Behringer Xenyx 1222FX User manual

Version 1.0 January 2006
Users Manual
ENGLISH
XENYX 1222FX

2
XENYX 1222FX
This symbol, wherever it appears, alerts you to the
presence of uninsulated dangerous voltage inside
the enclosurevoltage that may be sufficient to
constitute a risk of shock.
This symbol, wherever it appears, alerts you to
important operating and maintenance instructions
in the accompanying literature. Please read the
manual.
IMPORTANT SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electric shock, do not remove
the top cover (or the rear section). No user
serviceable parts inside refer servicing to qualified
personnel.
WARNING: To reduce the risk of fire or electric shock, do not
expose this appliance to rain and moisture. The
apparatus shall not be exposed to dripping or
splashing and no objects filled with liquids, such
as vases, shall be placed on the apparatus.
DETAILED SAFETY INSTRUCTIONS:
1) Read these instructi ns.
2) Keep these instructi ns.
3) Heed all warnings.
4) F ll w all instructi ns.
5) D n t use this apparatus near water.
6) Clean nly with dry cl th.
7) D n t bl ck any ventilati n penings. Install in
acc rdance with the manufacturers instructi ns.
8) D n t install near any heat s urces such as radiat rs,
heat registers, st ves, r ther apparatus (including
amplifiers) that pr duce heat.
9) D n t defeat the safety purp se f the p larized r
gr unding-type plug. A p larized plug has tw blades
with ne wider than the ther. A gr unding type plug
has tw blades and a third gr unding pr ng. The wide
blade r the third pr ng are pr vided f r y ur safety. If
the pr vided plug d es n t fit int y ur utlet, c nsult
an electrician f r replacement f the bs lete utlet.
10) Pr tect the p wer c rd fr m being walked n r
pinched particularly at plugs, c nvenience receptacles,
and the p int where they exit fr m the apparatus.
11) Only use attachments/access ries specified by the
manufacturer.
12) Use nly with the cart, stand, trip d, bracket, r table
specified by the manufacturer, r s ld with the
apparatus. When a cart is used, use cauti n when m ving
the cart/apparatus c mbinati n t av id injury fr m
tip- ver.
13) Unplug this apparatus during lightning st rms r
when unused f r l ng peri ds f time.
14) Refer all servicing t qualified service pers nnel.
Servicing is required when the apparatus has been
damaged in any way, such as p wer supply c rd r plug
is damaged, liquid has been spilled r bjects have fallen
int the apparatus, the apparatus has been exp sed t
rain r m isture, d es n t perate n rmally, r has been
dr pped.
15) CAUTION - These service instructi ns are f r use by
qualified service pers nnel nly. T reduce the risk f
electric sh ck d n t perf rm any servicing ther than
that c ntained in the perati n instructi ns unless y u
are qualified t d s .

3
XENYX 1222FX
1222FX
XENYX
Premium 16-Input 2/2-Bus Mixer with XENYX Mic Preamps, British EQs,
2 -Bit Multi-FX Processor and USB/Audio Interface
sPremium ultra low-noise, high headroom analog mixer
s4 state-of-the-art ENY Mic Preamps comparable to standalone boutique preamps
sNeo-classic British 3-band EQs for warm and musical sound
sStudio-grade 24-bit stereo F processor with 100 awesome presets including reverb, chorus, flanger,
delay, pitch shifter and various multi-effects
sUSB/Audio Interface included to connect directly to your computer
s7-band stereo graphic EQ allows precise frequency correction of monitor or main mixes
sRevolutionary FBQ Feedback Detection System instantly reveals critical frequencies
sBreathtaking PQ 3D stereo surround effect for more vitality and enhanced stereo image
sVoice Canceller function for easy-to-use sing-along applications
s4 fully equipped stereo input channels featuring 2 additional mic inputs on channels 5/6 and 7/8, 3-band
EQ and input trim control
sChannel inserts on each mono channel for flexible connection of outboard equipment
s2 aux sends per channel: 1 pre fader for monitoring, 1 post fader (for internal F and/or as external send);
2 multi-functional stereo aux returns
sBalanced main mix outputs with gold-plated LR connectors, headphone/control room output and stereo
tape outputs
sLong-wearing 60-mm logarithmic-taper faders and sealed rotary controls
sInternal autorange power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient
response plus low power consumption for energy saving
sRack mount brackets included for ultimate flexibility
sHigh-quality component components and exceptionally rugged construction ensure long life
sConceived and designed by BEHRINGER Germany

