LEM SWING 20FX Owner's manual

Brand: LEM

Model: SWING 20FX

Category: Audio mixers

Type: Owner's manual

LEM SWING 20FX is an audio mixer with built-in digital effects, offering a wide range of functions and high audio performance in a compact and user-friendly format. With 16 MONO and 2 STEREO channels, it provides a comprehensive set of features, including INSERTs on MIC inputs, 4-band EQ with LO-CUT and PFL function. The 4 SUBs allow for convenient channel grouping, while the 7-band GRAPHIC EQ and balanced MASTER outputs with XLR or JACK connectors ensure professional-quality audio.

Contents

Instructions and installation . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

MONO input channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

STEREO input channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

MASTER section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

DSP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Connection cables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Connection examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Block diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Instructions and installation

✔ ✔

✔ Connecting the mixer to the mains supply.

Before connecting the amplifier to the mains socket, always make certain that:

- the electric system and mains socket have an adequate grounding, compatible with

the safety norms (if you’re uncertain, consult specialized personnel);

- the mains voltage corresponds to that shown on the rear of the unit (an allowance

of up to ±10% is accepted);

- the power cord is not damaged and has no bare wires;

- the on/off switch is in the OFF position.

Make sure the mixer is also off before disconnecting the power cord from the mains socket.

It is best to lower (or better still close) the output levels and switch off any amplifiers connected to the

line output of the mixer before switching the mixer on or off: this avoids annoying and sometimes

dangerous (particularly for the speaker cabinets) signal peaks.

When the mixer is switched on, it’s normal for the LEDs to light up for a few moments.

✔ ✔

✔ Connection and prevention or identification of possible disturbances.

First of all, check that the mixer is installed in a place free from industrial or RF (radio frequency) interference.

Avoid installing your equipment very near radio or TV sets, mobile phones, etc., as these can cause noisy

interference.

When connecting the other components of your sound system, watch out for the so-called “ground loops”,

which could cause hum and jeopardize the mixer’s excellent Signal-to-Noise and low distortion characteris-

tics.

The best way (even if not always feasible) to avoid ground loops is to connect the electric ground of all the

equipment to a single central point (the so-called “star” system). In this case, the central point in sound

systems is the mixer.

✔ ✔

✔ Protection and maintenance.

Do not force knobs, switches or faders: they have been designed to respond to a light touch and could

be damaged if treated with excessive force.

Take care of the connector cables. Always hold them by the connectors, avoiding pulling the wire and

avoid knots and twists when coiling them: this gives the advantage of increasing their life and reliability.

Avoid exposing the mixer to direct sun, strong heat, intense vibrations, very dusty or damp surroundings,

or even worse, rain: this will avoid eventual malfunction, deterioration or even electric shocks and fires.

Any dust on the mixer should be removed using a soft dry cloth or a brush; never use alcohol, acetone

or solvents.

✔ ✔

✔ In the event of breakdown

All user-adjustable parts are external and easily accessible.

Never open the amplifier: you could run the risk of serious electric shocks.

In the event of breakdown, contact the nearest GENERALMUSIC/LEM Assistance Centre .

Instructions and installation

Introduction

Congratulations for having chosen the SWING 20FX!

SWING 20FX is an extremely versatile audio mixer fitted with a high-quality built-in

digital effect, able to offer a great number of functions and high audio performances in a

really compact and easy-to-use format.

Equipped with 16 MONO channels and 2 STEREO channels for a total of 20 inputs,

the SWING 20FX offers a complete and professional set of functions including INSERT

on the MIC inputs, 4-band EQ with LO-CUT and PFL function. 4 SUBS are available for

channel grouping and a 7-band GRAPHIC EQ, together with balanced MASTER outputs

with the choice of XLR or JACK connectors and MONO OUT with LPF filter. The built-in

DSP includes 15 high-quality REVERB and STEREO DELAY effects, able to reproduce

accurately different kinds of ambients and to enrich not only the voice, but also any kind

of instrument.

The superior audio quality is provided by low-noise, high-grade mic preamps, low-

tolerance electronic components and accurate circuitry designed to guarantee the

maximum dynamics without distortion.

