AUDIBAX 502 5 Channel Mixing Table User Manual
- June 12, 2024
- AUDIBAX
Table of Contents
502 / 802 / 1002
Professional Mixer
User Manual
Please read the manual before using the product
IMPORTANT SAFETY SYMBOLS
The symbol is used to indicate that some hazardous live terminals are involved
within this apparatus, even under the normal operating conditions, which may
be sufficient to constitute the risk of electric shock or death.
The symbol is used in the service documentation to indicate that specific
component shall be replaced only by the component specified in that
documentation for safety reasons.
Protective grounding terminal
Alternating current/voltage
Hazardous live terminal
ON: Denotes the apparatus is trued on
OFF: Denotes the apparatus is timed off.
WARNING: Describes precautions that should be observed to prevent the
danger of injury or death to the operator.
CAUTION: Describes precautions that should be observed to prevent danger
of the apparatus.
IMPORTANT SAFETY INSTRUCTIONS
-
Read these instructions.
-
Keep these instructions.
-
Heed all warning.
-
Follow all instructions.
-
Water & Moisture
The apparatus should be protected from moisture and rain, can not used near water, for example: near bath-tub, kitchen sink or a swimming pool, etc. -
Heat
The apparatus should be located away from the heat source such as radiators, stoves or other appliances that produce heat. -
Ventilation
Do not block areas of ventilation opening. Failure to do could result in fire. Always install accordance with the manufacturer’s instructions. -
Object and Liquid Entry
Objects do not fall into and liquids are not spilled into the inside of the apparatus for safety. -
Power Cord and Plug
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong is provided for your safety. If the provided plug does not fit into your outlet, refer to electrician for replacement. -
Power Supply
The apparatus should be connected to the power supply only of the type as marked on the apparatus or described in the manual. Failure to do could result in damage to the product and possibly the user.
Unplug this apparatus during lightning storms or when unused for long periods of time. -
Fuse
To prevent the risk of fire and damaging the unit, please use only of the recommended fuse type as described in the manual. Before replacing the fuse, make sure the unit turned off and disconnected from the AC outlet. -
Electrical Connection
Improper electrical wiring may invalidate the product warranty. -
Cleaning
Clean only with a dry cloth. Do not use any solvents such as benzol or alcohol. -
Servicing
Do not implement any servicing other than those means described in the manual. Refer all servicing to qualified service personnel only. -
Only use accessories/attachments or parts recommended by the manufacturer.
-
Warning
Please remember the high sound pressure do not only temporarily damage your sense of hearing, but can also cause permanent damage. Be careful to select a suitable volume.
INTRODUCTION
Congratulations! In purchasing the 502 / 802 / 1002 you have acquired a mixing
console whose small size belies its incredible versatility and audio
performance.
The MX Series represents a milestone in the development of mixing console
technology . With the microphone preamps including phantom power as an option.
Balanced line input and a powerful of fects section. The mixing consoles in
the Series are optimally equipped for live and studio applications. Owing to
state-of-the-art circuitry your console produces a warm analog sound that is
unrivalled. With the addition of the latest digital technology these base-in-
class consoles combine the advantages of both analog and digital technology.
The microphone channels feature high-end Mic Preamps that compare well with
costly outboard preamps in terms of sound quality and dynamics and boast the
following features.
- 1300B dynamic range for an incredible amount of headroom
- bandwidth ranging from below 10 Hz to over 200 KHz for crystal-clear reproduction of over the finest nuances.
- The extremely low-noise and distortion-free circuitry guarantees absolution natural and transparent signal reproduction
- They are perfectly matched to every conceivable microphone with up to 60 dB gain and +48 VT phantom power supply
- They enable you to use the greatly extended dynamic range of your. 24-bi/192 kHz HD recorder to the full. Thereby maintaining optimal audio quality
“British EQ”
The equalizers used for the 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 quality.
CAUTION!
We should like to draw your attention to the fact that extreme volumes may
damage your hearing and/or your headphones or loudspeakers. Turn the MAIN MIX
control and phones control in the main section fully down before you switch on
the unit. Always be careful to set appropriate volume levels.
