picks up the fast signal transients and holds them long enough for the operator to see the activity on the display These meters typically use led light emitting diode displays Phantom Power The DC voltage required by certain microphones to power the capsule These are usually sensitive studio grade mics not suited to DJ mixing The power is provided by the console using the two signal conducto
44. he jumper sleeve for VR4 from the Tempo position to the D Data position right hand side of detail B with the jumper in the D position MIDI clocks will still be transmitted via LFO 2 tap tempo button 38 XONE 92 User Guide XONE 92 CUE SHEET LINE LINE AX AX 1 12 e 13 MT m pRE 1 1 aux o aux o NX 2 ye 2 22 4 gt NT m N PRE lies FILTER 1 s omic omic PHONO RIN LFO DEPTH J 5 5 LEVEL a 6 pes 1 x E 5 LEVEL s 2 8 2 8 E 1 ae 1 9 2 a 2 gt lt 0 10 10 H yoy MN LFO A A 2 ON L Rd lt lt 15 15 15 15 0 MD MD LFO 9 3 ERES 2 WP S 15 15 15 uo WW MD s9 MD yo 30 6 2 v 2 v me 4 MID 5 m 4 2 0079 yoy J N 4 Y RESONANCE 30 6 _ um 48 5 48 t Lo CUE 2 v o MILD WILD FILTER 14 72 DUCK OFF UN XFADE OFF xa Jv ON ON OFF ON
45. hrough exceptional mechanical operation The high quality Penny amp Giles type is used The XONE 92 includes an enhanced version of the acclaimed analogue voltage controlled filter VCF section first introduced on the XONE 62 These filters provide live performance tools far more powerful than any equaliser or kill switch They produce the same warm analogue resonant frequency sweeping sound as made popular by well known classic analogue synthesisers but using the latest high performance technology for quiet stable operation FILTER 1 n PHONO LFO DEPTH FILTER2 PHONO rn PHONO OL SNE LFO DEPTH 12 11 14 13 XFADE i lt gt X wer J UNK21 verTo XFADER 3 HPF 6 XFADE 4 OFF 4 N SY XFADER 1 2 HPF C k 4i 7 M FREQ off We athe FILTER 2062 NN AL bet db 2 gt lt 7 lt XFADE CURVE 5 3 Crossfader The XONE 92 uses eight high performance voltage controlled amplifiers a pair for each music channel The robust 45mm fader produces a DC control voltage which determines the signal level of the VCAs The voltage is filtered to prevent any audible noise clicks or scratchiness resulting should the fader track beco
46. i PREEQ _ FILTER 2 MIX XFADER CC92 PRE POST EQ SELECT FILTER 4 MIX 1 UI Ue mueren nu ree 53 il FADER FILTER 1 FILTER 2 MIDI 4 TEMPO DATA STEREO INPUTS METER EN peu TRO DEPTH EN a a TEMPO ADJUST 1 2 3 4 8 xe 22 oma V MIDI DATA CC94 8 cO cO START STOP 9 i OFF ox O x2 PY i LEVEL 5 XFADE SELECT 2 2 START STOP REWIND EN 5 5 7 GN PHONO i LR RED LINE CA s RESONANCE RESONANCE VCF2 TAP TEMPO MIDI CLOCK RIAA 0 gt 4 A a 2 ay y 2 9 In MT i T i MAXEES MAES VCF1 FREQ 12 i deem VEF to UNE 1008 GAIN 5 14 gt 2 XFADER XFADER LR OFF 9 FILTER SELECT 5 MIDI OUTPUT CONFIGURE bud ON CH16 PRE AUX2 x VOF ied OFF 8068 CH15 O 6 DUNK 24 FILTER V FILTER V DISABLE DISABLE 2 A CLEANFEED MUSIC MIC 1 MIC RTN INPUTS 12 4 MUSIC ONLY MIX CLEANFEED CONTROL LEVEL FADER CLEANFEED ENABLED LS H 2 11 MOMENTARY RIN CLEANFEED DISABLED MIC RTN 2dBu qo MI
47. ied to either VCF for additional cyclic filter modulation effects 11 LFO ON switch Each LFO has its own ON switch The red led lights when the LFO is switched on The filter is not affected by the LFO if the switch is in its off position Use this to punch the LFO effect in or out 12 DEPTH control Rotate control knob clockwise to increase the depth amount of the LFO modulation applied to the VCF 13 TAP tempo control Tapping the button sets the speed of the LFO in time with the last two button presses Once set the light pipe flashes red in time with the LFO 14 X2 tempo switch Press this switch to double the LFO speed determined by setting the TAP tempo 13 XONE 92 User Guide Filter Type Select The filters are state variable This means that they provide three simultaneous filter types high pass band pass and low pass Three large illuminated Switches select which type is active You can press any combination together to create different response types such as notch and an interesting all pass effect The switches are soft switched for live performance meaning that the audio signal is ramped between filter states to prevent audible clicks Note that the last selected type is lost when power is removed from the console The LPF is always selected when power is applied The graphs below show the effect on the audio frequency
48. in and not 10 RIAA Disable To convert the RIAA phono pre amplifier to a line level input locate and remove the two jumper sleeves JP2 JP4 detail B and the two jumper sleeves JP1 JP3 detail F LT TD EH Heed Heel n d XONE 92 User Guide 37 VCF 1 and 2 Filter There are several configuration options on the filter PCB These are maximum resonance limit VCF filter disable and change default MIDI setup Filter 2 Only To disable the functions plug the jumpers on to one leg of the connector This retains them for future use if needed Filter Disable Refer to detail A locate and remove the jumper sleeve to prevent the filter from being switched on Maximum filter resonance can be limited by removing the two jumper sleeves illustrated also in detail A MIDI Filter 2 only Refer to detail B A four way dip switch selects which controls on the XONE 92 output MIDI data The default setting is all ON set each switch to off to prevent the associated control from sending MIDI controller messages The MIDI output channel is set to 16 as a factory default this can be changed to 15 by changing over the CHANNEL dip switch The Tempo Data controller default configuration provides a means of fine tuning the MIDI clock speed This control can be reconfigured as a dedicated Data send CC94 by moving t
