Allen & Heath Xone 4D Manual
Allen & Heath Xone 4D Manual
Allen & Heath Xone 4D Manual
Publication AP7265
http://www.allen-heath.com http://www.xone.co.uk
Safety Sheet
Important ! Read this sheet
before starting.
Xone:4D mixer
Retain for future reference.
Check that the rear panel optical in/out blank plugs are fitted.
Mains Lead
Check that the correct
mains plug is fitted.
Spare knobs
and buttons
Note: Always use the same USB port with your Xone:4D. When installing on a MS
Windows system, the drivers will be associated with the USB port that you are currently plugged
into. If you attempt to use the 4D with another USB port, or without installing the drivers at all,
the system may work but with degraded performance (XP, Vista), or may not work at all (2000).
Once the driver installation is complete, you will need to check that the Xone:4D is being recog-
nised. To do this, connect the Xone:4D to your PC/laptop and then right click on My Com-
puter to open the System Properties window.
Expand the Sound, Video and Game Controllers section to reveal the WDM audio and MIDI
drivers for the Xone:4D.
Expand the Universal Serial Bus Controllers section to reveal the Xone:4D ASIO driver and
its release (version) number —in this case V2.8.16.
Mac OSX
Open the Xone_4D_Driver_x.x.x.dmg to reveal the window shown.
Click on “Continue”.
Once the driver installation is complete, you will need to check that the Xone:4D is being recog-
nised. To do this, connect the Xone:4D to your Mac and then select:
Now select the Audio tab and in the “Properties For” dropdown box select Allen & Heath
Xone:4D.
Hot Setup
You may also enter setup mode by holding down the encoder shown above and then pressing
the same encoder on the right hand MIDI pod. This allows the MIDI channel and Map to be
changed if the mixer is in a fixed installation.
Channel 1 Channel 9
Channel 2 Channel 10
Channel 3 Channel 11
Channel 4 Channel 12
Channel 5 Channel 13
Channel 6 Channel 14
Channel 7 Channel 15
Channel 8 Channel 16
To change the channel number that the MIDI is transmitted on, rotate the encoder above
the jog wheel.
Once the desired channel has been selected, press and then release the switch on the
encoder above the jog wheel. The illuminated switches will flash once indicating that the
channel number has been set.
If the third light ring is not illuminated then each light ring will toggle on and off on re-
ceipt of a specific MIDI ‘Note On’ message. The ‘Note On’ message that the light ring
responds to is the same ‘Note On’ message that is sent by the corresponding switch.
Therefore, referencing the MIDI Control Section, the first (far left) light pipe will tog-
gle on and off when it receives a ‘Note On’ message of D1.
If the third light ring is not illuminated then each light ring will toggle on and off on re-
ceipt of a specific MIDI ‘Note On’ message. The ‘Note On’ message that the light ring
responds to is the same ‘Note On’ message that is sent by the corresponding switch.
Therefore, referencing the MIDI Control Section, the second (middle left) light pipe
will toggle on and off when it receives a ‘Note On’ message of B-1.
When the desired MIDI map has been selected, press and release the switch on the
encoder above the jog wheel. The illuminated switches will flash three times indicating
that the MIDI map has been stored and that the unit is now in its normal operating mode.
ANALOGUE INPUTS:
The analogue inputs are sourced from the input channels on the Xone:4D as
follows:
Channel Soundcard Input Selectable From
1 1/2 Mic or Channel 1 (Pre or Post Fader)
2 3/4 FX2 or Channel 2 (Pre or Post Fader)
3 5/6 FX1 or Channel 3 (Pre or Post Fader)
4 7/8 Mix or Channel 4 (Pre or Post Fader)
DIGITAL INPUTS:
The SPDIF digital inputs are sourced directly from the digital input sockets on the
rear of the Xone:4D. The soundcard will internally switch between the COAX
and Optical inputs, with the COAX connection being the default. The digital
inputs are sent directly to the soundcard on inputs 9/10.