4
XENYX 1222FX
1. INTRODUCTION
Congratulations! In purchasing the BEHRINGER XENYX you
have acquired a mixer whose small size belies its incredible
versatility and audio performance.
The XENYX Series represents a milestone in the development
of mixing console technology. With the new XENYX microphone
preamps including phantom power as an option, balanced line
inputs and a powerful effects section, the mixing consoles in the
XENYX Series are optimally equipped for live and studio
applications. Owing to state-of-the-art circuitry your XENYX
console produces a warm analog sound that is unrivalled. With
the addition of the latest digital technology these best-in-class
consoles combine the advantages of both analog and digital
technology.
FOREWORD TABLE OF CONTENTS
1. INTRODUCTION ......................................................... 4
1.1 General mixing console functions .................................. 5
1.2 The users manual .......................................................... 5
1.3 Before you get started ................................................... 6
1.3.1 Shipment ............................................................... 6
1.3.2 Initial operation ...................................................... 6
1.3.3 Online registration ................................................ 6
2. CONTROL ELEMENTS AND CONNECTORS .............. 6
2.1 Mono channels ............................................................... 6
2.1.1 Microphone and line inputs .................................. 6
2.1.2 Equalizer ............................................................... 7
2.1.3 Aux sends (MON and FX) .................................... 7
2.1.4 Pan, mute switch and channel fader .................. 7
2.2 Stereo channels ............................................................. 8
2.2.1 Channel inputs ...................................................... 8
2.2.2 Equalizer stereo channels ................................... 8
2.2.3 Aux sends stereo channels ................................ 8
2.2.4 Balance, mute switch and channel fader ........... 8
2.3 Connector panel and main section ................................. 8
2.3.1 Monitor send and FX send channels ................... 8
2.3.2 Monitor send and FX send connector ................. 9
2.3.3 Aux return connectors ........................................ 9
2.3.4 CD/tape return channel, voice canceller and
connection socket ................................................ 9
2.3.5 Main mix, main out connectors
and headphone connector ................................ 10
2.3.6 Level meter and level setting ............................. 11
2.4 Graphic 7-band equalizer ............................................ 11
2.5 Rear view of 1222FX ................................................... 11
3. DIGITAL EFFECTS PROCESSOR AND XPQ
SURROUND FUNCTION .......................................... 12
3.1 Digital effects processor .............................................. 12
3.2 XPQ surround function ................................................. 12
4. INSTALLATION ......................................................... 12
4.1 Rack mounting .............................................................. 12
4.2 Cable connections ........................................................ 13
4.2.1 Audio connections ............................................. 13
5. SPECIFICATIONS ..................................................... 14
6. WARRANTY .............................................................. 15
Dear Customer,
Im sure youre one of
those people who have
devoted themselves
body and soul to your
chosen area and no
doubt this has made you
an expert in your field.
Well, for over 30
years, my passion has
been music and
electronics. This not only
led me to establish
BEHRINGER, but also
enabled me to share my
enthusiasm with our
employees. During all the
years Ive been involved
with studio technology
and end users, I have
developed a feel for the things that really count, such as sound
quality, reliability and ease of use. What is more, I have always
had the desire to test the boundaries of what is technically
feasible.
It was precisely this motivation that prompted me to start work
on a new series of mixing consoles. Since our EURORACKs had
already set new standards world-wide, I knew the development
objectives behind the next generation of mixing consoles had to
be especially ambitious.
Thus, the concept and design of the new XENYX mixing
consoles bear my signature. The design work, the entire circuit
diagram and PCB development, and even the mechanical concepts
are my own work. I carefully selected each individual component
 with the aim of pushing the mixing consoles combining analog
and digital technologies to their limits.
My vision was to enable you, the user, to give free rein to your
true potential and creativity. The result is mixing consoles that
combine incredible performance with intuitive operability. They
cannot fail to impress with their extremely flexible routing
possibilities plus a fantastic wealth of functions. Innovative
technologies, such as the completely new XENYX Mic Preamps
and the British EQs, guarantee optimum sound quality. And
extraordinarily high-quality components provide unrivalled
reliability, even under extreme loads.
Thanks to the quality and ease of use of your new XENYX
mixing console youll soon come to appreciate that I, both
personally and in my capacity as musician and sound engineer,
put you, the end user, first and that these products were only
possible because of the passion and the attention to detail that
went into them.
Thank you for the confidence you have placed in us by
purchasing the XENYX mixing console. I should also like to thank
all those who, with their personal commitment and passion, have
helped me create this impressive series of mixing consoles.
Kindest regards,
Uli Behringer
1. INTRODUCTION