The SWING 20FX has been designed in order to provide a very easy transport,

installation and use and it is the best solution for a great variety of applications: from LIVE

P.A. to HOME RECORDING, from SUB-MIXING systems to FIXED INSTALLATIONS.

Introduction

PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN BAL BAL

PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2

3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4

PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL

PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER PRE-FADER

MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1 MONITOR 1

MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2 MONITOR 2

POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER

EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1 EFX 1

POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER POST-FADER

EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2 EFX 2

GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN

10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10

000000 000000000000

10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10000000 000000000000

RRRRRR RRRRRRRRRRRRLLLLLL LLLLLLLLLLLL

-15dB -15dB -15dB -15dB -15dB -15dB -15dB -15dB -15dB -15dB -15dB -15dB -15dB -15dB -15dB -15dB +20dB +20dB

MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC LINE LINE

LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE

+5dB +5dB +5dB +5dB +5dB +5dB +5dB +5dB +5dB +5dB +5dB +5dB +5dB +5dB +5dB +5dB

-55dB -55dB -55dB -55dB -55dB -55dB -55dB -55dB -55dB -55dB -55dB -55dB -55dB -55dB -55dB -55dB -20dB -20dB

0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB (LINE) 0dB 0dB

-35dB -35dB -35dB -35dB -35dB -35dB -35dB -35dB -35dB -35dB -35dB -35dB -35dB -35dB -35dB -35dB

LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

MIC

LINE

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

LO-CUT

75 Hz

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 3 kHz 2.5 kHz 2.5 kHz

HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID HI-MID MID MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

800 Hz

LO-MID

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

80 Hz

LOW

12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz 12 kHz

HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH

+12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12-12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12

+12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12-12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12 -12

+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15-15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15

RIGHT RIGHT

LEFT

(MONO)

LEFT

(MONO)

17/18 19/20

STEREO

LINE

STEREO

LINE

17/18 19/20

MIXGROUP

124

MONITOR 1

SEND

EFX 1

SEND

MONITOR 2

SEND

EFX 1

TO MIX

EFX 2

TO MIX

EFX 2

TO MON 2

EFX 2

SEND

EFX 2

TO MON 1

PHANTOM

POWER

OFF

125 250 8k

+12+12

-12-12

4k2k1k500

LEVEL

SET

BAND GRAPHIC EQSTEREO 7

PFL ACTIVE

LEFT LEFT LEFT LEFT

RIGHT RIGHT RIGHT RIGHT

OUTPUT/PFL

LEVEL

CLIP

PHONESDSP

FOOTSWITCH

MIX B

TAPE IN

TO MIX

MONITOR

OUTPUTS

LEVEL

100

OFF

LEFT

LEFT (MONO) RIGHT

RIGHT

AUX SENDS TAPE

TAPE IN

LEVEL

TAP E

OUT

AUX RETURNS

MUTE

VOC2

VOC1

PERC

PLATE

S/ROOM

DEL2

DEL1

VOC3

CHURCH

DEL5

DEL4

DEL3

M/HALL

L/HALL

L/ROOM

MONO input channel

MIC INPUT

Balanced XLR connector: receives the microphone input signal on the

channel. This input is for use with microphones, but can also accept a wide

range of balanced or unbalanced low impedance signals, including the signal

coming from condenser microphones with +48V power supply (see Rear panel).

LINE INPUT

Balanced JACK connector: receives the line input signal on the channel. This

input can receive balanced or unbalanced high-impedance signals from

equipment with a high-level output. When this input is used, the MIC input is

disconnected.

CHANNEL INSERT

STEREO JACK connectors: allow to use an external device (equalizer,

compressor, etc.) to process the signal of the channels from 1 to 16. The

INSERT connectors have the signal SEND on the JACK TIP and the signal

RETURN on the JACK RING (see CONNECTOR CABLES).

LO-CUT

HI-PASS filter: allows to reduce the frequencies below 75 Hz with a 18 dB / Oct.

slope. Thanks to this filter it’s possible to eliminate unwanted subsonic frequencies,

like, for examples the microphones rumble due to the stage resonance.

GAIN

Gain control: regulates the amplification of external signals (microphones,

instruments, etc.) fed into the channel. The range for the MIC input is -15/-55

dB, while the range for the LINE input is +5/-35 dB.