ANALOGUE OUTPUTS:
The analogue outputs are sent to the mixer from the PC/Mac and can be sourced
as follows:
Channel Soundcard Output Routing
1 1/2 Channel SC1-2 switch and rear panel
RCA connectors
2 3/4 Channel SC3-4 switch and rear panel
RCA connectors
3 5/6 Channel SC5-6 switch and rear panel
RCA connectors
4 7/8 Channel SC7-8 switch
DIGITAL OUTPUTS:
The SPDIF digital outputs are sent directly to the digital output sockets on the
rear of the Xone:4D. The digital output will be present on both the COAX and
Optical output connectors simultaneously. The digital outputs are sent directly
from software on soundcard outputs 9/10.
SOFTWARE DESCRIPTION
The inputs and outputs of the soundcard have a description within the software being
used. Below are the descriptions used in Ableton and Traktor.
64, 96, 128, 192, 256, 384, 512, 768, 1024 etc.
Turn on your Xone:4D, launch your Ableton software and open the Preferences window.
Turn on your Xone:4D, launch your Traktor software and open the Preferences window.
CAUTION
INPUT 4 INPUT 3 INPUT 2 INPUT 1 FX RETURNS
LINE L R PHONO L R PHONO L R PHONO L R FX1 L R
WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE A
REPLACE FUSE WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER PAR UN FUSIBLE
STRICTEMENT IDENTIQUE EN VALEURS.
LINE L R LINE L R LINE L R LINE L R FX2 L R GAME/MIDI
WARNING: THIS APPARATUS MUST BE EARTHED.
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK B
DO NOT EXPOSE APPARATUS TO RAIN OR MOISTURE.
FOOT
AC MAINS IN ~ SWITCH
OFF SPDIF
0 FX2 SEND
I ON MIX OUT MONITOR FX1 SEND (REC OUT)
SOUNDCARD OUTPUTS DIGITAL AUDIO MIDI
T500mAL 250V 20mm LEFT RIGHT IN USB
L L L CH1 CH3 CH5 OPTICAL IN OUT
FUSE L L L
OUT IN OUT TO PC
CH2 CH4 CH6
R R R
SERIAL No: R R R
100 - 240V~
47-63Hz ~ 30W MAX MADE IN THE UK BY ALLEN & HEATH LIMITED
PHONES MIC
Welcome to the Allen & Heath Xone:4D digital DJ workstation. This system has
been designed with the help of some of the world’s most cutting edge DJs to
provide a seamless integration of traditional and computer-based audio replay
systems. The Xone:4D comprises three main sections:
MIXER— The mixer is based on the award-winning Allen & Heath Xone:92. It
lets you mix a combination of vinyl, CD and other sources through 4 stereo
channels to its main mix and monitor outputs. It provides 2 effects send/return
loops, 3-band EQ isolators, 2 analogue VCF filters with LFO, VCA crossfader and
channel faders, DJ mic and cue monitoring system. A BPM counter can be set for
tap tempo or automatic beat detection.
MIDI CONTROLLER— Two dedicated control strips provide a total of 105
MIDI messages from a combination of switches, rotary and fader controls, multi-
function jog wheels, foot pedal and game controllers. A MIDI shift mode allows all
of the controls to be mapped for a second time, giving the MIDI surface a second
‘page’. A fader pick-up algorithm has been incorporated into the mixer allowing
seamless integration of the pages. In addition, several mixer functions generate
and respond to MIDI, and the BPM counter provides MIDI start/stop and clock.
The Xone:4D provides full control of external MIDI devices including the most
sophisticated DJ performance computer environments. Overlays are available to
identify the control function for popular software applications.
