ALLEN HEATH XONE464 Desktop / rack mount professional club mixer DEMO

Hereʼs where it all started. As the first model in the range, the Xone:464 paved the way with superior sound and build quality never seen before in a DJ mixer. A dedicated club mixer, designed to please both club technicians and the performing DJ, its combination of versatility and fine craftsmanship mean it is still the first choice for venues where DJʼs and engineers are serious about their music.

It shares the same solid construction as Allen & Heathʼs pro touring desks, so venues can depend on it for outstanding audio and reliability, whilst the renowned Xone analogue filters and 4-band asymmetric EQ make it an incredibly creative tool for DJʼs to enjoy. The 4 fully-featured mic/line inputs mean live performers can join the mix, adding a new dimension to the stunning feature set.

Xone:464 Features:

4 Mono Inputs
XLR or TRS jack connector, gain, 4 band EQ with swept mids, HPF @ 100Hz, 6 aux sends (1-4 pre, 5&6 switchable pre/post fader), pan, peak signal led, cue and on button with led. 100mm long throw fader. Insert point and direct output on TRS jack

6 Dual Stereo Channels
2 stereo sources (A & B) per channel. A is on RCA for all channels with RIAA preamps on CH 5,6,9,10. B inputs are line in on RCA CH 5 & 10 and TRS on CH 6,7, 8 & 9. Access to all 6 auxes is at the top of the channels, leaving performance area clear. 3 colour bar meter and gain control. Powerful 4 band EQ with on switch. 60mm fader and X-fade assign section

Stereo Mix Outputs
2 independent mix outputs with level controls, 12 segment 3 colour led metering and insert. Balanced XLR plus secondary RCA outputs, plus selectable mono out also on XLR and TRS. CH1-4 feed mix1 or mix2. Stereo channels feed mix1 direct or via the X-fader. Mix1 can route to mix2

6 Auxiliary Sends
6 aux sends to [TRS] outputs for monitors or FX sends. Mic / line CH 1-4 have individual sends and stereo CH 5-10 have aux 1&2 individual mono sum and auxes 3&4, 5&6 paired with L to odd, R to even. Aux sends 1-4 are always pre-fade, while auxes 5&6 are switchable pre/post fader. Additional controls allow aux sends to track the X-fader post fade

4 Stereo 2 Mono Zone Outs
Mix1, mix2, post x-fader aux 3&4 and 5&6 can provide stereo mixes on rotary controls. Post x-fader aux 1 & aux 2 can provide mono mix outputs with level controls

4 Band EQ
Mono channels have 2 swept frequency mids. Stereo channels have EQ-on switch and all frequency sections have 6dB boost to preserve headroom and -26dB cut for creative mixing

VCA Cross Fader
Conductive plastic, high quality 45mm Penny & Giles fader with curve switchable to cut or dip. Stereo channels can be assigned to X (left) side with green led indication or Y (right) side with yellow led. VCA operation means wear and tear does not affect audio. Drop-in replacements. Pan trim control for imbalance

Voltage Controlled Filters
2 filters [1 for each side of the x-fader] with choice of High Pass, Band Pass, Low Pass or multiples e.g. notch. Resonance control - adjusts Q from ʽmild to wildʼ. Sweep controls from 100Hz to 20kHz with blue led on switch

External Input
TRS jack inputs via level control to mix1, mix2 or monitor

Engineer / DJʼs Toolbox
2 high powered headphone outputs with level. Booth output on TRS with level. Monitor section has 8-way switch bank to select monitor source. 12 segment 3 colour bar metering. Channel cue overrides the monitor selected in the phones [and booth if Cue Enable is pressed]. Split Cue sends cue signals to left and selected program to right. Mute kills local monitor output [option for -20dB action]. Mono sum button for phase and compatibility check

PSU
High performance internal switched-mode power supply. Universal mains input voltage