HIGH

HIGH frequency control: gives a 15dB boost or cut at 12 kHz with a

“SHELVING” curve.

HI-MID

HI-MID frequency control: gives 12dB boost or cut at 3 kHz with a

“PEAKING” curve.

LO-MID

LO-MID frequency control: gives 12dB boost or cut at 800 Hz with a

“PEAKING” curve.

LOW

LOW frequency control: gives 15dB boost or cut at 80Hz with a

“SHELVING” curve.

MONO input channel

PRE-FADER

MONITOR 1

MONITOR 2

GAIN

-15dB

MIC

LINE

+5dB

-55dB

0dB (LINE)

-35dB

LINE

INSERT

MIC

LINE

LO-CUT

75 Hz

3 kHz

HI-MID

800 Hz

LO-MID

80 Hz

LOW

12 kHz

HIGH

+12-12

+15-15

MONO input channel

MONITOR 1&2

Control for the MONITOR sends level.

The MONITOR sends are PRE-FADER: this means than the signal sent to the

MONITORS is taken before the control of the channel FADER, allowing a

completely independent mix for the monitoring respect to the main mix.

EFX 1 & EFX2/DSP

Control for the EFFECT sends level.

The EFX 1 and EFX2/DSP sends are POST-FADER: this means than the

signal sent to the AUX output is taken after the control of the channel FADER.

The EFX 1 send the signal to the AUX 1 output. The EFX2/DSP send the signal

both to the AUX 2 output and to the built-in DSP.

PAN

Centre-dented pot for controlling the signal’s pan: regulates stereo

“position” of the signal with respect to the GROUPS and to the main MIX L&R

outputs. If PAN is turned completely to the LEFT, the signal will only be sent

to the ODD GROUPS, if it’s turned completely to the RIGHT, the signal will

only be sent to EVEN GROUPS. At intermediate settings, the signal is sent to

both directions, but in different proportions.

PEAK

PEAK LED indicator: lights up when the input signal is near to the CLIPPING

point. This control is POST-GAIN, POST-INSERT and POST-EQ and,

therefore, reacts to the signal already processed by the internal EQ and by

external units. Set the GAIN control in such a way that the PEAK LED do not

light up or only do so occasionally.

MUTE

Button for MUTE function.

When pressed, this switch mutes the channel to the GROUPS and L&R MIX

outputs.

GROUP 1-2&3-4

Routing buttons towards the GROUPS: by pressing these buttons the signal

of the channel can be sent to the GROUPS 1-2 and 3-4.

IMPORTANT: to be sent to the MIX L&R the channel signal have to be

always assigned at least to one GROUP (see also MASTER section).

PFL

Button for PRE-LISTENING function.

Allows the channel signal to be selected for the listening thru the HEADPHONES outputs and the

visualization on the LED BARGRAPHS. The listening and the visualization are PRE-FADER.

FADER

Fader for controlling channel level: regulates the level of each channel sent to the groups, the MIX

L&R and the MIX B outputs.

PAN

PEAK

MUTE

1 - 2

3 - 4

PFL

PRE-FADER

MONITOR 1

MONITOR 2

POST-FADER

EFX 1

POST-FADER

EFX 2

100

MIC

LINE

1010

2020

3030

4040

80 Hz

LOW

+15-15

STEREO input channel

STEREO INPUT

JACK connector: receives the STEREO LINE input signal on the channel

(0dB).

Inserting a single JACK connector on the LEFT socket this channel can be

used as a MONO channel.

GAIN

Gain control: regulates the amplification of the signal connected to the L&R

inputs. The range is -20/-20 dB.

MID

MID frequency control: gives 12dB boost or cut at 2.5 kHz with a

“PEAKING” curve.

BAL

Centre-dented control of the balance of the signal on the main outputs.

The BAL control has a balancing effect on the levels of the two LEFT &

RIGHT parts of the STEREO signal and works as follows:

• turning to the LEFT lowers the RIGHT signal level on MIX RIGHT;

• turning to the RIGHT lowers the LEFT signal on MIX LEFT.

NOTE: the remaining features of the STEREO channel are the same as in

the MONO channel.