SOUNDCARD— A high performance 20-channel USB2.0 soundcard is built into
the mixer. The soundcard features 4 analogue stereo inputs and four analogue
stereo outputs, transmitting audio at 96kHz with 24 bit resolution. It uses USB to
interface the mixer audio and MIDI to a PC where the sound may be manipulated
in real time using one of the several exciting new DJ performance applications.
The soundcard also produces SPDIF COAX and optical digital inputs and outputs.
A low latency ASIO driver is provided for audio streaming between mixer and PC.
SOUNDCARD
FX2
MASTER
EQ
LFO
MONITOR
CUE
CROSSFADER
FILTER 1 FILTER 2
PHONES MIC
MIXER
Each of the 4 channels can select one of 3 sources: phono, line or soundcard
audio as shown. RIAA phono preamps are available on channels 1, 2 and 3.
These may be changed to line input by resetting an internal jumper link if required.
Level may be adjusted over a +/- 10dB range if the signal reads too high or low on
the channel meters. The 3-band EQ provides a safe amount of boost but full cut
(kill) for dramatic effect. A mic input with level and 2-band EQ routes direct to
the main mix. The DJ cues the mix using headphones. The mix may be added to
the cue’d channel signal to help the DJ synchronise the beat.
FILTERS
The channel signal may be routed direct to the LR mix or through either of the
two analogue filters. These provide the characteristic Allen & Heath analogue
filter sound with combinations of 3 switched bands, swept frequency, resonance
and tap tempo LFO control. The VCA crossfader affects the filter path when
switched in.
FX LOOPS
Two FX sends are provided. FX1 may be switched pre or post fader, while FX2
is pre fader. The send is typically connected to an effects device or sampler, then
routed back to the mix via one of the two FX return inputs.
OUTPUTS
The balanced XLR mix output feeds the house sound system. The monitor
output follows the main mix and can provide a booth monitor, alternative zone or
recording feed.
BPM COUNTER
Displays the BPM (beats per minute) of a music track entered manually by tapping
a button in time to the music, or automatically by analysing the signal routed to it.
The signal may be routed from the main mix or from an individual channel via the
pre-fade FX2 mix so that the beat may be calculated and checked before the track
is routed to the mix.
The BPM counter outputs MIDI clock so that a slave device such as a hardware or
software sequencer can be synchronized to the timing of a track playing through
the Xone:4D. To aid synchronization the MIDI clock can be momentarily speeded
up or slowed down by operating the PUSH/PULL lever.
UV REACTIVE PAINT
The white artwork on the front panel of the Xone:4D uses a UV reactive layer
and will therefore glow under UV light to improve visibility in low level light
conditions.
MIDI CONTROL
MIDI (musical instrument digital interface) is a standardised protocol for
communication between electronic music devices as well as between those
devices and computers. Two identical banks of MIDI controls are provided on
either side of the mixer section. These bring control of remote performance
equipment such as computer-based sound manipulation and sequencing, samplers,
effects and even lighting right to the mixer control surface. The function of the
controls may be identified using overlay sheets, samples of which are supplied
with the Xone:4D.
The control banks comprise both linear and rotary faders, rotary encoders with
integrated switches, push button switches with and without light ring indicators,
and large dedicated jog wheels with four position switches. A footswitch socket
and the 15-pin Game port provide control voltage input, which produce further
MIDI output from foot pedal, joystick and custom-wired controllers. Operation
of these controls does not affect any audio signals directly, but is automatically
translated into MIDI messages according to a pre-configured MIDI ‘map’. The
MIDI channel number, map and other functions are selected during the start-up
configuration procedure. Two MIDI maps are available to suit the various
performance software applications currently available. Further details are
provided later in this guide.
In addition to the dedicated MIDI controls, some of the DJ mixer functions also
output MIDI messages when operated. These include all switches with light rings,
the filter frequency controls, the crossfader, and BPM start/stop and clock. The
MIDI data is sent out of the mixer via the rear panel MIDI out and Game port
sockets, and is simultaneously transferred to a connected computer via the USB
interface. The MIDI surface has two ‘pages’, allowing all of the MIDI controls (with
the exception of the crossfader), to be mapped twice.