1.1 general mixing console functions
Admixing console fulfils three main functions
- Signal processing: Preamplification, level adjustment, mixing of effects. Frequency equalization.
- Signal distribution: Summing of signals to the aux sends for effects processing and monitor mix, distribution to one or several recording tracks, power amp(s). control room and 2-track outputs.
- Mix: Setting the volume level, frequency distribution and positioning of the individual signals in the stereo field. level control of the total mix to match the recording devices/crossover/power ‘amplifier(s). All other mixer functions can be included in this main function. ‘The 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. The ilustrations at the beginning of each chapter
show the controls described in each respective chapter.
the block diagram supplied with the mixing console gives you an overview of
the connections between the inputs and outputs, as well as the associated
switches and controls.
Forthe moment, justly and trace the signa path from the microphone input o the
FX send connector, Donot be put-off by the huge range of possible; s easier
than you thank if you oak at quickly famiarize yourself with your mixing
console and you will soon be making the most of alit many possibilist.
1.3 Before you get started
1.3.1 Shipment
Your mixing console was carefully packed in the factory to guarantee safe
transport. Nevertheless, we recommend that you careful examine the packing and
its contents for any signs of physical damage. Which may have occurred during
transit.
«> If the unit is damaged, please do NOT return it to us, but notify your
dealer and the shipping company immediately, otherwise claims for damage or
replacement may not 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 cable. The console meets the required safety standards.
Blown fuses must only be replaced by fuses of the same type and rating.
never connect the ME to the power supply unit when the latter is connected
to the mains! First connect the power supply unit to the console, then connect
the power supply unit to the mains.
Please note that all unit must be properly grounded. For your own safety, you
should never remove any ground connectors from electrical devices or power
cables, or render them inoperative.
Please sure that only qualified people install and operate the mixing console.
During installation and operation, the user must have sufficient electrical
contact to earth, otherwise electrostatic discharges might affect the
operation of the unit.
1.3.3 Online registration
Please do remember to register your new longer dB equipment right after your
purchase Kindly read the terms and conditions of our warranty carefully.
Should you longer dB 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 dealer not be
located in your vicinity, you may directly contact one of our subsidiaries.
Corresponding connect information is includes in the original equipment
packing (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.
Registering your purchase and equipment with us helps us process your repair
claims quicker and more efficiently.
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
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 ME preamps provide undistorted and noised-free gain
as is typically known only from costly outboard preamps.
Please mute your play back system before you active the phantom power supply
to prevent switch-on thump being directed to your loudspeakers. Please also
note the instructions in chapter 2.3.5 “Phantom power and LED displays” .
LINEIN
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 you can only use either the microphone or the line
input of a channel at any one time. You can never use both simultaneously!
TRIM
Use the TRIM control to adjust the input gain. This control should always be
turned fully countershock -wise whenever you connect or disconnect a signal
source to one of the inputs.
2.1.2 Equalizer
All mono input channels include a 3-band equalizer. except for the 502, All
bands provide boost or cut of up to 15dB. In the central position, the
equalizer is inactive.
The circuitry of the British EQs is based on the technology used in the bats-
known top-of-the-line consoles and providing a warm sound without any unwanted
side effects. The result are extremely musical equalizes which, unlike simple
equalizers, cause no side effects such as phase shifting or bandwidth
limitation, even with extreme gain settings of +15 db.
EQ
The upper (HI) and the lower band (LO) 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 (802 /1002) is configured as a peak filter with a center frequency of
2.5kHz
LOW CUT
In addition, the mono channels ( 802 and 1002) are equipped with a steep LOW
CUT filter (slope at 18 dB/oct.,
-3 dB at 75 Hz) designed to eliminate unwanted low-frequent signal components .
2.1.3 FX sends, panorama and level adjustment
FX (802 /1002 ONLY).