Live 4-Bus Mixing Console 
 32 Input Channels (24 mono)
 XLR Mic: 24 mono channels + 4 stereo channels
 Frequency Response: 20Hz – 20kHz
 Weight: 39.70 lbs (18.1kg)
 Dimensions (H x W x D): 6.38" x 39.92" x 20.98" (162mm x 1014mm x 533mm)
 4 Stereo Line Inputs
 24 Inserts
 Large Illuminated Mute Switches
 Stereo inserts
 4 Groups with inserts
 3-Band EQ with sweepable mids
 6 Aux sends
 Dual DSP with 100 digital multi-effects
 2 Stereo aux return
 USB I/O (from aux sends or main mix)
 Input gain trim on each channel
 24 dB Low cut filter at 75Hz
 100mm faders
 PFL switches
 AFL switches
 Phantom power switch (+ 48V)
 Mono Out & LPF with sub-woofer containing variable frequency control
 2 x 12-segment LED level meter for Main L/R, PFL/AFL. Group 1–4
 Talkback mic input

The highly-acclaimed and successful Soundcraft GB Series has gained another new member, the Soundcraft GB2R.

This 19” rack-mountable mixer is designed specifically for smaller installations in churches and performance venues, or for small portable PA systems. It will also find friends in Broadcast where its high quality and feature set will be very appealing.

Available in two variants, the GB2R offers either 16 mono inputs to a stereo mix output, or a 12.2 version with 12 mono inputs, two full-feature stereo inputs and 2 group busses, each model having 6 auxiliary sends.

As always with Soundcraft consoles, emphasis has been placed on operational simplicity, clear and intuitive layout and the highest possible audio performance. The Soundcraft GB2R inherits both the GB30 Mic preamplifier and GB30 Equaliser designs from the GB4 and GB8.

For ease of installation, the connector section is contained in a rotatable pod, allowing cable access from the top of the mixer if sat on a table-top, or from the rear when mounted in a 19” rack.

On the stereo inputs on the 12.2 model, connectors are provided for both Mic and Line inputs. With Mic signals routed to the local channel, the Line inputs are available as stereo returns to the main mix bus. Two stereo returns and a 2-track (for example CD replay) input are provided, which means that the GB2R-12.2 model can offer up to 26 inputs to mix in a mixer just 19” (485mm) wide.

Every input has a pre/post switchable direct output for recording or effects sends, while an internal universal voltage PSU avoids external power supply connections.

The whole GB Series carries the high quality hallmark with which Soundcraft is synonymous, with engineering and design as youʼd expect from this high-end manufacturer. Careful attention has been given to the mechanical construction, to ensure reliability and ruggedness under strenuous conditions, with all input modules being constructed with individual vertically-mounted pcbʼs, fitted to the steel chassis front panel with individually-nutted potentiometers.