SOUNDCARD
The 20-channel USB2.0 soundcard is built into the mixer to ensure the highest
performance and lowest noise. 24-bit converters are used at a maximum
sampling rate of 96kHz, together with low latency ASIO drivers supplied by Allen
& Heath.
There are 4 stereo (8 mono) analogue and 1 stereo (2 mono) digital inputs to the
PC/Mac from the Xone:4D, and 4 stereo (8 mono) analogue and 1 stereo (2
mono) digital outputs from the PC/Mac to the Xone:4D.
The soundcard input block diagram is shown overleaf.
SOUNDCARD
IN 9/10
Auto-Sense
IN 7/8
IN 5/6
USB2.0
IN 3/4
IN 1/2
FX2 Send
FX1 Send
Ch4 Pre Fade
Main Mix
Microphone Input
Note:
The pre-fade channel send
is sourced after the phono/
line input switch. From
this, the soundcard input LF HF LEVEL
SOUNDCARD
OUT 9/10
OUT 7/8
OUT 5/6
USB2.0
OUT 3/4
OUT 1/2
MIDI
COMPUTER
MIDI CONTROL
MIDI OUT
MIDI OUT
MIDI OUT
GAME/MIDI MAPPING
MAP1
MIDI IN MAP2
MIDI IN
LEFT BANK
CV IN
RIGHT BANK
FOOTSWITCH
CV IN MIXER
Input Selection
2 Two switches select one of three possible
stereo audio sources; Line A (RIAA phono
on CH 1-3), Line B, or output from the
computer via the internal soundcard (SC1-
6). Switch 2 (SC) overrides switch 1
(phono/line). The LED indicator displays
which source is active:
CH1 CH2 CH3 CH4
Switch1 gn LineA Phono Phono Phono
Switch1 red LineB LineB LineB LineB
Switch2 red SC1-2 SC3-4 SC5-6 SC1-2
Channel Equalizer/Isolator
3 4 The Xone:4D is equipped with a very
powerful 3 band EQ stage providing a
controlled +6dB of boost when fully
clockwise but full isolation (cut) of each
band for dramatic effect when fully anti-
clockwise. Centre frequencies are set at:
HF = 10kHz (high frequency, treble)
4 MF = 1.2kHz (mid frequency)
LF = 120Hz (low frequency, bass)
Filter/Crossfade Assignment
5 The channel signal can be routed directly
to the main mix or via either of the two
filter/crossfade paths. Note that the
5 crossfade affects the filter path only.
Set the 3-position switch to its mid
position to route the signal direct to the
6 mix, or to its left or right positions to
route the signal to filter-1/crossfade-X or
filter-2/crossfade-Y respectively.
To enable the crossfader check that the
XFADE ON switch above the filter1
controls is pressed.
Cue Switch
6 Press the cue switch to listen to the channel
pre-fade signal in the headphones and see its
level on the main meters. The LED
indicator ring around the switch lights up
when selected. The big red CUE ACTIVE
indicator also lights to warn that you are
monitoring the channel signal rather than
the main mix.
Press the switch to deselect cue. The
switches are interlocked; pressing another
one turns off the previous selection.
Channel Meter
7 Displays the channel signal level. It is pre-EQ
and pre-fader. This means it is not affected
by the EQ or fader position.
The channel level control should be set so
that the meter averages around ‘0’ with
loudest peaks no higher than ‘+6’. Turn
down the level control if the +10 peak
indicator lights.
Channel Fader
8 A high quality, smooth travel dual-rail fader
adjusts the channel signal level from fully off
to fully on.
7
8
3 Resonance Control
4 This produces the classic analogue VCF sound by
feeding some of the filter output back to its input.
The control ranges from ‘mild’ producing a very
subtle effect, to ‘wild’ producing a dramatic phase
effect with feedback just short of oscillation.