5
XENYX 1222FX
FBQ Feedback Detecti n System
The FBQ Feedback Detection System, integrated into the
graphic equalizer, is one of the most outstanding characteristics
of this mixing console. This ingenious circuitry lets you immediately
recognize and eliminate feedback frequencies. The FBQ
Feedback Detection System uses the LEDs in the frequency
band faders of the graphic EQ to indicate the critical frequencies.
This way, what once used to be a labor-intensive search for
feedback frequencies is now an activity that even a child could
master.
The microphone channels feature high-end XENYX Mic
Preamps that compare well with costly outboard preamps in
terms of sound quality and dynamics and boast the following
features:
s130 dB dynamic range for an incredible amount of headroom
sA bandwidth ranging from below 10 Hz to over 200 kHz for
crystal-clear reproduction of even the finest nuances
sThe extremely low-noise and distortion-free circuitry
guarantees absolutely natural and transparent signal
reproduction
sThey are perfectly matched to every conceivable
microphone with up to 60 dB gain and +48 volt phantom
power supply
sThey enable you to use the greatly extended dynamic range
of your 24-bit/192 kHz HD recorder to the full, thereby
maintaining optimal audio quality
British EQ
The equalizers used for the XENYX Series are based on the
legendary circuitry of top-notch consoles made in Britain, which
are renowned throughout the world for their incredibly warm
and musical sound character. Even with extreme gain settings
these equalizers ensure outstanding audio properties.
Multi-effects pr cess r
Additionally, your XENYX mixing console has an effects
processor with 24-bit A/D and D/A converters included, which
gives you 100 presets producing first-class reverb, delay and
modulation effects plus numerous multi-effects in excellent audio
quality.
The XENYX mixing consoles are equipped with a state-of-the-
art switched-mode power supply (SMPS). Unlike conventional
circuitry an SMPS provides an optimum supply current regardless
of the input voltage. And thanks to its considerably higher
efficiency a switched-mode power supply uses less energy
than conventional power supplies.
USB/Audi interface
The USB interface supplied with the unit is a perfect match for
the XENYX Series and serves as a powerful recording interface
to your PC or MAC®. It supports the digital transmission of signals
on up to four channels with max. 48 kHz and extremely low
latency. When wired to the CD/TAPE INPUT and OUTPUT
connectors, the interface transfers the stereo mix from the
console directly to a computer. Both the recording signal and the
playback signal from the computer can be monitored at the same
time. In this way, you can use several recording runs to produce
complete multi-track recordings.
CAUTION!
+We w uld like t draw y ur attenti n t the fact that
extreme v lumes may damage y ur hearing and/ r
y ur headph nes r l udspeakers. Turn the MAIN
MIX faders and the PHONES c ntr l in the main
secti n fully d wn bef re y u switch n the unit.
Always be careful t set the appr priate v lume.
1.1 General mixing console functions
A mixing console fulfils three main functions:
sSignal pr cessing:
Preamplificati n
Microphones convert sound waves into voltage that has
to be amplified several-fold then, this voltage is turned into
sound that is reproduced in a loudspeaker. Because micro-
phone capsules are very delicate in their construction,
output voltage is very low and therefore susceptible to
interference. Therefore, mic signal voltage is amplified
directly at the mixer input to a higher signal level that is less
prone to interference. This higher, interference-safe signal
level has to be achieved through amplification using an
amplifier of the highest quality in order to amplify the signal
and add as little noise to it as possible. The XENYX Mic
Preamp performs this role beautifully, leaving no traces of
noise or sound coloration. Interference that could take place
at the preamplification level could affect signal quality and
purity, and would then be passed on to all other devices,
resulting in inaccurate sounding program during recording
or playback.
Level-setting
Signals fed into the mixer using a DI-box (Direct Injection) or
the output of a sound card or a keyboard, often have to be
adjusted to the operating level of your mixing console.
Frequency resp nse c rrecti n
Using the equalizers found in each channel strip, you can
simply, quickly and effectively adjust the way a signal
sounds.
Effects mixing
In addition to the effects processor contained in your mixer,
using the insert connectors on the mono channels and
both aux busses lets you insert additional signal processors
into your signal path.
sSignal distributi n:
Individual signals adjusted at each channel strip are laid
out at the aux sends and returns, and are either fed into
external effects processors or fed back to the internal
effects processor. Then, the signals are brought back into
the main mix either via the aux return connectors or via
direct internal wiring. The mix for the on-stage musicians is
also created using the aux sends (monitor mix). Similarly,
for example, signals for recording equipment, power ampli-
fiers, headphones and 2-track outputs can also be taken.
sMix:
All other mixing console functions fall under this vital
category. Creating a mix means primarily adjusting the
volume levels of individual instruments and voices to one
another as well as giving them the appropriate weight within
the overall frequency spectrum. Likewise, youll have to
sensibly spread individual voices across the stereo image
of a signal. At the end of this process, adjusting the level of
the entire mix to other equipment in the signal path is required
(e. g. recorder/crossover/amplifier).
The interface of BEHRINGER mixing consoles is optimized for
these tasks, enabling you to easily keep track of the signal path.
1.2 The users manual
The users manual is designed to give you both an overview of
the controls, as well as detailed information on how to use them.
In order to help you understand the links between the controls,
we have arranged them in groups according to their function. If
you need to know more about specific issues, please visit our
website at http://www.behringer.com. Additional information and
explanations about various music industry/audio technology
terminology can be found on individual product pages as well as
in the glossary in the ULTRANET area of www.behringer.com.
1. INTRODUCTION

6
XENYX 1222FX
+The bl ck diagram supplied with the mixing c ns le
gives y u an verview f the c nnecti ns between
the inputs and utputs, as well as the ass ciated
switches and c ntr ls.
For the moment, just try and trace the signal path from the
microphone input to the MON SEND connector. Dont be put off
by the huge range of possibilities its easier than you think! If you
look at the overview of the controls at the same time, youll be
able to quickly familiarize yourself with your mixing console and
youll soon be making the most of all its many possibilities.
1.3 efore you get started
1.3.1 Ship ent
Your mixing console was carefully packed in the factory to
guarantee safe transport. Nevertheless, we recommend that
you carefully examine the packaging and its contents for any
signs of physical damage, which may have occurred during
transit.
+If the unit is damaged, please d NOT return it t us,
but n tify y ur dealer and the shipping c mpany
immediately, therwise claims f r damage r
replacement may n t be granted.
1.3.2 Initial operation
Be sure that there is enough space around the unit for cooling
purposes and to avoid over-heating. Please do not place your
mixing console on high-temperature devices such as radiators
or power amps. The console is connected to the mains via the
supplied power cable. The console meets the required safety
standards. Blown fuses must only be replaced by fuses of the
same type and rating.
+Please n te that all units must be pr perly
gr unded. F r y ur wn safety, y u sh uld never
rem ve any gr und c nnect rs fr m electrical
devices r p wer cables, r render them in-
perative.
+Please ensure that nly qualified pe ple install and
perate the mixing c ns le. During installati n and
perati n, the user must have sufficient electrical
c ntact t earth, therwise electr static discharges
might affect the perati n f the unit.
1.3.3 Online registration
Please do remember to register your new BEHRINGER
equipment right after your purchase by visiting
www.behringer.com (alternatively www.behringer.de) and
kindly read the terms and conditions of our warranty carefully.
Should your BEHRINGER product malfunction, our goal is to
have it repaired as quickly as possible. To arrange for warranty
service, please contact the retailer from whom the equipment
was purchased. Should your BEHRINGER dealer not be located
in your vicinity, you may directly contact one of our subsidiaries.
Corresponding contact information is included in the original
equipment packaging (Global Contact Information/European
Contact Information). Should your country not be listed, please
contact the distributor nearest you. A list of distributors can be
found in the support area of our website (www.behringer.com).
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
Thank you for your cooperation!
2. CONTROL ELEMENTS AND
CONNECTORS
This chapter describes the various control elements of your
mixing console. All controls, switches and connectors will be
discussed in detail.
2.1 Mono channels
2.1.1 Microphone and line inputs
Fig. 2.1: Connectors and controls of mic/line inputs
MIC
Each mono input channel offers a balanced microphone input
via the XLR connector and also features switchable +48 V
phantom power supply for condenser microphones. The XENYX
preamps provide undistorted and noise-free gain as is typically
known only from costly outboard preamps.
+Please mute y ur playback system bef re y u
activate the phant m p wer supply t prevent
switch- n thumps being directed t y ur l ud-
speakers. Please als n te the instructi ns in
chapter 2.5 Rear view f 1222FX.
LINE IN
Each mono input also features a balanced line input on a 1/4"
connector. Unbalanced devices (mono jacks) can also be
connected to these inputs.
+Please remember that y u can nly use either the
micr ph ne r the line input f a channel at any
ne time. Y u can never use b th simultane usly!
INSERT
Insert points enable the processing of a signal with dynamic
processors or equalizers. They are sourced pre-fader, pre-EQ
and pre-aux send. Unlike reverb or other effects devices, whose
signals are usually added to the dry signal, dynamic processors
are most effective on the complete signal. In this case, aux send
paths are a less-than-perfect solution. It is better to interrupt the
signal path and insert a dynamic processor and/or equalizer.
After processing, the signal is routed back to the console at
precisely the same point it left. However, the channel signal path
is interrupted only if a plug is inserted into the corresponding jack
(stereo phone plug: tip = signal output ring = return input). All
mono input channels are equipped with inserts.
Inserts can also be used as pre-EQ direct outputs, without
interrupting the signal path. To this end, you will need a cable
fitted with mono phone plugs on the tape machine or effects
device end, and a bridged stereo phone plug on the console side
(tip and ring connected).
2. CONTROL ELEMENTS AND CONNECTORS