49. ing on the application of the Aux mix these stereo line level outputs can be used to feed samplers and other effects units an additional monitor zone or recorder Connect to balanced or unbalanced equipment using CABLE B F or H To connect RCA phono jack sources you can use the standard CABLE with RCA to jack adapters or custom make as required 8 BOOTH output Impedance balanced TRS jacks Provides a line level music only stereo feed to the DJ local monitor amplifier system It is not affected by the master fader or cue system Connect to balanced or unbalanced equipment using CABLE B 9 MIX 1 output Balanced XLR This is the main output that feeds the house PA system Plug into the house processor amplifier system using balanced CABLE D or E It is not usual for unbalanced equipment to be used here 10 2 output Impedance balanced TRS jacks This is an additional output that can feed the house PA system or other remote audio system Plug into the house processor amplifier system using balanced CABLE It is not usual for unbalanced equipment to be used here 11 AC MAINS input IEC cable with moulded mains plug suitable for the local supply Please refer to Connecting Mains Power HEADPHONES outputs Stereo TRS jack and mini jack
50. itch The blue light pipe lights when the filter is switched on The signal is not affected by the filter if the switch is in its off position Use this to punch the filter effect in or out 6 FILTER assign switch In the central position the music signal is not affected by the filter Toggle to route the signal through the filter To route to the left X filter make sure the switch is in its left position Switch to the right position to route to the right Y filler To avoid audible clicks only route channels to the filters when the filter is OFF 7 FREQ VCF sweep control The VCF control sets the cut off frequency of the filter 3dB point Each filter has its own frequency sweep control to adjust the cut off point anywhere from low to high frequency Rotating the control during performance produces dynamic sweeping effects or filter sweeps These large soft touch controls are positioned either side of the crossfader for convenient live operation 23 8 RESONANCE control Adjust this to change the Q or sharpness of the filters This affects how they respond around the cut off frequency At the minimum MILD setting the filters have a gentle 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 une
51. ive 110dB dynamic range A final note The human ear is a remarkable organ with the ability to compress or shut down when sound levels become too high Do not interprete this natural response as a reason to turn the system volume up further As the session wears on ear fatigue may set in and the speaker cones may become hot so reducing the effectiveness of the system and listeners to gain any benefit from increased volume BE SENSIBLE BE SAFE WITH SOUND LEVELS 13 Connecting Mains Power Read the SAFETY INSTRUCTIONS printed at the m Ra c front of this User Guide and on the rear panel Check gt ONO that the correct mains lead with moulded plug has been supplied with your console The power supply accepts mains voltages within the range 100 240V without changing any fuses or settings CAUTION MIDI OUT RSQUEDECHOCHUEDTNGUE NE PAS WAR WARNING APPARATUS MUST BE EARTHED Ws TO REDUCE THE RISK OF FRE OR ELECTRIC SHOCK wy DO NOT EKPOSE APPARATUS T RAN OR MOISTURE AC MAINS IN KEA E f B P It is standard practice to turn connected power WANS 7 amplifiers down or off before switching the console on or off This prevents any audible switch on thumps Ensure that the IEC mains plug is pressed fully into the rear panel socket before switching on SERIAL No 100 240 T500mA
52. ixing and shaping sounds to create a completely different musical experience Drum Machine electronic drum simulator as used by keyboard players and in electronic music This now provides another DJ tool to create an alternative beat to mix in with the music Dynamic Range difference expressed dB between the highest and lowest signal levels possible This is limited by the clipping level and residual noise floor respectively Earth Also known as ground The term for the electronic signal reference This connects to the mains supply earth point and all cable shields and conductive equipment cases It provides the return for the signal voltage within the equipment It also ensures operator safety by removing the possibility of electric shock should the mains voltage touch any metal part Earth Loop The result when the equipment sees more than one path to the system earth Current flows because a resistive loop susceptible to radio and mains interference is formed This can result in audible hum or buzz in the system Equaliser EQ This provides cut or boost of selected frequencies equalisation for tonal shaping of the sound This is similar to the bass and treble controls of domestic hifi amplifiers However provides 4 independently controllable frequency bands for corrective or effective sound shaping Feedback Also known as howlround or ringing this is the rapidly increasing tone produced when a