4
HPF Button
5 Turns on the high pass (bass cut) filter slope. The
light ring around the button illuminates when
5 selected.
BPF Button
6 6 Turns on the band pass (bell shaped) filter slope.
The light ring around the button illuminates when
selected.
7 LPF Button
7 Turns on the low pass (treble cut) filter slope. The
light ring around the button illuminates when
selected.
8
Frequency Sweep Control
8 This control sets the –3dB cut-off frequency of the
filter. It ranges from very low frequency (20Hz) to
9 very high (20kHz).
Filter On Switch
9 Switches the filter on and off. The light ring around
the button illuminates when the filter is active.
XFADE CURVE
CROSSFADER
X Y
FILTER 2 MIX
FILTER 1 MIX
1
VCA
X1 2Y
OFF
VCA
FX Return Controls
1 These controls route the incoming signal
from the stereo FX1 and FX2 Return RCA
connectors on the rear panel to the mix.
They adjust how much return signal is
added to the mix.
Crossfader
3 2 This lets you fade between signals routed to
either side, typically to fade smoothly into a
4 new music track or to creatively layer
sounds when scratch or cut mixing.
The crossfader is a VCA controller, which
affects the level of signals routed via the
filters. Make sure the toggle switches on the
channels you wish to fade are set to X or Y
as appropriate.
Please contact your Allen and Heath
approved service centre for crossfader
service or replacement.
Xfade on switch
3 Press this switch to activate the crossfader.
LF HF LEVEL
PHONES MIC
1 2 3 4
Headphones Outputs
1
Stereo 1/4” TRS jack and 3.5mm mini-jack. Plug in
good quality stereo headphones intended for DJ
monitoring. 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.
2 Mic EQ Controls
The MIC equaliser provides a tool to adjust the
tonal quality of the sound to correct source
problems such as microphone response, proximity
effect, noise and feedback, to help the voice cut
through the mix, or to adjust the overall ‘feel’.
Start with the EQ controls set to their mid (flat)
position, then adjust to achieve the desired sound.
3 Mic Input
Balanced XLR. Plug in a DJ, guest or announcement
microphone here. Use a good quality low
impedance dynamic mic such as those specifically
designed for vocals. Do not use high impedance or
unbalanced microphones, or condenser types which
require phantom power. Use the best professional
grade balanced cables and connectors you can
afford, as these are typically subject to intense use
and abuse in the club environment.
3 2 4 5
CAUTION
INPUT 4 INPUT 3 INPUT 2 INPUT 1 FX RETURNS
LINE L R PHONO L R PHONO L R PHONO L R FX1 L R
WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE A
REPLACE FUSE WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER PAR UN FUSIBLE
STRICTEMENT IDENTIQUE EN VALEURS.
LINE L R LINE L R LINE L R LINE L R FX2 L R GAME/MIDI
WARNING: THIS APPARATUS MUST BE EARTHED.
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK B
DO NOT EXPOSE APPARATUS TO RAIN OR MOISTURE.
FOOT
AC MAINS IN ~ SPDIF SWITCH
0 OFF FX2 SEND
I ON MIX OUT MONITOR FX1 SEND (REC OUT) SOUNDCARD OUTPUTS DIGITAL AUDIO MIDI
T500mAL 250V 20mm LEFT RIGHT IN USB
L L L CH1 CH3 CH5 OPTICAL IN OUT
FUSE L L L
OUT IN OUT TO PC
CH2 CH4 CH6
R R R
SERIAL No: R R R
100 - 240V~
47-63Hz ~ 30W MAX MADE IN THE UK BY ALLEN & HEATH LIMITED
CAUTION
INPUT 4 INPUT 3 INPUT 2 INPUT 1 FX RETURNS
LINE L R PHONO L R PHONO L R PHONO L R FX1 L R
WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE A
REPLACE FUSE WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER PAR UN FUSIBLE
STRICTEMENT IDENTIQUE EN VALEURS.