7
XENYX 1222FX
LOW CUT
The mono channels of the mixing consoles have a high-slope
LOW CUT filter for eliminating unwanted, low-frequency signal
components (80 Hz, 18 dB/octave).
TRIM
Use the TRI control to adjust the input gain. This control
should always be turned fully counter-clockwise whenever you
connect or disconnect a signal source to one of the inputs.
The scale has 2 different value ranges: the first value range
(+10 to +60 dB) refers to the MIC input and shows the
amplificati n for the signals fed in there.
The second value range (+10 to -40 dB) refers to the line input
and shows its sensitivity. The settings for equipment with
standard line-level signals (-10 dBV or +4 dBu) look like this:
While the TRIM control is turned all the way down, connect your
equipment. Set the TRIM control to the external devices standard
output level. If that unit has an output signal level display, it
should show 0 dB during signal peaks. For +4dBu, turn up TRIM
slightly, for -10 dBV a bit more. Tweaking is done using the
LEVEL SET LED.
LEVEL SET
This LED lights up when the optimum operating signal level is
achieved. During normal use, this LED should only light up during
signal peaks.
2.1.2 Equalizer
All mono input channels include a 3-band equalizer. All bands
provide boost or cut of up to 15 dB. In the central position, the
equalizer is inactive.
The circuitry of the British EQs is based on the technology
used in the best-known top-of-the-line consoles and providing a
warm sound without any unwanted side effects. The result are
extremely musical equalizers which, unlike simple equalizers,
cause no side effects such as phase shifting or bandwidth
limitation, even with extreme gain settings of ±15 dB.
Fig. 2.2: The equalizer of the input channels
The upper (HIGH) and the lower band (LOW) are shelving
filters that increase or decrease all frequencies above or below
their cut-off frequency. The cut-off frequencies of the upper
and lower band are 12 kHz and 80Hz respectively. The mid
band is configured as a peak filter with a center frequency of
2.5 kHz. Unlike shelving filters, the peak filter processes a
frequency range that extends upwards and downwards around
its middle frequency.
2.1.3 Aux sends (MON and FX)
Fig. 2.3: The AUX SEND controls in the channel strips
Aux sends take signals via a control from one or more channels
and sum these signals to a so-called bus. This bus signal is sent
to an aux send connector and then routed, for example, to an
active monitor speaker or an external effects device. The return
from an external effects device can then be brought back into
the console via the aux return connectors.
For situations that require effects processing, the aux sends
are usually switched post-fader so that the effects volume in a
channel corresponds to the position of the channel fader. If this
were not the case, the effects signal of the channel would
remain audible even when the fader is turned to zero.
When setting up a monitor mix, the aux sends are generally
switched to pre-fader i.e. they operate independently of the
position of the channel fader.
Both aux sends are mono, are sourced after the equalizer and
offer up to +15 dB gain.
+If y u press the MUTE switch f the respective
channel, aux sends and returns (MON and FX) are
n t being muted.
MON
In the 1222FX, aux send 1 (MON) is wired pre-fader and is
thus particularly suitable for setting up monitor mixes.
FX
The aux send labeled FX is for feeding external effects devices
and is thus set up to be post-fader.
In the 1222FX, the FX send is routed directly to the built-in
effects processor. To make sure that the effects processor
receives an input signal, you shouldnt turn this control all the
way to the left (-oo). Dont have the FX MUTE switch pressed,
and you should also not have the FX SEND fader pulled down.
2.1.4 Pan, ute switch and channel fader

