AUDIBAX 502 Proffesional Mixer Table User Manual

: June 12, 2024
: AUDIBAX

Table of Contents

IMPORTANT SAFETY SYMBOLS
IMPORTANT SAFETY INSTRUCTIONS
INTRODUCTION
INSTALLATION
CONTROL ELEMENTS AND CONNECTORS
Documents / Resources

**AUDIBAX 502 Proffesional Mixer Table User Manual

**

IMPORTANT SAFETY SYMBOLS

CAUTION
RISK OF ELECTRIC SHOCK DO NOT OPEN

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 tured on
OFF: Denotes the apparatus is tumed 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 raiin, 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.

Mains voltage

USA/Canada: 120 V, 60 Hz, MXUL5 adapter
U.K./Australia: 240 V, 50 Hz, MXUK5 adapter
Europe: 230 V, 50 Hz, MXEU5 adapter
Japan: 240 V, 60 Hz, MXJP5 adapter

Measuring conditions:

KkHzrelto 0 dB; 20 Hz – 20 kHz, line input; main output. unity gain. 2: 20Hz –
0kHz; 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 maintains the highest professional standards. As a result of these efforts, modifications may be made from time to existing products without prior naticid. ‘Specifications and appearance may differ from those listed or lustrated

Dimensions

502

Dimensions (HxWxD) weight (net): 42mm/32mm x 195mm x 120mm approx. 0.7 kg

802
Dimensions (HxWxD): 42mm/32mm x 240mm x 184mm
weight (net); approx. 1.2 kg

1002
Dimensions (HxWxD): 42mm / 32mm x 240mm x 237mm
weight (net): approx. 1.5 kg

EQ mono channels

Low: 15 dB 12 kHz / 15 dB
Mid: 15 dB 2.5 kHz /
HighL: 80 Hz /

EQ stereo channels

Low: 80 Hz /
Mid: 15 dB 2.5 kHz /
High: 15 dB 12 kHz / 15 dB

Aux sends

Type: 1/4″ TS connector, unbalanced
Impedance: approx. 20 kn
Max.output level: +22 dBu

Stereo aux return

Type
Impedance Max.input level
1/4″ TRS connector, electronically balanced approx. 20 k bal. /10 k unbal. +22 dBu

Main outputs

Туре: XLR electronically balanced
Impedance: approx. 24002 bal./ 12002 unbal.
Max.output level: +28 dBu

Control room outputs

Type: 1/4″ TS connector, unbal.
Impedance: approx. 120 Q
Max.output level: +22 dBu

Headphones output

Type: 1/4″ TRS connector, unbalanced
Max.output level: +19 dBu / 1500(+25 dBu)

Main mix system data²

Noise:
Main mix @ -∞,:
Channel fader -∞:
Main mix @ 0 dB,:
Channel fader -∞: -106 dB /-109 dB A-weighted
Main mix @ 0 dB,: -95 dB/-98 dB A-weighted
Channel fader @ 0 dB: -84 dB/-87 dB A-weighted

Power supply
Power consumption

502: 13 W
802 : 15 W
1002: 17 W

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 park:Wady 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 (use. 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 pads 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.

Mono inputs Microphone inputs (XENYX Mic Preamp)

Type: XLR, electronically balanced, discrete input circuit

Mic ELN. (20 Hz – 20 kHz)

@ source resistance: 134 dB/135.7 dB A-weighted
@ source resistance; -131dB/133.3 dB A-weighted
@150 0 source resistance: 129 dB/ 1305 dB A-weighted

Frequency response

Gain range: +1010 +60 dB
Max. Input level: +12dBu @ +10 dB gain
Impedance approx.: 2.6 kQ balanced
Signal-to noise ratio: 110 9B / 112 dB A-weighted (0dBu In @ +22 dB gain)
Distortion (THD+ N): 0.005% /0.004% A-weighted

Line input

Type: 114 * TRS connector, electronically balanced
Impedance: ‘approx. 200 balanced 10 kQ unbalanced Gain range -10to +40 dB
Max. Input level: +22 dBu @ 0 dB Gain

Fade-out attenuation’ (Crosstalk attenuation)

Main fader closed: 9048
Channel muted: 89508
Channel fader closed: 8908

Frequency response
Microphone input to main out

< 10 Hz – 90 kHz: +0dB/-1dB
< 10 Hz – 160 kHz: +0dB/-3dB

Stereo inputs.