BAL

PEAK

PRE-FADER

MONITOR 1

MONITOR 2

POST-FADER

EFX 1

POST-FADER

EFX 2

GAIN

100

+20dB

LINE

-20dB

0dB

2.5 kHz

MID

80 Hz

LOW

12 kHz

HIGH

+12-12

+15-15

RIGHT

LEFT

(MONO)

17/18

MASTER section

PHONESDSP

FOOTSWITCH

MIX B

TAPE IN

TO MIX

MONITOR

OUTPUTS

LEVEL

100

LEFT

LEFT (MONO) RIGHT

RIGHT

AUX SENDS TAPE

TAPE IN

LEVEL

TAPE

OUT

AUX RETURNS

AUX SENDS 1&2

Unbalanced JACK connectors: these connectors feed out the sum of the signals arriving from the relative

EFX sends of the input channels. The AUX sends are POST-FADER and are therefore mainly intended

for use with OUTBOARD EFFECTS.

AUX RETURNS 1&2

Unbalanced JACK connectors: these are the connectors of the auxiliary stereo inputs. These inputs,

whose signal is sent directly to MIX L&R, can be used for the return signal from outboard effects or for

connecting any instrument or equipment with a line output (e.g. keyboards, cassette recorder or CD

turntable).

TAPE IN L&R

Two RCA connectors: receive external signals from STEREO tape recorders, CD player, DAT, etc. These

inputs can be connected to the outputs of your equipment.

TAPE OUT L&R

Two RCA connectors: send out the signal taken from MIX and normally intended for STEREO recording.

These outputs can be connected to the inputs of a recorder.

TAPE IN LEVEL

Pot for controlling the level of the TAPE input.

TAPE IN TO MIX

Button for the assignment of the TAPE IN signal to the MIX L&R.

Allow the TAPE IN signal to be sent to the MIX L&R.

MONITOR OUTPUTS 1&2

Unbalanced JACK connectors: these connectors feed out the sum of the signals arriving from the relative

MONITOR sends 1&2 of the input channels. The MONITOR sends are PRE-FADER and are therefore

mainly intended for the on-stage monitoring.

MIX B OUTPUT

Two unbalanced JACK connectors: this is an additional master output which sends out the same signal

of the MIX L&R.

MIX B LEVEL

Pot for control of the MIX B volume: this control is POST-MASTER, i.e.

the level of the signal depends on the position of the MIX L&R fader.

PHONES OUT

STEREO JACK headphone output connector: only stereo headphones with

a minimum impedance of 200 Ohms should be connected to this output.

PHONES LEVEL

Pot for controlling the level of the HEADPHONES outputs.

Normally the MIX L&R signal is heard from this output. When one or more

PFL buttons on the input channels are pressed, the signal of the selected

channels can be heard from the headphones output.

DSP FOOTSWITCH

JACK connector for the DSP FOOTSWITCH: allow a FOOTSWITCH to

be used for MUTING of the built-in DSP.

EFX TO MIX 1&2

Pot for controlling the level of the auxiliary stereo inputs: these pots

control the level of the AUX RETURNS to the MIX L&R. The EFX2 /DSP

pot controls both the AUX 2 input level and the return of the DSP to the

main outputs (see DSP).

EFX2/DSP TO MON 1&2

Pot for controlling the level of the EFX2 stereo input and the built-in

DSP to the MONITOR SEND 1&2: using these controls is possible to send

the signal of the effect connected to the EFX2 input and/or the signal of the built-in DSP to the MONITOR

outputs.

MASTER section

MONITOR 1

SEND

EFX 1

SEND

MONITOR 2

SEND

EFX 1

TO MIX

EFX 2

TO MIX

EFX 2

TO MON 2

EFX 2

SEND

EFX 2

TO MON 1

100

MASTER section

MONITOR SEND 1&2

Pots for controlling the level of the MONITOR SENDS 1&2: using these pots is possible to control

the overall level of the MONITOR sends.

EFX1 SEND & EFX2/DSP SEND

Pots for controlling the level of the AUX/EFX SENDS: using these pots is possible to control the overall

level of the EFFECT sends. The EFX2/DSP pot controls both the signal sent to the AUX 2 output and

the signal sent to the built-in DSP.