53. late the reverb effect Parameters such as decay time diffusion and amount of reverb can be controlled Typically selected sounds are sent to the processor by turning up the channel post fade aux sends The processed wet signal is returned to the mix through a channel where it adds to the direct dry signal routed from the channel fader RPM Revolutions Per Minute The measurement of turntable speed XONE 92 User Guide Sampler Another performance effect popular with DJs The channel signal is sent to a digital processor that samples stores a short duration of sound The output is returned through a channel and replayed by pressing a trigger Many samplers provide creative effects such as repeat and reverse Scratch Mixing The art of rhythmically rocking a record back and forward on a turntable to repeat a certain sound a vocal or tone at the same time operating the cross fader to create a syncopated wah wah chirp added over a bass heavy back beat Signal to Noise Ratio SN This is the difference expressed in dB between the normal OdB operating level and the residual noise floor It represents how far above the equipment hiss level the signal operates More is better Slipmat fabric turntable mat positioned under the record so that the DJ can hold it stationary ready to let go for a fast start at the point cued Sound to Light processor that converts an audio signal into a control voltage that triggers lighting e
54. llows featured front panel controls to transmit MIDI data to enable remote control of external effects samplers sequencers etc Tap Tempo related MIDI clocks are also transmitted to provide synchronisation of MIDI sound modules to pre recorded sources playing through the mixer 4 BAND controls rather than the usual 3 for greater creativity Each band has a safe 6dB boost The and LO bands have infinite attenuation total kill with a sharp 12dB oct roll off and the MID bands have a massive 30dB of cut enough to shape your sound well beyond normal EQ range and without overloading your system Stereo channels use high quality twin rail linear or rotary VCA faders These control the audio using DC voltages meaning that they can take a huge amount of punishment without the bangs and crackles that inevitably creep in on regular audio faders The high spec Penny amp Giles VCA crossfader is easily removable from the top panel for quick replacement should it become worn The curve can be swept between dipped response ideal for seamless beat mixing and fast attack suitable for scratch or cut mixing Unique to XONE two stereo state variable Voltage Controlled Filters provide the DJ with a new level of live performance creativity These are very similar to those found on classic analogue synths but benefit from modern quiet and stable technology Use these to sweep the sound by accentuating or cutting frequencies from 30Hz to 20kHz The 3 fi
55. lter types HPF BPF and LPF can be combined to create many more amazing effects Low Frequency Oscillator controls enable cyclic LFO changes to be applied to each filter A large Resonance control changes the Q or sharpness of the filter effect from subtle to extreme Each VCF has its own ON switch Combined with the extensive output and monitoring features colour coded indicators stylish layout and clear graphics visible in all lighting situations you have an unbeatable performance console equally at home in dance clubs home set ups live venues and on the road 6 Dual stereo inputs 2 with mic inputs e monitor balance control RIAA preamps for up to 4 turntables 2 Independent mix outputs e Input selectors with 2 colour indicators e 2 Rotary master level controls e Smooth action level controls e Dual stereo analogue VCF effects e 2 Stereo aux sends with pre post switching e Filter modes combine for more effects 4band high definition of frequency bands Independent frequency sweep controls with infinite on HF and LF wide Q for cut e Resonance control for subtle or wild effects narrow Q for boost e MIDI output from VCF 1 2 crossfader LFO 2 e Filter LFO Depth and tempo controls MIDI clock dedicated data control and e illuminated Filter switches punch effect in or out start stop button e Powerful headphones monitor with auto cue e Large light pipe illuminated cue switche
56. me worn This benefit would not be possible if the signal were routed through a conventional audio fader Crossfader assignment indicators Four green leds above the crossfader help you visually check which channels are routed to the crossfader 22 1234 30Hz FILTER 208 VY GIES Crosstader 3 Crossfader Curve XONE 92 allows the response of the crossfader to be altered to match all mixing styles Turning the crossfade curve control fully anticlockwise gives a progressive curve with a dip 4dB in the centre position Rotating the control clockwise gradually reduces the centre dip and sharpens the attack Fully clockwise the response is almost instantaneous and full signal level is reached as soon as the crossfader knob is moved from its end stop 4 XFADE select switch In the central position the music signal level is unaffected by the crossfader Toggle to route the VCA control signal through the crossfader To route to the left X side make sure the switch is in its left position Switch to the right position to route to the right Y side The relevant channel crossfader assignment indicator 2 will light XONE 92 User Guide 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 movemen
57. nd monitor meters go quiet Raise stereo channel 1 fader to its top position With the XFADE toggle switch in its central position OFF the signal is routed direct to the mix The signal is now displayed on the main meters at the same level as the channel meter The level is now the same throughout the console signal path as set by the channel gain control This is the ideal setting with meters averaging OdB so giving the best signal to noise performance while maintaining plenty of headroom to avoid clipping 10 Listen to the main MIX 1 output The music should be heard in the headphones If not then check that the AUX 1 and AUX 2 switches are released and that no CUE switches are selected 11 Check the effect of the Stereo EQ Try the effect of each of the 4 frequency bands on stereo channel 1 The EQ is designed for creative live performance control and provides a safe 6dB boost and cut from a massive 30dB to infinity Experiment with cutting rather than boosting frequencies to create dramatic effects Route through the Crossfader Using the XFADE toggle switch select X to route the signal through the crossfader rather than direct to the mix The green 1 led lights indicating that stereo channel 1 is assigned to the crossfader Using the Crossfader This lets you fade between signals routed to either side typically to fade smoothly into a new music track or to creatively layer sounds when scratch or cut