FX sends (or AUX sends) enable you to feed signals via a variable control
from one or more channels and sum these signals to bus. The bus appears at the
console’s FX send output and can be fed from there to an external effects
device. The return from the effects unit is then brought back into the console
on the aux fretum connectors (802 /1002) or normal channel inputs. Each FX
send is mono and features up to +15 dB gain.
As the name suggests, the FX sends of the ME mixing consoles are intended to
drive effects devices (reverb, delay, etc.) and are therefore configured post-
fader. This means that the mix between dry signal and effect remains at the
level determined by the channel’s aux send, irrespective of the level fader
setting. If this were not the case, the effects signal of the channel would
remain audible even when the fader is lowered to zero.
PAN
The PAN control determines the position of channel signal within the stereo
image. This control features a constant-power characteristic, which means the
signal is always maintained at a constant level, irrespective of position in
the stereo panorama.
LEVEL
The LEVEL control determines the level of the channel signal in the main mix
CLIP
The CLIP LED’s of the mono channels illuminate when the input signal is driven
too high, which could cause distortion. If this happens, use the TRIM control
to reduce the preamp level until the LED does not light anymore.
2.2 Stereo channels
LINE IN
Each stereo channel has two balanced line level input on 1/4” connectors for
left and right channels. If only the connector marked “L”(left) is used, the
channel operates in mono. Stereo channels are designed to handle typical line
level signals. Both inputs will also accept unbalanced jacks.
2.2.2 Equalizer stereo channels (802 /1002)
The 802 /1002’features a stereo 3-band EQ in each stereo channel. The filter
characteristics and cut-off frequencies are the same as those in the mono
channel.
Stereo EQ is highly preferable to two mono equalizers. when working on a
stereo signal, as two separate Eel’s will usually produce an unwanted
discrepancy between the left and right channels.
2.2.3FX sends, balance and level adjustment
FX
The FX sends of the stereo channels function similar to those of the mono
channels, However, since the FX send buses are both mono, a mono sum is a
first taken from the stereo input before it is sent to the FX bus. The 502 is
not equipped with FX sends.
BAL
The BAL(ANCE) control determines the levels of left and right input signals
relative to each other before both signal are then routed to the main stereo
mix bus. If a channel is operated in mono via the line input, the control has
the same function as the PAN control used in the mono channels.
LEVEL
The LEVEL control determines the level of the channel signal in the main mix
2.3 Connector panel and main section
2.3.1 Send/return effects path
STEREO AUX RETURN
802 / 1002 ONLY: THE STEREO AUX RETURN connectors are used to bring the
output of the external device (whose input is derived from the aux sends) back
into the console. you can instead use these connectors as additional inputs,
but any effects device will then have to be brought back into the console via
a normal stereo channel. this does, however, give you the ability to use the
channel EQ on the effects return signal if you wish.
When you using a stereo channel as effects return path, the FX control of the
relevant channel should generally be turned fully down to avoid undesirable
feedback.
if only the left connector is used, the AUX RETURN automatically operates in
mono. Use the AUX RETURN control to determine how much of the effects signal
is sent to the main mix.
FX SEND
The FX SEND output (does not apply for 502 ) should be connected to the
input of an external effects unit.
The post-fader FX signal you created using the input channel FX controls is
sent to the effects unit via the FX SEND output.
PHONES/CONTROL ROOM
The stereo PHONES jack (at the top of the connector panel) is where you
connect headphones. The unbalanced CTRL ROOM OUT jacks carry the summed
effects and main mix signals, as well as soloed channel signals. The
PHONE/CONTROL ROOM control adjusts the level of both headphones and main
monitor outputs. The 502 is not equipped with control room outputs.
MAIN MIX
The MAIN OUT connectors are unbalanced mono jacks. The main mix signal appears
here at a level of 0 dBu. The MAIN MIX fader adjusts the volume of these
outputs.
CD/TAPE INPUT
The CD/TAPE INPUTS are used to bring an external signal source (e.g. CD
player, tape deck, etc.) into the console. They can also be used as a standard
stereo line input, so the output of a second ME.