8
XENYX 1222FX
CLIP LED
The CLIP LED lights up when the input signal is driven too high.
In this case, lower apparent frequency increase on the channel
EQ to avoid distortion. For example, lower the mids and the highs
somewhat to emphasize the bass. If you dont wish to change
the EQ settings under any circumstances, try lowering the TRIM
control somewhat (counterclockwise).
If you inserted an external effects processor via the insert
connector (e. g. a dynamic processor), then you should also
control its output signal level. It should not be higher than its input
signal level (0 dB).
The channel fader determines the level of the channel signal in
the main mix.
+Attenti n: Since the aux path f r the effect pr cess r
is c nnected p st-fader, the channel fader has t
be turned up in rder t get this channels signal t
the effects pr cess r!
2.2 Stereo channels
2.2.1 Channel inputs
Fig. 2.5: Stereo channel inputs
Each stereo channel features two line-level inputs on 1/4"
connectors for left and right channels. Channels 9/10 and 11/12
can also be used in mono if you only use the connector labeled
L.
Both channels 5/6 and 7/8 feature an additional balanced XLR
input for microphones with available +48 V phantom power.
All stereo channel strips have a TRIM control for level setting.
In those channels in which a mic input is present in the channel,
the TRIM control has two scales: just like in the mono channels,
there is a 0 to +40 dB scale that shows the preamplification of
the mic signal the +20 to -20 dB scale shows the sensitivity for
the corresponding input level that is applied to the line input.
Both inputs can also be used with balanced or unbalanced
connectors.
2.2.2 Equalizer stereo channels
The equalizer of the stereo channels is, of course, stereo. The
filter characteristics and crossover frequencies are the same
as those of the mono channels. A stereo equalizer is always
preferable to two mono equalizers if frequency correction of a
stereo signal is needed. There is often a discrepancy between
the settings of the left and the right channels when using separate
equalizers.
2.2.3 Aux sends stereo channels
In principle, the aux sends of the stereo channels function in
just the same way as those of the mono channels. As aux send
paths are always mono, the signal on a stereo channel is first
summed to mono before it reaches the aux bus.
2.2.4 Balance, ute switch and channel fader
BAL
The function of the BAL(ANCE) control corresponds to the
PAN control in the mono channels.
The balance control determines the relative proportion between
the left and right input signals before both signals are routed to
the main stereo mix bus.
The MUTE switch, MUTE LED, CLIP LED and channel fader
function in the same way as the mono channels.
2.3 Connector panel and main section
Whereas it was useful to trace the signal flow from top to
bottom in order to gain an understanding of the channel strips,
we now look at the mixing console from left to right. The signals
are, so to speak, collected from one point on each of the channel
strips and then routed to the main section all together.
2.3.1 Monitor send and FX send channels

9
XENYX 1222FX
FX TO MON
You can use this control to insert an effects signal from the
built-in effects processor to your monitor mix. Of course, to do
this, your effects processor must first receive a signal, i.e. the
FX controls in the channel strips must be turned up, and the
FX SEND fader (see fig. 2.6) hast to be open.
MON MUTE
If the ON UTE switch is pressed, the monitor bus is muted,
i.e. there is no signal at the MON SEND connector.
FX SEND
The FX SEND fader determines the overall level of the effects
bus. Both external effects processors (via the FX SEND
connector) and the built-in processor only receive an input signal
if this control is open.
FX TO MAIN
Use the FX TO AIN control to feed the effects signal into the
main mix. If the control is turned all the way to the left, no effects
signal can be heard.
FX MUTE
If the FX UTE switch is pressed, the effects channel is
muted, i.e. no signal is present at the FX SEND connector and the
effects processor no longer receives an input signal.
2.3.2 Monitor send and FX send connector
Fig. 2.7: Aux send connectors ON and FX
MON SEND
Connect the input of your monitor power amp or an active
monitor system here to make the monitor mix audible to the
musicians on the stage. The signal mix is created using the
channels MON controls.
FX SEND
The FX SEND connector outputs the signal you picked up
from the individual channels using the FX controls. You can
connect this to the input of an external effects device in order to
process the FX bus master signal. Once an effects mix is created,
the processed signal can then be routed from the effects device
outputs back into the AUX RETURN connectors.
+If the c nnected effects pr cess r receives n
input signal, the FX MUTE switch is pr bably pressed
and/ r the FX SEND c ntr l is t l w. This als g es
f r the built-in effects pr cess r.
+Adjust y ur external effects pr cess r t 100% wet
(effects signal nly), because the effects signal is
added t the main mix al ng with the dry channel
signals.
2.3.3 Aux return connectors
Fig. 2.8: Aux return connectors
AUX RETURN 1
The AUX RETURN 1 connectors generally serve as the return
path for the effects mix generated using the FX send. This is
where you connect the output signal of the external effects
device. If only the left connector is used, the aux return 1
automatically operates in mono.
+Y u can als use these c nnect rs as additi nal
line inputs.
AUX RETURN 2
The AUX RETURN 2 connectors are used exactly the same
way as the AUX RETURN 1 connectors. If these connectors
already function as additional inputs, you can route the effects
signal back into the console via a different stereo channel, with
the added benefit that the channel EQ can be used to adjust the
frequency response of the effects return signal.
+In this instance, the FX c ntr l f the channel being
used as an effects return sh uld be turned fully
c unter-cl ckwise, therwise feedback pr blems
can ccur!
2.3.4 CD/tape return channel, voice canceller and
connection socket