• Technical Specifications
• Frequency Response Mic/Line Input to any output, 20Hz - 20kHz..
• THD + N Mic sens. -30dBu, +20dBu at all outputs @1kHz..
• Noise Measured RMS, 22Hz to 22kHz Bandwidth
• Mic E.I.N. @ unity gain,150Ω source impedance.. -128dBu
• Mix Output, 40 inputs routed to mix..
• Group & Centre Outputs..
• Aux Outputs (GB2 Groups only)..
• Matrix Outputs..
• Crosstalk Input Channel Mute..
• (@1kHz, typical) Input Fader cut-off..
• Pan isolation..
• Mix route isolation..
• Group route isolation..
• Adjacent channel crosstalk..
• Group to Mix..
• Aux Send pots offness (typical)..
• Matrix Send pots offness (typical)
• CMRR Typical @ 1kHz.. 80dB
• Input & Output Mono & Stereo Mic Inputs.. +15dBu
• Max Levels Mono & Stereo Line Inputs.. +30dBu
• Stereo Returns & Insert Returns.. +20dBu
• Any output.. +20dBu
• Nominal Operating Level.. 0dBu
• Headphone Power.. 2 x 250mW into 200Ω
• Input & Output Mic Inputs.. 2kΩ
• Impedances Line Inputs and Stereo Returns.. 10kΩ
• Input channels Insert Return.. 5kΩ with EQ in, otherwise 3kΩ
• Mix, Group, Aux, Matrix & Direct outputs.. 150Ω
• Insert sends.. 75Ω
• Recommended Headphone Impedance.. 100 - 600Ω
• High pass filter (Mono input).. 100Hz, 18dB per octave
• EQ (Mono input) HF.. 13kHz, +/-15dB, 2nd order shelving
• Hi-Mid.. 550Hz-13kHz, +/-15dB, Q=1.5
• Lo-Mid.. 80Hz-1.9kHz, +/-15dB, Q=1.5
• LF.. 80Hz, +/-15dB, 2nd order shelving
• EQ (Stereo input) HF.. 13kHz, +/-15dB, 2nd order shelving
• Hi-Mid.. 2.5kHz, +/-15dB, Q=0.8
• Lo-Mid.. 450Hz, +/-15dB, Q=0.8
• LF.. 80Hz, +/-15dB, 2nd order shelving
• Metering Input channels (GB4/GB8).. Single tri-colour 4-segment LED bargraph
• Outputs (GB4).. 7 tri-colour 12-segment LED bargraphs
• Outputs (GB8).. 11 tri-colour 12-segment LED bargraphs,
• + Meterpod with 3 VU meters (L/R/C)
• Outputs (GB2/GB2R).. 2 tri-coloured 12-segment LED bargraphs,
• (indicates monitor source level)
• Power consumption AC mains supply (internal PSU) 85V-270V AC, 50/60Hz universal input
• Power consumption.. Less than 150W
• Operating conditions Temperature range.. -10ºC to +30ºC
• Relative humidity.. 0% to 80%

• Features
• * 19” Rackmountable console
  
• * 16 channel version, with 16 mono inputs, Stereo Mix and Mono Sum Outputs and 6 Aux Outputs. - Total Inputs to Mix: 22
  
• * 12.2 channel version, with 12 mono inputs and 2 stereo inputs, 1 Stereo Sub Group Output, Mix and Mono Sum Outputs, and 6 Aux Outputs - Total Inputs to Mix: 26 (when Mics used on stereo input)
  
• * Rotatable connector pod for top or rear cable entry
  
• * 8 (GB2R-16) or 10 (GB2R-12.2) busses
  
• * 2 full feature stereo inputs (GB2R-12.2 version)
  