58. ne signals typically less than 100 ohms Low Z sources are less prone to interference pickup Inputs are usually high impedance so that one Source can connect to more than one channel without signal loss Note that the operating impedance of a connection is set by the impedance of the source not that of the unconnected input Impedance balanced Refers to the type of output signal connection Has three conductors two for signal and a shield which is connected to earth Provides interference rejection similar to a fully balanced connection because the two signal conductors are matched at the same impedance However the drive capability is less because the signal is carried by only one conductor LFO Low Frequency Oscillator Oscillator used as a cyclic modulation source Limiter signal processor that limits the maximum level possible by preventing the signal going over a predetermined threshold level This is very useful in club installations where it is inserted between the console and house system amplifiers to prevent the DJ exceeding the maximum allowable volume Lowpass filter that attenuates frequencies above the cut off frequency MC Master of Ceremonies The presenter who introduces the performances and maintains the running order MIDI Musical Instrument Digital Interface A protocol designed in the early 1980 s to enable electronic instruments to communicate MiniDisc type of low cost digital 2 track recorder t
59. nted position with the Stop Start button 2 OFF Tap in the tempo of the track you want to sync to using the VCF 2 LFO Tap Tempo button 3 Accuracy here is very important try to tap in the beat as precisely as possible you will find that you get more adept the more you practice Once you have a near approximation of the tempo hit the Start button to set off the sequencer on the first beat of a bar Depending on how accurately you have tapped in the beat the sequence should play in sync for a short while but will probably drift after a few seconds If the tempo is too fast turn the Tempo Data control anti clockwise to slow down the MIDI clock if it is too slow turn it clockwise to speed it up After each adjustment restart the sequencer until the clock speed has been set to match the beat and maintain synchronisation The Tempo Data control has finer effect on clock speed in and around its center position and greater effect as it is rotated towards either end For this reason the more accurate tap tempo you start with the easier it will be to fine tune to stay in sync Remember to always return the Tempo Data control to the center position before tapping in a new BPM XONE 92 User Guide MIDI Control Codes XONE 92 control Controller Code Generated Controller Name VCF 1 FREQ CC12 Effect Control 1 VCF 2 FREQ CC13 Effect control 2 Crossfader movement C
60. ooth speakers and lets you audition the signal to cue a track before adding it to the mix Cue is typically pre EQ for music channels so that you do not lose your reference when beat mixing regardless of the EQ effect but can be selected to be post EQ by selecting the POST EQ switch in the master section The CUE light pipe illuminates so that you can see at a glance which channel is cued Selecting one cue will automatically cancel the previous cue Multiple cues can be selected by pressing two or more together but make sure all cues are OFF first 9 Channel meter 9 led meter bar always shows the presence of the pre fader channel signal Adjust the LEVEL control for normal music averaging OdB with loudest moments reaching 6 Reduce the level if the red 10 led flashes 10 Channel fader A 60mm linear or rotary stereo VCA fader adjusts the signal level from off to the normal top position This allows smooth fade ins and a visual indication of its contribution to the mix The fader does not affect the pre fade Aux sends 21 Crossfader and VCF The crossfader is applied to the stereo music channels and lets you smoothly fade from one track into another using a single fader It is also used as a creative performance tool to layer or interact between two sounds when cut or scratch mixing It is fully assignable from each music channel and can be easily replaced if it becomes damaged or worn t
61. operating instructions for future reference Adhere to all warnings printed here and on the console Follow the operating instructions printed in this User Guide Operate the console with its covers correctly fitted Disconnect mains power by unplugging the power cord if the cover needs to be removed for setting internal options Refer this work to competent technical personnel only Connect the console to a mains power only of the type described in this User Guide and marked on the rear panel Use the power cord with sealed mains plug appropriate for your local mains supply as provided with the console If the provided plug does not fit into your outlet consult your service agent for assistance Route the power cord so that it is not likely to be walked on stretched or pinched by items placed upon or against it Do not defeat the grounding and polarisation means of the power cord plug Do not remove or tamper with the ground connection in the power cord A WARNING This equipment must be earthed Water and moisture Ventilation Heat and vibration Servicing Installation XONE 92 User Guide To reduce the risk of fire or electric shock do not expose the console to rain or moisture or use it in damp or wet conditions Do not place containers of liquids on it which might spill into any openings Do not obstruct the ventilation slots or position the console where the air flow required for ventilation is impeded If the con