Alternatively the line or tape output of a hi-fi amplifier with source
selection switch could also be hooked up here, allowing you to easily listen
to additional sources.
CD/TAPE OUTPUT
These connectors are wired in parallel with the MAIN OUT and carry the main
mix signal (unbalanced).
Connect the CD/TAPE OUTPUT to the inputs of your recording device. The output
level is adjusted via the high-precision MAIN MIX fader or rotary control (802
/1002).
CD/TAPE TO MIX
When the TAPE TO MIX switch is depressed, the 2-track input is assigned to the
main mix providing an additional input for tape machines, MIDI instruments or
other signal sources that do not require any processing.
CD/TAPE TO CTRL ROOM ( 502: D/TAPE TO PHONES)
Press the CD/TAPE TO CTRL ROOM/PHONES switch if you want to monitor the
2-track input via the CTRL ROOM OUT. This provides an easy way to monitor
signals coming back from tape to ensure that they are recording correctly.
If you are recording a signal via the CD/TAPE OUTPUT and wish to listen to
this simultaneously via the CD/TAPE INPUT, do not use the CD/TAPE TO MIX
switch. Doing this would create a feedback loop, since the signal would be
routed, via the main mix, back to tape via the CD/TAPE OUTPUT. To monitor the
CD/TAPE INPUT, use the CD/TAPE TO CTRL ROOM switch to assign the tape signal
to the monitor(s) or headphones. This will avoid the tape signal being routed
to the CD/TAPE OUTPUT.
FX TO CTRL ROOM
If you want to monitor only the FX send signal in your headphones or monitor
speaker(s), press the FX TO CTRL switch. This mutes the main mix signal while
routing the FX SEND output to the monitor(s). The 802 /1002 and 502 do not
feature this switch.
2.3.5 Phantom power and LED displays 
+48 V(502 /802/10020nly)
The red +48 V/ LED lights up when phantom power is on. The PHANTOM switch
activates the phantom power supply on the XLR connectors of all mono channels.
Please do not connect microphones to the mixer (or the stage box/wall box) as
long as the phantom power supply in switched on. Connect the the power
supply. IN addition, the monitor/PA loudspeakers should be muted before you
activate the phantom power supply. After switching on, wait approx. one
minute in order tallow system stabilization.
POWER
‘The blue POWER LED indicates that the console in powered on.
LEVEL INDICATOR
‘The high-precision 4-segment display accurately displays the relevant signal
level.
LEVEL SETTING
To correctly set the gains of the channels, first et the LEVEL controls of the
input channels to their center positions (0 dB) Then use the TRIM controls to
increase the input amplification unit signal peaks show 0 0B on the level
meter.
When recording to digital recorders, the recorder s peak meter should not go
into overload. While analog recorders can be overloaded o some extent,
creating only a certain amount of distortion (which is common and often
desirable), digital recorders distort quickly when overloaded. In addition,
digital distortion is not only undesirable, but also renders your recording
completely useless.
The peak maters of your ME display the level virtually independent of
frequency. A recording level of 0 dB is recommended for all signal types.
INSTALLATION
3.1 Mains connection
AC POWER IN
Connect the power supply to the 3-pin mains connector on the rear of the
console. Use the AC adapter supplied to connect the console to the mains. The
adapter complies with all applicable safety standards.
Please use only the power supply unit provided with the console.
Never connect the ME to the power supply unit while the latter is connected to
the mains! First connect the console to the power supply unit, then connect
the power supply unit to the mains.
Please use only the power supply unit provided with the console.
3.2 Audio connections
You will need a larger number of cable for the various connections to and
from the console. The illustrations below show. The wing of these cables. Be
sure to use only high-grade cable.
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 i the case of XLR connectors).
Caution! Never use unbalanced XLR connectors (PIN 1and 3 connected) on the
MIC input connectors when using the phantom power supply.