Type: /4 TRS connector, electronically balanced
Impedance approx.: 20 kO
Max. Input level: +22dBu

Fig. 3.2: 1/4″mono plug

Fig. 3.3: 114″ stereo plug

Fig. 3.4: Stereo plug for headphones connection

INTRODUCTION

Congratulations! In purchasing the 502780 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 effects 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-niose 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.

general mixing console functions

Amixing 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.

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 illustrations 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.

For the moment, just try and trace the signa path from the microphone input o the FX send connector, Don’t be put-off by the huge range of possible; s easier than you thank if you oak at quickly fam arise yourself with your mixing console and you will soon be making the most of alit many possibilist.

Before you get started

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 unites 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.

Initial operation

Bo sure that there is enough space around the it or cooling purposes and to avoid over heating please don’t place your mixing console on high-temperature devices such as radiators or power amps. The console s 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, o render them inoperative.

Please sirs that only qualified people install and operetta the mixing console. During installation and operation, the user must have sufficient electrical contact to earth, otherwise electrostatic isocharges might affected operation of the unit.

Online registration
Please do remember o register your new longer dB equipment right after your purchase Kindly read the terms and conditions of our warranty carefully.

INSTALLATION

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 connected 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.

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 inputioutputs. Use aither 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.

Fig.3.1: XLR connections

+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. **

Should you longer dB product malfunction, o go i to have it repaired as quickly as possible. To arrange for warranty service, please contact the retailer rom whom the equipment was purchased. Should your dealer to be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding connect normal -onus includes in the ordinal equipment packing (Global Contact Information/European Contact Information). ‘Should your country not be sited. please contact the distributor nearest you. Alito distributors can be found in the support area of our webs.

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

Mono channels

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 ME preamps provide undistorted and noised-free gain as s 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 o adjust the input gain. This control should always be turned fully counter clock ~wise whenever you connect or disconnect a signal source to one of the inputs.

Equalizer
Allmono input channels include a 3-band equalizer. except for the 502, All bands provide boost or cutof up 10158 In the central position, the equalizer s inactive.

“The circuitry of the British EQs is based on the technology used in the bats- known top-of-the-fine 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 imitation, even will extreme gain settings of +15 d.

Fig. 2.2: Panorama and routing controls

EQ
“The upper (HI) and the lower band (LO) are shelving frets that increase or decrease al frequencies above. or below their cut-off frequency. The cut-of 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 25kHz

Low cut
In add ion, the mono channels ( 802 and 1002) are equipped with a steep LOW CUT fitter (slope at 18 bloc., 308 at 75 Hz) designed to eliminate unwanted low-frequent signal components

FX sends, panorama and level adjustment

Fig. 2.3: The FX send/panorama level controls

Signal assignment

Fig: 2.3.4 Signal assignment

CDITAPE TO MIX
When the TAPE TO MIX switch is depressed, the 2-track inputs assigned to the main mix providing an additional input for tape machines, MIDI instruments or other signal sources that do not require any processing

CDITAPE TO CTRL ROOM
(502 DITAPE TO PHONES) Press the CDITAPE TO CTRL ROOMIPHONES swift f you want to monitor the 2-rack input via the CTRL ROOM OUT. This provides an easy way to monitor signals coming back from tape to ensure that they are: recording correct.