• * GB30 Mic preamp and precision EQ on inputs
  
• * Switchable +48V phantom power on every mic input
  
• * 100Hz Hi-pass filter
  
• * Direct outputs on every channel
  
• * 100mm faders
  
• * Stereo Mix Output and separate Mono Sum output
  
• * Record output
  
• * Internal Universal switched mode PSU

MIC/LINE Input Channels
The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp.
The +48V phantom power for condenser microphones can be switched in groups of six.
The Line Input and Channel Insert are implemented as jack sockets.
The Gain can be controlled in the range 0-60 dB.
The switchable Lo Cut filter (80Hz, 18dB/oct.) serves to eliminate low-frequency noise. A very typical DYNACORD feature is the asymmetrical Voicing Filter by means of which, if desired, the voice can be powerfully emphasized in the mix.
Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively.
With their extended buss structures, the CMS3 mixers offer very flexible configuration options. In all, 6 AUX busses are available in each case:
2 (FX) are assiged to the two effects devices;
2 (AUX) can be configured either as monitor or effects sends by means of a switch in the Main section;
2 (MON) are designed as monitor sends, each being equipped with a sweepable anti-feedback filter in the Master section.
MUTE and PFL switches, each with its own LED, make it possible to mute each input channel individually and/or listen to its pre-fader signal.
Each channel offers a Signal Present and Peak LED for level control.
The channel faders are dust-protected and offer not only excellent crosstalk attenuation but also a practice-optimized control characteristic.
All potentiometers and faders are high-quality components from ALPS.
Stereo MIC/LINE Input Channels
The stereo input channels are equipped in much the same way, but optimized, naturally, to carry stereo signals.
Two of the four stereo inputs of each model are additionally equipped with cinch (RCA) sockets switched in parallel for CD or MP3 players.
The two other stereo inputs receive in addition the four channels of the digital audio interface USB 1-2 and USB 3-4
Separate Gain controls are provided for the Stereo Line and Mic inputs to permit them to be used in parallel if desired.
Three-band tone controls are provided, and a Balance control replaces the PAN control found in the mono channel strips.
MASTER
In the Master Section, too, the CMS3 mixers are lavishly equipped.
The 11-band stereo equalizer can be routed to the Master channels or else to either or both of the Monitor Sends according to choice.
The FX1+2 Returns as well as the AUX1+2 and MON1+2 Sends are on faders just like the Master L/R signal, which makes for comfortable and intuitive operation.
The Master B signal is available pre or post MASTER L/R fader and can be mono-summed if desired. The Master signal is also available on the REC Send cinch (RCA) output with level control.
The level meters of the CMS3 comprise two LED chains of 12 LEDs each. The display range covers 40 dB; what is shown is the level in dBu at the master outputs. When the PFL switch is activated, the left-hand LED chain shows the internal level of the master buss in dBu.
The Standby switch mutes all channels e.g. during pauses, with only the 2TRACK-to-Master input remaining active for the playback of interval music.
A 4-pin XLR socket is provided for the connection of a standard 12V/5W gooseneck lamp.
DIGITAL USB 2.0 AUDIO INTERFACE  
The USB 2.0 port serves as a digital audio interface between the CMS3 and a PC or Mac. Four channels can be transmitted in either direction simultaneously. This interface can therefore be used either for the input of audio signals (e.g. for playback or interval music) or else for live- or studio-recording applications. It is configured by selecting the relevant setting in the menu.
For the use of the CMS3 with a PC or Mac, a free Cubase LE license as well as the requisite USB drivers are included free-of-charge on the supplied DVD.
PC MIDI Interface
The CMS3 also offers a fully-featured PC MIDI interface.
The MIDI input also supports the remote switching of both internal effects units using a master keyboard or MIDI footswitch.
Professional Effects, OLED Display and Processing Menus
The CMS3 has two integrated stereo multi-effects processors that work independently of one another, each offering 100 effects algorithms optimized for live performance, the most important parameters of which are editable.
Linear 24-bit AD/DA converters and 48-bit double-precision processing guarantee the finest studio quality based on state-of-the-art technology.
The 100 program locations of each device are packed with high-quality reverbs, halls and plates that deliver professional results in live performance on stage as well as in both studio and home recording environments.
Other presets include Echo/Reverb and Chorus/Echo combinations, a variety of delay, flanger, chorus and doubling algorithms, as well as special reverb and delay programs. When a delay effect is active, the delay time can be synchronized to the beat of the music using the TAP key.
Edited effects programs can be stored in the 20 User memories offered by each device, assigned names, and later selected and used in the same way as the presets.
The large, high-contrast OLED display is easily read from a wide range of viewing angles—even in very bright surroundings. The operation of the effects units and processing menus is intuitive and made easier still through the use of soft keys and a rotary encoder.
Processing Menus
For the basic settings, configuration, use of the effects and special functions, a wide variety of editing options can be selected from the clearly arranged menus.
Innovative Solution for Protection and Transportation
Optionally available for the CMS 1000 and 1600 is a very robust plastic lid with an integrated handle—a highly innovative solution that offers optimal protection for the device as well as greater carrying comfort.
For the CMS 2200, due to its greater size, a flight-case solution is recommended (available as a further option is a dust cover: the DC-PM2200-COVER).
Accessories
For rack installation of the CMS 1000 (or table installation of the models 1600 and 2200), the mounting kit RMK 1000-3 is available.
Other accessories include the gooseneck light DC-LITLITE-4P and the DC-FS11 ON/OFF footswitch for the effects units.