10
XENYX 1222FX
CD/TAPE MUTE
Using this switch, the input signal from the CD/tape inputs is
muted.
CD/TAPE RET(URN)
This stereo fader assigns the input signal from the CD/tape
inputs into the main mix.
Fig. 2.10: 2-track connectors
CD/TAPE INPUT
The CD/TAPE INPUT RCA connectors are provided for
connecting a 2-track machine (e.g. DAT recorder) or also a CD
player. They can also be used as stereo line input. Alternatively,
the output signal of a second XENYX or BEHRINGER ULTRALINK
PRO MX882 can also be connected. If you connect a hi-fi amplifier
with a source selection switch to the CD/TAPE INPUT, you can
easily switch between additional sources (e.g. cassette recorder,
MDplayer, sound card etc.).
Using the voice canceller function, you can process all signals
being brought into your mixing console via these connectors.
CD/TAPE OUTPUT
These connectors are wired pre graphic EQ and pre XPQ
surround function. They carry the main mix signal (unbalanced),
effects mix included. Connect the CD/TAPE OUTPUT to the inputs
of your recording device. If you wish to use your mixer solely for
recording purposes, the main outputs are also an alternative.
2.3.5 Main ix, ain out connectors
and headphone connector
Fig. 2.11: ain mix fader
MAIN MIX
Use the high-precision quality faders to control the output level
of the main mix.
Fig. 2.12: ain out connectors
MAIN OUT
The AIN outputs carry the MAIN MIX signal and are on
balanced XLR connectors with a nominal level of +4 dBu.
Depending on how you wish to use your mixer and which gear
you own, you can connect the following equipment:
Live PA systems:
A stereo dynamics processor (optional), stereo equalizer
(optional) and the stereo power amplifier for full-range loud-
speakers with passive crossovers.
If you wish to use multi-way loudspeaker systems without an
integrated crossover, you have to use an active crossover and
several power amplifiers. Often, limiters are already built into
active crossovers (e.g. BEHRINGER SUPER-X PRO CX2310 and
ULTRADRIVE PRO DCX2496). Active crossovers are implemented
directly before the power amplifier, and they divide the frequency
range into several segments that are first amplified in the amplifiers
and then passed onto the corresponding loudspeakers.
Rec rding:
For mastering, using a stereo compressor such as the
COMPOSER PRO-XL MDX2600 can be recommended. Use it to
custom-tailor the dynamic characteristics of your signal to the
dynamic range of the recording equipment you are using. The
signal is in this case passed on from the compressor into the
recorder.
PHONES
The PHONES control adjusts the volume of the headphones
connected to the PHONS/CTRL connector. If you connect active
monitors or an amplifier, use this connector to adjust the output
signal level.
CAUTION!
+We w uld like t draw y ur attenti n t the fact that
extreme v lumes may damage y ur hearing and/
r y ur headph nes r l udspeakers. Turn the
MAIN MIX faders and the PHONES c ntr l in the main
secti n fully d wn bef re y u switch n the unit.
Always be careful t set the appr priate v lume.
Fig. 2.13: PHONS/CTRL connector
PHONS/CTRL c nnect r
You can connect headphones to this 1/4" TRS connector. The
connector can also be used for feeding active monitor
loudspeakers (or an amplifier) in your control room. For this
purpose, the signal is taken directly before it is passed on to the
main mix faders.
2. CONTROL ELEMENTS AND CONNECTORS

11
XENYX 1222FX
2.3.6 Level eter and level setting
Fig. 2.14: Level meter
POWER
The blue POWER LED indicates that the device is switched
on.
+48 V
The red +48 V LED lights up when the phantom power supply
is switched on. The phantom power supply is necessary for
condenser microphones and is activated using the corresponding
switch on the rear of the device.
+C nnect micr ph nes bef re y u switch n the
phant m p wer supply. Please d n t c nnect
micr ph nes t the mixer ( r the stageb x/
wallb x) while the phant m p wer supply is
switched n. In additi n, the m nit r/PA
l udspeakers sh uld be muted bef re y u activate
the phant m p wer supply. After switching n,
wait appr x. ne minute t all w f r system
stabilizati n.
LEVEL METER/CLIP
The high-precision level meter accurately displays the
appropriate signal level.
LEVEL SETTING:
When recording to a digital device, the recorders peak meter
should not exceed 0 dB. This is because, unlike analog recordings,
slightly excessive levels can create unpleasant digital distortion.
When recording to an analog device, the VU meters of the
recording machine should reach approx. +3 dB with low-
frequency signals (e.g. kick drum). Due to their inertia VU meters
tend to display too low a signal level at frequencies above 1 kHz.
This is why, for example, a Hi-Hat should only be driven as far
as -10dB. Snaredrums should be driven to approx. 0 dB.
+The peak meters f y ur XENYX display the level
virtually independent f frequency. A rec rding level
f 0 dB is rec mmended f r all signal types.
2.4 Graphic 7-band equalizer
Fig. 2.15: The graphic stereo equalizer
The graphic stereo equalizer allows you to tailor the sound to
the room acoustics.
FBQ FEEDBACK DETECTION
The switch turns on the FBQ Feedback Detection System. It
uses the LEDs in the frequency band faders to indicate the
critical frequencies. On a per-need basis, lower the frequency
range in question somewhat in order to avoid feedback. The
graphic stereo equalizer has to be turned on in order to use this
function.
+L gically, at least ne (ideally several) micr ph ne
channels have t be pen f r feedback t ccur at
all!
Feedback is particularly common when stage monitors
(wedges) are concerned, because monitors project sound in
the direction of microphones. Therefore, you can also use the
FBQ Feedback Detection for monitors by placing the equalizer in
the monitor bus (see MAIN MIX/MONITOR).
EQ IN
Use this switch to activate the graphic equalizer. When
activated, the fader LEDs will illuminate.
MAIN MIX/MONITOR
This toggles the graphic equalizer between the main mix and the
monitor mix. With the switch up (not depressed), the equalizer is
active in stereo on the main mix, and inactive on the monitor mix.
When the switch is depressed the equalizer is active in mono
on the monitor mix, and inactive on the main mix.
2.5 Rear view of 1222FX
Fig. 2.16: Voltage supply and fuse
FUSE HOLDER/IEC MAINS RECEPTACLE
The console is connected to the mains via the cable supplied,
which meets the required safety standards. Blown fuses must
only be replaced by fuses of the same type and rating. The
mains connection is made via a cable with IEC mains connector.
An appropriate mains cable is supplied with the equipment.
POWER
Use the POWER switch to power up the mixing console. The
POWER switch should always be in the Off position when you
are about to connect your unit to the mains.
To disconnect the unit from the mains, pull out the main cord
plug. When installing the product, ensure that the plug is easily
accessible. If mounting in a rack, ensure that the mains can be
easily disconnected by a plug pull or by an all-pole disconnect
switch on or near the rack.
+Attenti n: The POWER switch d es n t fully
disc nnect the unit fr m the mains. Unplug the
p wer c rd c mpletely when the unit is n t used
f r pr l nged peri ds f time.
PHANTOM
The PHANTO switch activates the phantom power supply
for the XLR microphone inputs, which is required to operate
condenser microphones. The red +48 V LED lights up when
phantom power is on. As a rule, dynamic microphones can still
be used with phantom power switched on, provided that they
are wired in a balanced configuration. In case of doubt, contact
the microphone manufacturer!
2. CONTROL ELEMENTS AND CONNECTORS

