ALLEN & HEATH XONE V6 Uživatelský manuál stáhnout pdf (Strana 4)

mag 93

Aux Sends

At the top of each channel strip there are volume

controls for each of the stereo auxiliary sends. These

can be set to send the signal regardless of the

channel volume fader level, cross-fader and filter

controls. However, the EQ has an effect over the

auxiliary send regardless of the pre switch. Below

that is the phono and line switch. The gain on the

main channels has a notch in the centre position,

almost urging you to set it at that volume. However, it

seems to provide the perfect signal at its lowest

setting to achieve an average of 0dB. The mic/return

channels simply have the equivalent to a volume

control on a knob

Equalisation

All channels have four-band EQ for Hi, Mid 1, Mid 2

and Lo. On the main channels these all have a

maximum gain of 6dB, which will again please the

installers worried about their precious rig. The DJs

will be happy to see total kills, but only on the Hi and

Lo’s – the two Mids have a drop of -30dB. The actual

separation of the frequencies is much better than on

previous Xone mixers and the extra Mid to the norm

really helps smooth some awkward mixes out.

The EQ on the mic/return channels can be increased

or decreased by 15dB. This gives greater control over

voice and effects which usually require slightly more

attention than vinyl or CD and can also be used to

alter the sound more radically as part of a

performance.

There’s a wide Q (frequency width) for cut and a

narrow Q for boosting, which prevents accumulated

gain. Needless to say they sound great, but it’s a

shame there isn’t the ability to punch the EQ on and

off as on the 62.

Talkover

There’s a switch below the EQ on the mic/return

channels which activates the talkover function; again

this is a three position switch. In the middle the

sound is off, flick it towards you and the channel is on

full. Push the switch back and the channel is on but

the main mix is brought down by 20dB. This enables

perfect control and use of external effects to get a

really pronounced sound above the dry signal. It can

also be used for mic talkover, but there is no

reduction gain control and it’s not automatic, ie. as

the volume of the return or mic changes it does not

automatically reduce the main mix at those times.

Finally, the switch flicks back to the middle position

when released.

Faders

All the faders are incredibly tough while remaining

wonderfully smooth in operation and have new

slimmer knobs attached. The cross-fader has been

upgraded from the 62 with the addition of curve

control. This allows everything from a long, smooth

mix to a very sharp curve for chopping in and

scratching, a facility many DJs had complained was

lacking on previous models. There’s about a 2mm lag

before the sound kicks in on the sharpest setting, but

the action is intuitive and precise.

Channel Assign

There are two three-position switches for each channel

(main only), the first sets which filter the channel will be

passed through and the second assigns the channel to

either end of the cross-fader. There’s a set of lights above

the cross-fader that indicate if a channel is assigned, but

it doesn’t signify to which side.

Hidden Features

Levels can be set inside the unit to suit a particular

installation and to avoid damage to any PA

equipment. The unit can also have some ‘ears’ bolted

on the side to mount it in a standard 19in rack space.

The internal settings are described in the manual and

include the ability to reduce the filter resonance and

even turn it off completely. The phono inputs can be

switched to line level. Even the gain can be

deactivated on the main channels. As default the mic

channels are not routed to booth or record, but this

can be changed, but to both only.

Cue Control

A&H have not only surpassed themselves with great control over cue for each

vital part of the mixer, but managed to inject some humour in there too –

albeit unintentional. The volume knob actually goes up to 11 compared to

every other numbered volume knob which go up to ten - how Spinal Tap. Nice

work! On a more serious and pleasing note, the Xone:92 has two headphone

outputs (small and large), so you won’t be stuck out if you lose the adaptor.

The output can be set to hear the music before the effect of the cue and after.

Split monitoring changes the master VU meters to display cue and master

separately. Each channel is selected by an illuminated push button. When no

channel is selected for cueing, the main mix is played through the

headphones. The two auxiliary channels can be selected for monitoring and

the cue channel can be blended with the main output to check the mix.

Sander Kleinenberg on the Xone:92

"It's a great and solid looking machine. The new features are a welcome

improvement to the already exceptional sound quality of Allen & Heath’s

mixers. If you look at price, sound and versatility, I would say that this unit

is at the top of the current game.

"I was pretty impressed by the change of how the High, Mid and Low range

is better handled by this mixer. Previous models used to cut a frequency

dead right at the end of the frequency. Now with the new steps it's much

smoother and better to handle.

“However, if there’s one complaint, I talked with the engineer of the mixer

for a while and told him that I would like to see the tab function for the

MIDI clock to be changed to an automated one."

CHANNEL LAYOUT

Connections

Each of the four main channels has both line and phono inputs on

RCA. The two auxiliary sends and the returns use jacks. Mic inputs are

XLR only. The master section has two independent Mix outs - one on

XLR and one on jacks with separate volume control. The booth output

is also on jacks and can be muted and even set to mono. There’s also

the standard MIDI output port and a record output on RCA.

considered the heart conditions of installers here and kept

it tame; it can also be turned off internally for the super

paranoid.

The filters do not have any effect on the signal to either of

the auxiliaries, so when applying external effects and using

a filter at the same time there is no correlation in the two

sounds. The filters cut some of the high frequencies and

low frequencies in their fully open state. However, with the

resonance up half way this flattens out the frequency levels

to normal. One of the greatest things about the filter, apart

from its sound, is that the frequency controls can be joined

together. They can also be assigned individually or paired

to the cross-fader. When controlling both filters using the

frequency knob or cross-fader, one channel can be set to a

hi pass filter and the other to a lo pass filter. On one

complete rotation it creates a unique ability to mix between

tracks using the filters and it sounds wonderfully slick. For

example, in a middle setting one channel will have

everything below 1kHz filtered out, with everything above

1kHz filtered out on the other.

All channels can be set to either filter and can even be

switched from one to the other. By using drastically

different settings on each, the DJ can achieve some pretty

awesome results. There are also two sine wave LFOs (low

frequency oscillators) with a tap tempo feature. The tempo

can be doubled or halved. LFO depth can also be adjusted.

Each filter can even be controlled by the cross-fader with

the LFOs still interacting.

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