If you are recording a signal via the CDITAPE OUTPUT and wish to listen to this simultaneously via the CDITAPE INPUT, do not use the CDITAPE 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 CDITAPE OUTPUT. To monitor the CDITAPE INPUT, use the CDITAPE 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 CDITAPE .

FXTO CTRLROOM
If you want to monitor only the FX send signal in your headphones or monitor speaker(s), press the FXTO GTRL 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.

Phantom power and LED displays

Fig. 2.13 Phantom power and LED displays.

Fig. 2.9: Monitor contr of and main fader

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 s 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 0dBu. The MAIN MIX fader adjusts the volume of these outpus.

CDITAPE INPUT
The CDITAPE INPUTS are used o bring an external signal source (e.g. CD player, tape deck, tc.) into the console. They can also be used as a standard stereo line input, So the output o a second ME.

Fig. 2.11:CDI Tape input/output

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.

CDITAPE OUTPUT
These connectors are wired in parallel with the MAIN OUT and carry the main mix signal (unbalanced). Connect the CDITAPE OUTPUT to the inputs of your recording device. The outpull level s adjusted via the high-precision MAIN MIX fader or rotary control (802 /1002).

FX (802 /10020NLY).
FX sends (or AUX sends) enable you to food signals via a variable control from one or more channels and sum these signals o bus. The bus appears at the console’s FX send outputs and can be fed from there to an extremal effects device, The fretum from the effects unities then brought back into the console on the aux return 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 a the level determined by the channel’s aux send, respective of the level fader setting. If this were. opt the case, the effects signal of the channel would remain audible even when the fader is lowered to zero.

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. I this happens, use the TRIM control o reduce the preamp level untilthe LED does not light anymore.

Stereo channels

Stereo line inputs

Fig. 2.4: Sterea line inputs

LINEIN
Each stereo channel has two balanced line level input on 1/4” connectors for left and right channes. If only the connector marked *L”(left) is used, the channel operates in mono. Sterea channels are designed to handle typical line level signals. Both inputs will also accept unbalanced jacks.

Equalizer stereo channels (802 /1002) ‘
The 802 /1002 features a stereo 3-band EQin each stereo channel. The filter characteristics and cut-off frequencies are the same as those in the mono channel

Fig. 2.5: The equalizer of the stereo input chanel

FX sends, balance and level adjustment

Fig. 2.6: The FX sendibalancellevel control

FX
“ The FX sends ofthe stereo channels funciion simiar o those of the mono channels. However, since the FX send buses are both mono, a mono sum s first taken from the stereo input before it sent o the FX bus. The 502 & not equipped with FX sends.

BAL
‘The BAL(ANCE) control determines the levels of left and right input signals relative to each ofher before both signal are then routed to the main stereo mix bus. If a channel is operated in mono via the fine input, the control has the same function as the PAN control used i the mono channel

LEVEL
“The LEVEL control determines the level of the channel signal in the main mix

Connector panel and main section

Sendireturn effects path

Fig. 2.7:FX sendireturn connectors

STEREO AUX RETURN
802 /10020NLY: THE STEREO AUX RETURN connectors are used {0 bring the output o the external device: (whose input s derived from the aux sends) back nto the console. you can instead se these connectors as addional inpus, but any effects device wil then have to be brought back into the console via a normal stereo channel. this does, however, give you the abilty to use the channel EQ on the effects retum signal i 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 ahold undesirable feedback.**

If only the left connector is used, the AUX RETURN automatically operates in mono. Use the AUX RETURN onto o deterring how much of o effects signal s sent o the main mix.

FXSEND
The FX SEND output (does not apply for 502 ) showy be connected to the input of an extremal 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.

Fig. 2.9: Monitorimain mix connectors

Documents / Resources

| AUDIBAX 502 Proffesional Mixer Table [pdf] User Manual
502, 802, 1002, 502 Proffesional Mixer Table, Proffesional Mixer Table, Mixer Table, Table
---|---