12
XENYX 1222FX
+C nnect micr ph nes bef re y u switch n the
phant m p wer supply. Please d n t c nnect
micr ph nes t the mixer ( r the stageb x/
wallb x) while the phant m p wer supply is
switched n. In additi n, the m nit r/PA
l udspeakers sh uld be muted bef re y u activate
the phant m p wer supply. After switching n,
wait appr x. ne minute t all w f r system
stabilizati n.
+Cauti n! Y u must never use unbalanced XLR
c nnect rs (PIN 1 and 3 c nnected) n the MIC
input c nnect rs if y u want t use the phant m
p wer supply.
SERIAL NUMBER
Please note the important information on the serial number
given in chapter 1.3.3.
3. DIGITAL EFFECTS PROCESSOR
AND XPQ SURROUND FUNCTION
3.1 Digital effects processor

13
XENYX 1222FX
Fig. 4.1: 1/4" TS footswitch connector
4.2.1 Audio connections
Please use commercial RCA cables to wire the 2-track inputs
and outputs.
You can, of course, also connect unbalanced devices to the
balanced input/outputs. Use either mono plugs, or ensure that
ring and sleeve are bridged inside the stereo plug (or pins 1 & 3
in the case of XLR connectors).
+Cauti n! Y u must never use unbalanced XLR
c nnect rs (pins 1 and 3 c nnected) n the MIC
inputs if y u intend t use the phant m p wer
supply.

14
XENYX 1222FX
5. SPECIFICATIONS
M n inputs
Micr ph ne inputs (XENYX Mic Preamp)
Type XLR, electronically balanced,
discrete input circuitry
Mic E.I.N. (20 Hz - 20 kHz)
@ 0 W source resistance -134 dB / 135.7 dB A-weighted
@ 50 W source resistance -131 dB / 133.5 dB A-weighted
@ 150 W source resistance -129 dB / 130.5 dB A-weighted
Frequency response <10 Hz - 150 kHz (-1 dB),
<10 Hz - 200 kHz (-3 dB)
Gain range +10 to +60 dB
Max. input level +12 dBu @ +10 dB Gain
Impedance approx. 2.6 kW balanced
Signal-to-noise ratio 110 dB / 112 dB A-weighted
(0 dBu In @ +22 dB Gain)
Dist rti n (THD+N) 0.005% / 0.004% A-weighted
Line input
Type 1/4" TRS connector,
electronically balanced
Impedance approx. 20 kW balanced
10 kW unbalanced
Gain range -10 to +40 dB
Max. input level +22 dBu @ 0 dB Gain
Fade- ut attenuati n1
(Cr sstalk attenuati n)
Main fader closed 98 dB
Channel muted 85 dB
Channel fader muted 85 dB
Frequency resp nse
Microphone input to main out
<10 Hz - 90 kHz +0 dB / -1 dB
<10 Hz - 160 kHz +0 dB / -3 dB
Stere inputs
Channels 5/6, 7/8
Microphone input
Type XLR microphone connector,
electronically balanced
Impedance approx. 2.6 kW balanced
Gain range 0 dB to +40 dB
Max. input level +2 dBu
Stereo inputs
Type 2 x 1/4" TRS connector,
unbalanced
Impedance approx. 40 kW @ 0 dB Gain
Gain range -20 dB to +20 dB
Max. input level +22 dBu @ 0 dB Gain
Channels 9/10, 11/12
Type 2 x 1/4" TRS connector,
unbalanced
Impedance approx. 40 kW @ 0 dB Gain
Gain range -20 dB to +20 dB
Max. input level +22 dBu @ 0 dB Gain
CD/tape in
Type RCA connectors
Impedance approx. 10 kW
Max. input level +22 dBu
EQ m n channels
L ow 80 Hz / ±15 dB
Mid 2.5 kHz / ±15 dB
High 12 kHz / ±15 dB
Low cut 80 Hz, 18 dB/oct.
EQ stere channels
L ow 80 Hz / ±15 dB
Mid 2.5 kHz / ±15 dB
High 12 kHz / ±15 dB
MON/FX send
Type 1/4" TS connector, unbalanced
Impedance approx. 120 W
Max. output level +22 dBu
Aux returns
Type 1/4" TRS connector,
unbalanced
Impedance approx. 10 kW
Max. input level +22 dBu
Main utputs
Type XLR, electronically balanced
Impedance approx. 240 W balanced
/ 120 W unbalanced
Max. output level +28 dBu
Headph ne utput
Type 1/4" TRS connector, unbalanced
Max. output level +19 dBu / 150 W (+25 dBm)
CD/tape ut
Type RCA connectors
Impedance approx. 1 kW
Max. output level +22 dBu
DSP Texas Instruments®
Converter 24-bit Sigma-Delta,
64/128-times oversampling
Sampling rate 40 kHz
Main mix system data2
Noise
Main mix @ -oo,
Channel fader -oo -99 dB / -101 dB A-weighted
Main mix @ 0 dB,
Channel fader -oo -84 dB / -87 dB A-weighted
Main mix @ 0 dB,
Channel fader @ 0 dB -80 dB / -82 dB A-weighted
P wer supply
Mains Voltage 100 - 240 V~, 50 - 60 Hz
Power consumption 40 W
Fuse T 1.6 A H 250 V
Mains connection Standard IEC receptacle
Physical
Dimensions (H x W x D) approx. 97 mm (3 7/8") x
345 mm (13 18/32") x 334 mm
(13 5/32")
Weight (net) approx. 3.80 kg (8.38 lbs.)
Measuring conditions:
1: 1 kHz rel. to 0 dBu; 20 Hz - 20 kHz; line input; main output; unity gain.
2: 20 Hz - 20kHz; measured at main output. Channels 1 - 4 unity gain; E flat; all
channels on main mix; channels 1/3 as far left as possible, channels 2/4 as far
right as possible. Reference = +6 dBu.
BEHRINGER is constantly striving to manintain the highest professional standards. As a
result of these efforts, modifications may be made from time to time to existing products without
prior notice. Specifications and appearance may differ from those listed or illustrated.
5. SPECIFICATIONS