62. or rack or plinth mounting Width Height Depth Weight Desktop 320 12 6 87 6mm 3 5 358 14 6 kg 13 Ibs Rack ears fitted 1 370 mm 14 6 87 6 3 5 358 mm 14 Rack ears fitted 2 482 mm 19 87 6 3 5 358 mm 14 Packed 470 mm 18 5 210 mm 8 3 400 mm 15 7 8kg 18 Ibs Rack Ears Allow permanent fixing in a plinth or rack system Rack Ears bolt on to the sides of console in three orientations Ensure air vents are not obstructed Fix in place using M6 screws or bolts 11 348 rack ear fixings 465 2 rack ear fixings lia Can be fitted i two ways 2 Either flange OO flush with 8 2 B H top panel or gl b Ng flush with gr M6 4 M6 Qe c M underside of NE n chassis 8 S 5 E 87 60 320 370 with rack ears fitted 482 with rack ears fitted 34 XONE 92 User Guide XONE 92 BLOCK DIAGRAM CLEANFEED MIX CUE LOGIC DC LR MIX CUE MIX CUE POST DC AUX 1 MIX AUX 2 MIX FILTER 1 MIX FILTER 2 MIX XFADE X Y DC xFaE CURVE CROSSFADER MIDI OUT X Y
63. ovides greater range and capability XLR The professional standard 3 pin round connector used for microphone and other balanced connections Equipment female sockets are for inputs male for outputs 33 Specifications OdBu 0 775 Volts rms 4dBu 1 23V rms OdBV 1 Volt rms 10 316mV rms Max output level MIX 1 22dBu into 47 ohm Main meters Peak reading 9 led MIX2 200 into 47 ohm 20 10 10 21 into 47 ohm Mic EQ 4 Band 15dB REC 11dBV into 600 ohm 100 250 2 5k 10kHz Internal headroom Channels 22 Music EQ 4 Band 6dB 30 Mids Infinity 12dB Oct LF HF Freq response 0 5dB 5 2 to 30kHz Distortion 0 0039 THD noise 1kHz 250 350 2k 2 5K Crosstalk 93dB Inter channel Ch fader 60mm stereo or rotary Mix 1 amp 2 faders Rotary MIC EIN 22 22kHz 126dB 150 ohm source MIX1 99dBu Crossfader 45mm stereo VCA Replaceable MIX2 106dBu AUX 90dBu Filters Dual stereo VCF BOOTH 106dBu Analogue 96dBu Panel Steel Mix noise MIX1 88dBu 90dB S N PSU Internal switch mode Mains In 3 pin IEC socket AUX 88 86dB S N BOOTH 89dBu 87dB S N Power Lead Country dependant REC 96dBu AC mains 110 to 240V AC 47 63Hz Channel meters Peak reading 9 led Consumption 30W max 20 to 410 Fuse rating 100 240V T500mAL Dimensions and Weights The console is fitted with rubber feet for desktop operation A screw on rack ear kit is included f
64. re a unique four band equaliser providing infinite attenuation of high and low frequencies and 30dB attenuation of mid frequencies This provides the DJ with effective equalisation to creatively alter and shape the sound during live performance rather than simply correct source problems This type of equaliser is known as asymmetric because the amount of boost and cut is not the same Boost is restricted to a safe 6dB to highlight selected sounds while preventing system overload through heavy use Cut on the other hand is used to completely suck out affected frequencies allowing two or more tracks to be mixed together without vocals or bass lines clashing HI Turn this control clockwise to boost and anticlockwise to cut the high treble frequencies This has a shelving response when turned clockwise with all frequencies above the 2 5kHz turning point affected When turned fully anticlockwise the response changes to a low pass filter 12dB Oct with all frequencies above the cut off point being progressively attenuated Use HI boost to brighten up the sound by adding sparkle and cut to eliminate all HF content MID 1 Turn clockwise to boost and anticlockwise to cut the higher mid frequencies This has a bell shaped peak dip response that has maximum effect at 2kHz Frequencies in this range can be boosted by or attenuated by 30dB The or frequency bandwidth also alters from a high Q narrow bandwidth on boost to a low
65. red or muted if the DJ wishes to check the main PA sound or work with headphones only Headphones Closed ear stereo headphones are recommended allowing the DJ to check and cue the music sources Split cue keeps the program in one ear while cueing with the other to synchronise the beat before introducing the source into the mix Two front panel connections 1 4 jack and a standard mini jack headphone socket are provided for your convenience Quick Start We recommend that you read through all sections of this User Guide before starting However we provide these notes so that you can plug up and experiment with sounds from your XONE 92 immediately if you prefer to read the full guide later Please note that you should first read and understand the Important Safety Instructions printed at the beginning of this guide The following simple procedure requires a CD player and headphones Alternatively you can connect a pair of turntables and start mixing right away Please read the rest of this guide before connecting to your amplifier and speaker systems CD PLAYER 4 HEADPHONES MAINS POWER AC MAINS IN 100 240V 47 63Hz 30W SERIAL No 100 240V T500mAL 250V 20m WARNING FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME 10 Set all controls to their starting condition Set all FADERS rotary linear