SPECIFICATIONS
Mono inputs
Microphone inputs (XENYX Mic Preamp)
Type| XLR, electronically balanced, discrete input circuit
---|---
Mic E.I.N. (20 Hz – 20 kHz)
@ 0 Ω source resistance
@ 50 Ω source resistance
@ 150 Ω source resistance| -134 dB / 135.7 dB A-weighted
-131 dB / 133.3 dB A-weighted
-129 dB / 130.5 dB A-weighted
Frequency response| <10 Hz -150 kHz (-1 dB), <10 Hz -200 kHz (-3 dB)
Gain range
Max. Input level
Impedance
Signal-to noise ratio| +10 to +60 dB
+12 dBu @ +10 dB gain
approx. 2.6 k0 balanced
110 dB / 112 dB A-weighted (0 dBu In @ +22 dB gain)
Distortion (THD+ N)| 0.005% / 0.004% A-weighted
Line input
Type
Impedance
Gain range Max.
Input level| 1/4 ” TRS connector, electronically balanced approx. 200 balanced
10 kΩ unbalanced
-10 to +40 dB
+22 dBu @ 0 dB Gain
Fade-out attenuation’ (Crosstalk attenuation)
Main fader closed
Channel muted
Channel fader closed| 90 dB 89.5 dB
89 dB
Frequency response Microphone input to main out
<10 Hz – 90 kHz
<10 Hz – 160 kHz| +0 dB / -1 dB
+0 dB/-3 dB
Stereo inputs
Type
Impedance Max.
Input level| 1/4 ” TRS connector,
electronically balanced approx. 20 k0
+22 dBu
EQ mono channels
Low
Mid
High| 80 Hz/ 15 dB
2.5 kHz/ 15 dB
12 kHz/ 15 dB
---|---
EQ stereo channels
Low
Mid
High| 80 Hz/ 15 dB 2.5 kHz / 15 dB 12 kHz / 15 dB
Aux sends
Type
Impedance
Max. output level| 1/4 “TS connector, unbalanced
approx. 20 kΩ
+22 dBu
Stereo aux return
Type
Impedance
Max .input level| 1/4 ” TRS connector,
electronically balanced approx. 20 k0 bal.
/10 Ic0 unbale.
+22 dBu
Main outputs
Type
Impedance
Max. output level| XLR electronically balanced approx. 2400 bal./ 1200 unbale.
+28 dBu
Control room outputs
Type
Impedance
Max. output level| 1/4 ” TS connector, unbale. approx. 120 0
+22 dBu
Headphones output
Type
Max. output level| 1/4 ” TRS connector, unbalanced
+19 dBu / 1500(+25 dBu)
Main mix system data’
Noise
Main mix @ -∞,
Channel fader -∞
Main mix @ 0 dB,
Channel fader -∞
Main mix @ 0 dB,
Channel fader @ 0 dB| -106 dB / -109 dB A-weighted
-95 dB / -98 dB A-weighted
-84 dB / -87 dB A-weighted
Power supply
Power consumption| 502:
802:
1002:| 13 W
15 w
17 W
Mains voltage
USA/Canada| 120 V~, 60 Hz, MXULS adapter
UK /Australia| 240 V/~, 50 Hz, MXUKS adapter
Europe| 230 V/~, 50 Hz, MXEUS adapter
Japan| 240 V~, 60 Hz, MXJP5 adapter
Dimensions
502
Dimensions (H x W x D)| 42mm /32mm
x 195mm x 120mm
weight (net)| approx. 0.7 kg
802
Dimensions (H x W x D)| 42mm / 32mm x 240mm x 184mm
weight (net)| approx. 1.2kg
1002|
Dimensions (H x W x D)| 42mm / 32mm x 240mm x 237mm
weight (net)| approx. 1.5kg
Measuring conditions:
- 1KkHzrelto 0 dBu; 20 Hz – 20 kHz, line input; main output. unity gain.
- 20Hz – 20kHz; measured at main output. Channels 1-4 unity gain: EQ flat; a channels on main mix; channels 1/3 as far left as possible, channels 214 as far right as possible. Reference = +6 dBu.
We are constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to existing products without prior notice.
‘Specifications and appearance may differ from those listed or lustrated
References
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