GROUP FADERS 1-4

60mm sliders for control of the

GROUPS level: control the level

of the signal from the INPUT

CHANNELS assigned to the

different GROUPS. Remember

that, in order to listen the channel

signal from the MIX L&R outputs,

the channel should be assigned

to the GROUPS and the group

level should be turned up.

In LIVE APPLICATIONS the

GROUPS can be used to group

together different signal (all the

drums channel or all the voices,

for instance) and to control them

simultaneously. In STUDIO

APPLICATIONS the 4 GROUP

OUTPUTS can be used to feed 4

tracks of a multitrack recorder

LEFT/RIGHT GROUP

ASSIGNMENT

Buttons for the GROUPS

assignment to the MIX L&R.

NOTE: if you assign the even

groups to the MIX LEFT and the

odd groups to the MIX RIGHT,

the channel PAN control will ‘pan’

the signal between the MIX LEFT

and RIGHT. If you assign one group both to the LEFT and RIGHT, the group signal will be heard in

mono form the main MIX and the channel PAN control will act only on the assignment to the even group

or the odd group.

MIX L&R

60mm slider for control of the general volume: control the level of the signal arriving from the GROUPS

and sent to the main MIX L&R output, to the MIB output and to the TAPE OUT output.

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

1010

2020

3030

4040

MIXGROUP

124

LEFT LEFT LEFT LEFT

RIGHT RIGHT RIGHT RIGHT

OFF

PHANTOM

POWER

LEVEL

SET

PFL ACTIVE

OUTPUT/PFL

LEVEL

CLIP

UTE

URCH

STEREO 7 BAND GRAPHIC EQ

Seven mini-slider GRAPHIC EQ control.

The GRAPHIC EQ can be used to regulate the

overall mixer frequency response, in order to

control the tone of the main sound system and/

or the recording. The seven mini-sliders give

12dB boost or cut.

EQ ON/OFF

EQ ON/OFF SWITCH.

OUTPUT/PFL LEVEL

12-LED BARGRAPHS.

Allows the visualization of the signal assigned to the MIX L&R outputs or the signal of the channels

selected by the PFL buttons.

The LEDs are of three different colors:

• green = show the normal operative level of the signal (from -30

to +4 dB);

• yellow = show a high operative level of the signal (from +7 to

+10 dB);

• red (CLIP) = show a too high signal level, near to the overload

of the mixer output stage.

To ensure clean, distortion-free signals and to avoid damaging

the components of your sound system, try to avoid making the

red LEDs lighting up repeatedly.

POWER

LED indicating when the mixer is switched on.

PHANTOM

LED indicating when the +48V phantom power is switched

on: this LED lights up when the buttons on the connector panel

on the rear of the mixer are pressed.

PFL ACTIVE

Indicates when at least one PFL button is pressed on the

input channels: when this LED is lighted up the BARGRAPHS

show the input signal of the selected channel.

125 250 8k

+12

-12-12

4k2k1k500

BAND GRAPHIC EQSTEREO 7

LEFT LEFT

OFF

MASTER section

DSP

EFX 2

TO MIX

EFX 2

TO MON 2

EFX 2

TO MON 1

OFF

100

MUTE

VOC2

VOC1

PERC

PLATE

S/ROOM

DEL2

DEL1

VOC3

CHURCH

DEL5

DEL4

DEL3

M/HALL

L/HALL

L/ROOM

DSP

The SWING 20FX is fitted with a built-in DSP, including

15 high-quality REVERB and STEREO DELAY

effects able to reproduce accurately different kinds of

ambients and to enrich not only the voice, but also any

kind of instrument.

The 15 PRESETS can be selected by means of a

convenient 16-position encoder. In the last position

there’s a MUTE PRESET that can be used to cut out

the effect on all the channels. The DSP can be muted

also pressing the ON/OFF button on the control panel

or using a FOOTSWITCH connected to the JACK

socket on the connector panel

The signal is sent to the effect through the channel

EFX2 / DSP send. The effect level sent to the MIX

outputs is controlled by the EFX2 / DSP TO MIX knob.

The signal coming from the DSP can also be sent to

the MONITORS by means of the EFX2 / DSP TO MON 1 and EFX2 / DSP TO MON 2 knobs.

NOTE: if you need to use an external effect connected to the AUX 2 OUTPUT and to the AUX 2 RETURN INPUTS, the

internal DSP can be switched off selecting the MUTE PRESET. The internal DSP and the external effect can be also used

together, but this is not an advisable condition.