66. response for the three filter types The range of sweep from low to high frequency is shown together with the effect of adjusting RESONANCE one frequency with several resonance settings shown The vertical scale shows the amount of cut or boost around the normal operating level The horizontal scale shows the change in frequency from low bass to high treble HI PASS FILTER Tip Take some time to experiment with the filters before going live XONE 92 User Guide 11 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 10 2 as little useful material is heard beyond this C Tip Use the HPF with the VCF as a mix aid Set the VCF control to the nine o clock position to remove all the low frequencies when bringing a track into the mix Progressively rotate the VCF control anticlockwise to bring in the bass 12 BPF Press this switch to sele
67. retching e f you not sure Contact your service agent or local Allen amp Heath dealer for advice 14 XONE 92 User Guide Plugging Up The System The XONE 92 uses professional grade 3 pin XLR 1 4 TRS jack and RCA PHONO sockets To ensure best performance we recommend that you use high quality audio cables and connectors and take time to check for reliable and accurate cable assembly It is well known that many audio system failures are due to faulty interconnecting leads The following mating plugs may be used to connect audio signals to the console XLR female plug TS jack plug 2 Tip Sleeve 3 CXI RCA phono jacks 1 XLR male TRS jack pl plug S jack plug m 1 Tip Sleeve 3 2 Ring The input and output XLR connectors are 3 wire differentially balanced These have 3 connector pins Pin 1 ground screen Pin 2 signal hot Pin 3 signal cold The jack sockets are the 3 pole TRS type These are wired to work with both the balanced TRS or the unbalanced 2 pole TS type plugs without cable modification The sockets have 3 connector pins Inputs and outputs are signal hot Ring signal cold Sleeve ground screen Headphones Tip left Ring right Sleeve ground The RCA phono connectors are the 2 wire unbalanced type typical of those found on equipment such as CD players turntables and domestic amplifiers Avoid reversin
68. rossfader features a stereo Voltage Controlled Filter which presents the DJ with a unique set of live performance tools to create subtle or startling tonal effects Route the channel to either of the two filters using the three way toggles push the toggle to the left for filter 1 and to the right for filter 2 Activate the filter by pressing the FILTER ON switch The blue led light pipe lights to show that the filter is active Check that the large LPF switch is illuminated indicating that the power up default lo pass filter type is active The sound should change to a rumbling bass line with higher frequencies removed 17 Sweep the filter frequency Turn the FREQ control clockwise and you should progressively hear higher audio frequencies returning to the mix This control sweeps the effect from low to high frequency Adjust the filter resonance Slowly turn the RESONANCE control clockwise as you sweep the frequency and you should hear the or sharpness of the effect changing from subtle to drastic as the roll off knee sharpens and frequency boost is added Increasing resonance boosts a narrow band of selected frequencies Make sure you reduce the channel gain if the red peak meters start to flash 19 Change the filter type Press one or any combination of the large HPF BPF and LPF filter type switches to experiment with different performance effects For example pressing HPF and LPF togeth
69. rs in the balanced connection There is no provision on XONE for this type of microphone Phono Abbreviation for phonograph as in turntable Usually means RIAA equipped input when marked on console inputs Can also refer to the RCA phono type pin jack connector found on turntables CDs and much domestic equipment Polarity Sometimes referred to as phase this is the sense of a balanced signal or loudspeaker connection Reversed polarity should be avoided and checked for as it can cause uncomfortable phasing effects between speakers Resonance Applied to the filters this is the effect of accentuating frequencies around the cut off point to produce subtle or dramatic phasing effects RIAA Record Industry of America Association responsible for the long established equalisation standard that is applied to the signal produced by a turntable cartridge Due to the physics of vinyl reproduction the needle produces a reasonable high frequency signal but much less low frequency An RIAA pre amplifier compensates for this by inversely attenuating the high and boosting the low frequencies Reverberation The way in which sound reflects and bounces around the room after the source is removed This depends on the size and shape of the room as well as the materials such as carpets curtains and clothing that absorb certain frequencies Reverb Effect This is a signal processor that connects to the console to artificially simu
70. rtually any function within the software so providing the greatest flexibility of control Refer to the user guide of the device or program you wish to use to check for compatibility The default MIDI channel used is 16 but this can be changed internally to 15 if required Basic Setup Connect MIDI OUT from the XONE 92 to the MIDI IN of the device you wish to control Use a standard 5 pin MIDI lead Set the device MIDI channel number to 16 or 15 if the XONE 92 has been changed internally Refer to the device user guide for further details If you want to use the XONE 92 as a master clock for instance with a drum machine or sequencer you need to set the device to receive External MIDI clocks Once again you need to refer to the relevant user guide For more detailed descriptions of how to set up specific software effects units etc please log on to our web site at www xone co uk These descriptions will be updated from time to time as more applications and compatible devices are included XONE 92 as a Master Tempo Controller Using the XONE 92 to sync an external sequencer or drum machine to a pre recorded source takes practice but once learned can be achieved quite quickly and is a great way to add your own loops patterns and so on to your favourite tracks Once you have got the device to respond to the XONE 92 master MIDI clock and stop start button use the following method Set the Tempo Data control 1 to its center dete