LINE L R LINE L R LINE L R LINE L R FX2 L R GAME/MIDI
WARNING: THIS APPARATUS MUST BE EARTHED.
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK B
DO NOT EXPOSE APPARATUS TO RAIN OR MOISTURE.
FOOT
AC MAINS IN ~ SWITCH
OFF SPDIF
0 FX2 SEND
I ON MIX OUT MONITOR FX1 SEND (REC OUT)
SOUNDCARD OUTPUTS DIGITAL AUDIO MIDI
T500mAL 250V 20mm LEFT RIGHT IN USB
L L L CH1 CH3 CH5 OPTICAL IN OUT
FUSE L L L
OUT IN OUT TO PC
CH2 CH4 CH6
R R R
SERIAL No: R R R
100 - 240V~
47-63Hz ~ 30W MAX MADE IN THE UK BY ALLEN & HEATH LIMITED
6 7 8 9 10
Soundcard Outputs
9 RCA phono.
Outputs from the internal soundcard.
These are always available irrespective of
the source selection on the stereo
channels. These outputs could be fed to
an additional mixer or processor before
being brought back into the mix.
Depending on the soundcard operating
mode, signals are available on sockets 1-6
or 1-4.
13 14
CAUTION
INPUT 4 INPUT 3 INPUT 2 INPUT 1 FX RETURNS
LINE L R PHONO L R PHONO L R PHONO L R FX1 L R
WARNING: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE A
REPLACE FUSE WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER PAR UN FUSIBLE
STRICTEMENT IDENTIQUE EN VALEURS.
LINE L R LINE L R LINE L R LINE L R FX2 L R GAME/MIDI
WARNING: THIS APPARATUS MUST BE EARTHED.
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK B
DO NOT EXPOSE APPARATUS TO RAIN OR MOISTURE.
FOOT
AC MAINS IN ~ SPDIF SWITCH
0 OFF FX2 SEND
I ON MIX OUT MONITOR FX1 SEND (REC OUT) SOUNDCARD OUTPUTS DIGITAL AUDIO MIDI
T500mAL 250V 20mm LEFT RIGHT IN USB
L L L CH1 CH3 CH5 OPTICAL IN OUT
FUSE L L L
OUT IN OUT TO PC
CH2 CH4 CH6
R R R
SERIAL No: R R R
100 - 240V~
47-63Hz ~ 30W MAX MADE IN THE UK BY ALLEN & HEATH LIMITED
11 12
MIDI Input / Output Gameport Connector
11 5 pin DIN socket.
13 The gameport connector (15pin D-type)
Connect to either a MIDI lets you add additional controllers such as
interface or directly to MIDI an analogue joystick, or a third MIDI
compatible equipment using a output socket using a standard gameport
standard 5 pin DIN (MIDI) lead. to MIDI adapter.
The MIDI output socket data Note: this port has no MIDI input
duplicates what is sent via the USB connection.
connection to the PC, and to the
gameport. This interface will convert the movement
of a connected joystick into MIDI CC and
MIDI in can be used to remotely Note information; it cannot be used to
control the status of all switches control PC games, so don’t try it with
that have associated LED light rings your latest flight sim…..
(with the exception of the BPM,
LFO and Stop/Start. It is also possible to build a custom
interface using general purpose switches
You can connect the MIDI OUT of and potentiometers. We recommend 10k
one Xone:4D to the MIDI IN of or 20k ohm linear law pots. A simple
another.
MIDI OUT 2
USB Connector
12 +5V
+5V +5V
The USB connection is used to
send/receive audio and MIDI data +5V
The LFO Editor allows real-time manipulation of the LFO waveform using
the linear faders on the left and right MIDI pods of the Xone:4D. The LFO
tempo can be set using the LFO Tap Tempo button or by synchronising the
LFO tempo to the displayed BPM (see page 36).