15
XENYX 1222FX
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. The names
of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use
neither constitutes a claim of the trademarks by BEHR NGER® nor affiliation of the trademark owners with BEHR NGER®. BEHR NGER® accepts no
liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained
herein. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not
agents of BEHR NGER® and have absolutely no authority to bind BEHR NGER® by any express or implied undertaking or representation. No part of this
manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for
any purpose, without the express written permission of BEHR NGER Spezielle Studiotechnik GmbH. BEHR NGER® is a registered trademark.
ALL R GHTS RESERVED. © 2006 BEHR NGER Spezielle Studiotechnik GmbH,
Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Münchheide , Germany.
Tel. [phone], Fax [phone]
6. WARRANTY
§ 1 OTHER WARRANTY RIGHTS AND NATIONAL LAW
1. This warranty does not exclude or limit the buyers statutory
rights provided by national law, in particular, any such rights
against the seller that arise from a legally effective purchase
contract.
2. The warranty regulations mentioned herein are applicable
unless they constitute an infringement of national warranty law.
§ 2 ONLINE REGISTRATION
Please do remember to register your new BEHRINGER equipment
right after your purchase by visiting www.behringer.com
(alternatively www.behringer.de) and kindly read the terms and
conditions of our warranty carefully.
Registering your purchase and equipment with us helps us
process your repair claims quicker and more efficiently.
Thank you for your cooperation!
§ 3 WARRANTY
1. BEHRINGER (BEHRINGER International GmbH including all
BEHRINGER subsidiaries listed on the enclosed page, except
BEHRINGER Japan) warrants the mechanical and electronic
components of this product to be free of defects in material and
workmanship for a period of one (1) year* from the original date
of purchase, in accordance with the warranty regulations
described below. If the product shows any defects within the
specified warranty period that are not excluded from this
warranty as described under § 5, BEHRINGER shall, at its
discretion, either replace or repair the product using suitable
new or reconditioned parts. In the case that other parts are used
which constitute an improvement, BEHRINGER may, at its
discretion, charge the customer for the additional cost of these
parts.
2. If the warranty claim proves to be justified, the product will be
returned to the user freight prepaid.
3. Warranty claims other than those indicated above are expressly
excluded.
§ 4 RETURN AUTHORIZATION NUMBER
1. To obtain warranty service, the buyer (or his authorized dealer)
must call BEHRINGER (see enclosed list) during normal business
hours BEFORE returning the product. All inquiries must be
accompanied by a description of the problem. BEHRINGER will
then issue a return authorization number.
2. Subsequently, the product must be returned in its original
shipping carton, together with the return authorization number to
the address indicated by BEHRINGER.
3. Shipments without freight prepaid will not be accepted.
§ 5 WARRANTY REGULATIONS
1. Warranty services will be furnished only if the product is
accompanied by a copy of the original retail dealers invoice.
Any product deemed eligible for repair or replacement under the
terms of this warranty will be repaired or replaced.
2. If the product needs to be modified or adapted in order to
comply with applicable technical or safety standards on a national
or local level, in any country which is not the country for which
the product was originally developed and manufactured, this
modification/adaptation shall not be considered a defect in
materials or workmanship. The warranty does not cover any
such modification/adaptation, irrespective of whether it was
carried out properly or not. Under the terms of this warranty,
BEHRINGER shall not be held responsible for any cost resulting
from such a modification/adaptation.
3. Free inspections and maintenance/repair work are expressly
excluded from this warranty, in particular, if caused by improper
handling of the product by the user. This also applies to defects
caused by normal wear and tear, in particular, of faders,
crossfaders, potentiometers, keys/buttons, tubes, guitar strings,
illuminants and similar parts.
4. Damages/defects caused by the following conditions are not
covered by this warranty:
simproper handling, neglect or failure to operate the unit in
compliance with the instructions given in BEHRINGER user
or service manuals.
sconnection or operation of the unit in any way that does
not comply with the technical or safety regulations
applicable in the country where the product is used.
sdamages/defects caused by force majeure or any other
condition that is beyond the control of BEHRINGER.
5. Any repair or opening of the unit carried out by unauthorized
personnel (user included) will void the warranty.
6. If an inspection of the product by BEHRINGER shows that the
defect in question is not covered by the warranty, the inspection
costs are payable by the customer.
7. Products which do not meet the terms of this warranty will be
repaired exclusively at the buyers expense. BEHRINGER will
inform the buyer of any such circumstance. If the buyer fails to
submit a written repair order within 6 weeks after notification,
BEHRINGER will return the unit C.O.D. with a separate invoice
for freight and packing. Such costs will also be invoiced
separately when the buyer has sent in a written repair order.
§ 6 WARRANTY TRANSFERABILITY
This warranty is extended exclusively to the original buyer
(customer of retail dealer) and is not transferable to anyone
who may subsequently purchase this product. No other person
(retail dealer, etc.) shall be entitled to give any warranty promise
on behalf of BEHRINGER.
§ 7 CLAIM FOR DAMAGES
Failure of BEHRINGER to provide proper warranty service shall
not entitle the buyer to claim (consequential) damages. In no
event shall the liability of BEHRINGER exceed the invoiced value
of the product.
* Customers in the European Union please contact BEHRINGER
Germany Support for further details.
6. WARRANTY