71. s e Headphones split cue and Aux 1 amp 2 monitoring e 9led3 colour channel bulls eye LED meters e Stereo music only booth monitor output e Crossfader and Filter assign switches e mono and mute switching e Either smooth travel 60mm VCA faders or e 9led3 colour main bulls eye LED meters rotary VCA faders Linear or Rotary versions Balanced 4 XLR stereo Mix 1 output Active Penny amp Giles crossfader allowing Impedance balanced Line stereo Mix 2 output contour to be set from smooth to scratch mix Pre fade recording output XONE 92 User Guide 7 1 2 1 2 3 4 MIC MIC PHONO PHONO PHONO PHONO DJ MIC MC MIC PHONO 1 PHONO 2 LINE LINE LINE LINE LINE LINE EFFECT DRU EFFECTS CONTROLLER MACHINE LAPTOP CD1 CD2 LAPTOP COMPUTER CD DECK 2 A DRUM MACHINE eO nog OOO DYNAMIC EFFECT CONTROLLER gt o o 00000000 Sooo Y CD DECK 1 ACIP Cp TURNTABLE 2 CTR TURNTABLE 1 09 x dVHl1S DJ MICROPHONE 3 31
72. s to check the mic and music sources and to cue tracks ready to bring them into the mix The headphones isolate the dance floor sound from the DJ and also prevent the audience from hearing the monitor 9 HEADPHONE OUTPUTS These outputs are positioned on the front panel so that the DJ can plug in favourite headphones without needing access to the rear connector panel 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 with 1 4 jack connection in the range 30 to 100 ohms 8 Ohm headphones are not recommended The BOOTH Monitor The DJ uses the booth monitor to reinforce the music level in his booth so that he can feel and interact with the beat This provides an independent music only monitor that is not affected by the main Mix master or Cue controls To avoid acoustic feedback the microphone signals are not routed to the booth monitor MONO switch 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 especially important in dance floor and recording applications A drop in level or loss of low frequencies when pressed indicates reversed polarity between the left and right signals Alternatively you can select this if you wish to run the booth monitor in mono rather than stereo Note that the MO
73. set to their maximum positions adjust the input level trim of connected equipment for the loudest level allowed In a club or similar installation strict sound level and noise regulations may apply Check that your system levels are set up to comply MONO 456 2 MONITOR METERS pair of meter bars displays the level of the selected headphones 1 E 512 monitor source This is either the main LR mix an Aux mix or Cue When SPLIT is selected the left meter displays the active CUE signal the right displays PRG program both in mono CUEACTIVE 2 Each meter has 9 leds to indicate signal levels from alow 20dB Green and blue leds indicate normal operating levels The top red led lights at 10dB still providing a healthy 12dB before clipping Meter 0 represents 4 at the MIX 1 XLR outputs and 2dBu at the MIX 2 LINE outputs The meters are Q Aw peak responding with a fast attack and are therefore Up MONITOR able to display fast transients accurately SPLIT CUE CUE ACTIVE indicator 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 It is important to use CUE to set the channel levels correctly to maintain the wide dynamic range achievable with this console Reduce the gain if the red 10 leds
74. sole is to be operated in a rack unit or flightcase ensure that it is constructed to allow adequate ventilation Do not locate the console in a place subject to excessive heat or direct sunlight as this could be a fire hazard Locate the console away from any equipment which produces heat or causes excessive vibration Switch off the equipment and unplug the power cord immediately if it is exposed to moisture spilled liquid objects fallen into the openings the power cord or plug become damaged during lightening storms or if smoke odour or noise is noticed Refer servicing to qualified technical personnel only Install the console in accordance with the instructions printed in this User Guide Do not connect the output of power amplifiers directly to the console Use audio connectors and plugs only for their intended purpose 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 LIVE BROWN BLACK NEUTRAL BLUE WHITE EARTH GND GREEN amp 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 Bl
75. t can become mechanically stiff or sloppy in time or become ingrained with dirt Should this be the case the fader may need replacement The XONE 92 crossfader is removable and can easily be replaced in a few minutes Make sure you order the correct Penny amp Giles version from your Allen amp Heath dealer Part number 002 719 Use a medium size cross point Pozidriv screwdriver to undo and remove the two outer screws on the crossfader plate Do not remove the inner screws Lift the crossfader assembly up and away from the console panel Unplug the cable from the old crossfader and plug in the new assembly Check that the connector is correctly aligned and pushed on Replace the assembly making sure the cable faces the left side of the console Refit the screws and test operation XONE 92 User Guide The VCF Filters A voltage controlled filter is an audio filter where the cut off frequency is altered by a DC control voltage rather than a variable resistor This produces a much wider operating range and more control over the filter response to create unlimited combinations of tonal effect Two stereo VCFs are provided one either side of the crossfader Each can be switched in or out has its own frequency sweep control and can be assigned to either side of the crossfader Two independent Low Frequency Oscillators LFO provide filter modulation 5 FILTER ON switch Each filter has its own ON sw