To enter LFO Edit Mode, hold down the LFO Tap Tempo button until the
LFO speed is displayed on the BPM screen and then press the MIDI Start/
Stop button. The BPM screen will now display “L.F.O.” to indicate that the
surface is in LFO Edit Mode and the eight MIDI faders can be used to ‘draw’
the LFO waveform. All other MIDI controls will send their respective MIDI
messages while the surface is in LFO Edit Mode.
To exit LFO Edit Mode, press the MIDI start/stop button and the BPM dis-
play will show the current tapped or analysed BPM.
To reset the LFO to its default (triangular) waveform, hold down the LFO
Tap Tempo button until the LFO speed is displayed in the BPM window,
then hold down the Start/Stop button until R.S.T. appears in the BPM win-
dow.
4 3
Linear Faders
Moving a linear fader will send a MIDI
message with a unique CC number and a
control value from 0 (bottom) to 127 (top).
5
Push Buttons
4 There are 24 momentary action switches
coded with letters A through to X for easy
identification. Pressing a switch will send a
6 unique “note on” MIDI message. Releasing
the switch sends a corresponding “note off”
message.
Rotary Encoder
5 A rotary encoder with switch, as above.
7 Jog Wheel
6 The jog wheel features an optical encoder,
which produces CC messages in a similar
way to the other encoders. Switches are
located at the top, bottom, left and right of
the wheel. Pushing down on the face of the
wheel sends note on / note off messages.
MIDI Messages
The diagram below shows which controls are associated with MIDI CC (continuous controller)
and note on/off messages. These controls send the MIDI messages shown when operated. The
switch light ring indicators (except for start/stop and tap tempo) may be turned on or off by
incoming MIDI messages.
MIDI Channel Number and Map
To change the MIDI map and channel number, please refer to the MIDI CHANNEL, MAP AND
LIGHT PIPE SETUP sections on pages 11 and 12.
C0 G#2
A#2 F#1
C5 D#5
CC36 CC44
CC37 CC45
B4 D5
A-2 G1
B-2 F1
A#4 C#5
CC6 CC7
C#-1 A1
CC5
G#4 A4
Basis Channel
Default 16 16 Selectable with
Option 1-16 1-16 Configuration Utility
Mode
Default X X
Messages X X
Altered X X
Note Number O O Refer to Diagram. MIDI
note messages received
as well as transmitted
for all push buttons with
light rings, except MIDI
Start/Stop and BPM/LFO
Tap Tempo buttons.
Velocity
Note ON X X
Note OFF X X
After touch
Keys X X
Channel X X
Pitch Bend X X
Control Change
1 O X Joystick Y
3 O X Joystick X
4 O X Footswitch
5 O X Crossfader
6 O X Filter 1 Freq
7 O X Filter 2 Freq
Program Change X X
System Exclusive X X
System Common
Song Position X X
Song Select X X
Tune Request X X
00 0 C-2 36 54 F#2
01 1 C#-2 37 55 G2
02 2 D-2 38 56 G#2
03 3 D#-2 39 57 A2
04 4 E-2 3A 58 A#2
05 5 F-2 3B 59 B2
06 6 F#-2 3C 60 C3
07 7 G-2 3D 61 C#3
08 8 G#-2 3E 62 D3
09 9 A-2 3F 63 D#3
0A 10 A#-2 40 64 E3
0B 11 B-2 41 65 F3
0C 12 C-1 42 66 F#3
0D 13 C#-1 43 67 G3
0E 14 D-1 44 68 G#3
0F 15 D#-1 45 69 A3
10 16 E-1 46 70 A#3
11 17 F-1 47 71 B3
12 18 F#-1 48 72 C4
13 19 G-1 49 73 C#4
14 20 G#-1 4A 74 D4
15 21 A1 4B 75 D#4
16 22 A#1 4C 76 E4
17 23 B1 4D 77 F4
18 24 C0 4E 78 F#4
19 25 C#0 4F 79 G4
1A 26 D0 50 80 G#4
1B 27 D#0 51 81 A4
1C 28 E0 52 82 A#4
1D 29 F0 53 83 B4