The following table include the list and the main parameters of the 15 PRESETS available in the internal

DSP.

No. PRESET Effect REV TIME (s)

1 CATHEDRAL HALL REVERB 5.0

2 LARGE HALL HALL REVERB 3.0

3 MID HALL HALL REVERB 1.7

4LARGE ROOMROOM REVERB 1.5

5 SMALL ROOM ROOM REVERB 0.8

6PLATE PLATE REVERB 1.5

7PERCUSSIONPLATE REVERB 1.2

8VOCAL 1 PLATE REVERB 3.0

9VOCAL 2 PLATE REVERB 1.5

10 VOCAL 3 PLATE REVERB 0.9

No. PRESET Effect LEFT DELAY (ms) RIGHT DELAY (ms) LEFT FB (%) RIGHT FB (%)

11 DELAY 1 STEREO DELAY 100 200 40 20

12 DELAY 2 STEREO DELAY 200 400 30 15

13 DELAY 3 STEREO DELAY 300 600 30 15

14 DELAY 4 STEREO DELAY 200 210 30 30

15 DELAY 5 STEREO DELAY 300 310 20 20

16 MUTE

PRESET LIST

Rear panel

MIX L&R XLR OUTPUTS

Two balanced XLR-M connectors (+4 dB): these are the connectors of the mixer main outputs and

send out the main program from the MIX L&R.

MIX L&R JACK OUTPUTS

Two unbalanced JACK connectors (+4 dB): these are the auxiliary MIX L&R outputs.

MAIN INSERT LEFT & RIGHT

Two STEREO JACK connectors: allow external devices (equalizer, dynamics processors, etc.) to be

used to process the main program. The INSERT connectors require a special ‘Y’ cable to be used to

send the original signal to the external device and, once processed, to take it back to the mixer outputs

(see CONNECTOR CABLES).

MONO OUTPUT

XLR-M balanced connector (+4 dB): sends out the sum of the MIX L&R channels. This output can be

used for a sub-woofer or for a mono monitoring system.

SUBWOOFER LPF 75Hz

LOW-PASS FILTER ON/OFF switch: allows to insert a 75 Hz low-pass filter on the MONO output. The

LPF can be used when a sub-woofer without internal filtering is connected to the MONO output.

Rear panel

GROUP OUT 1-4

Four JACK unbalanced connectors: allows the group signal to be sent to external devices such as

multitrack recorders or additional sound systems.

48V PHANTOM POWER

+48V Phantom power supply buttons: activates a +48V power supply separately on the MIC inputs 1 to

6 and 7 to 16 (XLR-F connector) of the MONO input channels, allowing condenser microphones and D.I.

boxes to be powered from the mixer.

NOTE

When the PHANTOM power supply is switched on make certain that cables with BALANCED XLR

connectors are ALWAYS used to connect the microphones: this precaution is extremely important for

avoiding damage in the event of both condenser and normal (dynamic) microphones being used

simultaneously. Switch on the phantom power supply only after having connected the condenser

microphone to the input and only with the channel fader closed to avoid output signal peaks.

Mixer on/off switch.

Power supply socket / Main fuse holder

In the event of breaking, always replace the fuse with same type and rating.

Connector cables

The following are wiring diagrams for the connectors used with the SWING mixers. Take care of the connector

cables, always holding them by the connectors and avoiding pulling the wire and avoid knots and twists when

coiling them: this gives the advantage of increasing their life and reliability, which is always to your advantage.

Periodically check that your cables are in good condition and are correctly wired and that all their contacts are

perfect: a great number of problems (faulty contacts, ground hum, discharges, etc.) are caused entirely by using

unsuitable or faulty cables.

UNBALANCED JACK connector

BALANCED JACK connector

BALANCED XLR-M connector

BALANCED XLR-F connector

Connector cables

RCA connector

‘Y’ cable for INSERT

Connection examples

PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN BAL BAL

PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK

MUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTEMUTE

1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2 1 - 2

3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4 3 - 4

PFLPFLPFLPFLPFLPFLPFLPFLPFLPFLPFLPFLPFLPFLPFLPFLPFLPFL