76. ue must be connected to the terminal in the plug which is marked with the letter N The wire which is coloured Brown must be connected to the terminal in the plug which is marked with the letter L Ensure that these colour codes are followed carefully in the event of the plug being changed Precautions Damage Environment Cleaning Transporting Hearing lt 9 To prevent damage to the controls and cosmetics avoid placing heavy objects on the control surface scratching the surface with sharp objects or rough handling and vibration Protect from excessive dirt dust heat and vibration when operating and storing Avoid tobacco ash smoke drinks spillage and exposure to rain and moisture If the console becomes wet switch off and remove mains power immediately Allow to dry out thoroughly before using again Avoid the use of chemicals abrasives or solvents The control panel is best cleaned with a soft brush and dry lint free cloth The faders switches and potentiometers are lubricated for life The use of electrical lubricants on these parts is not recommended The console may be transported as a free standing unit or mounted in a rack or flightcase Protect the controls from damage during transit Use adequate packing if you need to ship the unit To avoid damage to your hearing do not operate any sound system at excessively high volume This also applies to any close to ear monitoring such as headphones
77. w Voltage C 4 This product complies with the European Electromagnetic Compatibility Directives 73 23 amp 93 68 EEC This product has been tested to EN55103 Parts 1 amp 2 1996 for use in Environments E1 E2 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 amp 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 amp Heath NOTE Any changes or modifications to the console not approved by Allen amp Heath could void the compliance of the console and therefore the users authority to operate it XONE 92 User Guide AP5345 Issue 4 Copyright 2005 Allen amp Heath Limited All rights reserved ALLEN HEATH Allen amp Heath Limited Kernick Industrial Estate Penryn Cornwall TR10 9LU UK http www allen heath com XONE 92 User Guide Important Safety Instructions WARNINGS Read the following before proceeding CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR Read instructions Do not remove cover Power sources Power cord routing Grounding Retain these safety and
78. 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 Note that Cue does not affect the main output or booth monitor 7 AUX 1 2 switches the normal up position the headphones and meters monitor the main mix Press these switches to select either of the stereo Aux mixes as the headphones monitor source Note that this does not affect the main outputs or booth monitor Tip Use split CUE to match the beat between two tracks when beat mixing or check the effect before cut mixing Alternatively you can select either of the Auxs and raise the sends on the two channels to give you a pre fade stereo PREVIEW of the mix which does not affect the main output In this way you can hear exactly how it will sound in the main mix before you raise the channel faders or flip the crossfader Use the Aux send controls as your preview faders Pressing any CUE switch will override the preview XONE 92 User Guide 8 CUE ADD MIX control Allows the main mix output to be added to the CUE signal Turned fully anticlockwise only the active CUE is heard through the headphones when CUE is active Gradually turning clockwise introduces the main mix output to the headphones together with the active CUE Selecting SPLIT CUE will automatically override this control The HEADPHONES Monitor The DJ uses the headphone
79. xpected results it is best to start experimenting with RESONANCE set to a low position Set the control to the two o clock position for the flattest frequency response RESONANCE HI WILD MID LO MILD FREQUENCY High RESONANCE settings can result 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 9 VCF XFADER control Press this switch to assign either filter to the crossfader The crossfader can then be used instead of the FREQ VCF sweep control to create filter effects whilst crossfading 10 VCF LINK 2 1 Press this switch to link FILTER 2 VCF to FILTER 1VCF FILTER 2 FREQ can now be controlled by the FREQ VCF sweep control of FILTER 1 This can be used to synchronise the cut off point of both filters For instance assign Channel 1 to Filter 1 and Channel 2 to Filter 2 Select a low pass filter on filter 1 and a high pass on filter 2 With both filters ON and the link switch selected the low frequencies of channel 1 will be accurately joined to the high frequencies of channel 2 This can be used to produce to incredibly smooth mixes or to mix tracks that would otherwise clash when mixed conventionally 24 LFO modulation The XONE 92 VCF filters are further enhanced by two independent LFOs The LFOs can be appl

Allen & Heath XONE:92L DJ mixer

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Allen &amp; Heath XONE:92L DJ mixer

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Allen & Heath XONE:92L DJ mixer