1E 30 F#0 54 84 C5
1F 31 G0 55 85 C#5
20 32 G#0 56 86 D5
21 33 A0 57 87 D#5
22 34 A#0 58 88 E5
23 35 B0 59 89 F5
24 36 C1 5A 90 F#5
25 37 C#1 5B 91 G5
26 38 D1 5C 92 G#5
27 39 D#1 5D 93 A5
28 40 E1 5E 94 A#5
29 41 F1 5F 95 B5
2A 42 F#1 60 96 C6
2B 43 G1 61 97 C#6
2C 44 G#1 62 98 D6
2D 45 A1 63 99 D#6
2E 46 A#1 64 100 E6
2F 47 B1 65 101 F6
30 48 C2 66 102 F#6
31 49 C#2 67 103 G6
32 50 D2 68 104 G#6
33 51 D#2 69 105 A6
34 52 E2 6A 106 A#6
35 53 F2 6B 107 B6
LO HI
locking to the analysed BPM. The LFO can be +5
-10
-15
-20
Filter Type Select 20 100 1kHz 10k 20k
The filters are ‘state variable’. This means that BAND-PASS FILTER
they provide three simultaneous filter types, high- +20
LO HI
shown together with the effect of adjusting +5
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. Peaking simply results in signal distortion, not more vol-
ume. 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 op-
erator into believing that more volume is needed. Be careful as this is in fact a warn-
ing 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.
An important note …
82! The human ear is a remarkable organ with the ability to com-
press or ‘shut down’ when sound levels become too high. Do
not interpret this natural response as a reason to turn the sys-
tem 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.
CABLE B UNBALANCED
UNBALANCED
CABLE C BALANCED
BALANCED
Sleeve=ground Sleeve=ground
Ring=cold (-) Ring=cold (-)
Tip=hot (+) Tip=hot (+)
CABLE E BALANCED
1=ground 2=hot (+)
BALANCED
CABLE G UNBALANCED
UNBALANCED
XLR FEMALE
XLR MALE
CABLE L
USB TYPE A MAX 2M USB TYPE B
• FX1 and FX2 Return Routing— The FX1 and FX2 Returns are set, by
default, to route to the main LR Mix. Link options allow the return to be
routed through either Filter 1 or Filter 2.
• Disabling / Enabling RIAA Preamps—All channels are fitted with
RIAA preamplifiers. Link options allow the RIAA preamplifier stage to be
enabled or disabled. When disabled, the Phono input becomes a Line in-
put.
• FX2 Pre / Post Fade Assignment—The FX2 channel send is set, by
default, to pre-fader. Link options allow the channel FX2 send to become
post-fader.
CAUTION : Refer the above link options to an Allen and Heath approved
service centre 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.
Replacement crossfader Assembly: Allen & Heath Part No. 003-579. Please
contact your Allen and Heath approved service centre to undertake crossfader
replacement.
Rack ears allow permanent fixing in a plinth or rack system. They can be fitted two ways; either
with the flange flush with the top panel or flush with the underside of the chassis. The rack ears
are fixed in place using the 6x M4 screws provided. Ensure that air vents are not obstructed.
76.2
M6
101.6
37.3
88 432
Please go to www.allen-heath.com/register.asp and register your product’s serial number and your details.
By registering with us and becoming an official Registered User, you will ensure that any warranty claim
you might make is actioned quickly and with the minimum delay.
Alternatively, you may either copy or cut off this section of the page, fill in the details, and return it by
mail to:
Allen & Heath Ltd, Kernick Industrial Estate, Penryn, Cornwall TR10 9LU, UK