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.
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.
1
Contents
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
2
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
3
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
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
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
000000 000000000000
000000 000000000000
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10000000 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
1
MIC
LINE
1
MIC
LINE
2
MIC
LINE
2
MIC
LINE
3
MIC
LINE
3
MIC
LINE
4
MIC
LINE
4
MIC
LINE
5
MIC
LINE
5
MIC
LINE
6
MIC
LINE
6
MIC
LINE
7
MIC
LINE
7
MIC
LINE
8
MIC
LINE
8
MIC
LINE
9
MIC
LINE
9
MIC
LINE
10
MIC
LINE
10
MIC
LINE
11
MIC
LINE
11
MIC
LINE
12
MIC
LINE
12
MIC
LINE
13
MIC
LINE
13
MIC
LINE
14
MIC
LINE
14
MIC
LINE
15
MIC
LINE
15
MIC
LINE
16
MIC
LINE
16
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
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
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
+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
1
1
L
2
2
R
STEREO
LINE
STEREO
LINE
17/18 19/20
MIXGROUP
124
3
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
ON
125 250 8k
+12+12
-12-12
00
4k2k1k500
LEVEL
SET
BAND GRAPHIC EQSTEREO 7
PFL ACTIVE
LEFT LEFT LEFT LEFT
RIGHT RIGHT RIGHT RIGHT
OUTPUT/PFL
LEVEL
CLIP
LR
30
20
10
7
4
2
0
2
4
7
10
PHONESDSP
FOOTSWITCH
MIX B
TAPE IN
TO MIX
MONITOR
OUTPUTS
LEVEL
100
100
100
100
100
100
100
100
100
100
100
OFF
ON
LEFT
LEFT (MONO) RIGHT
RIGHT
AUX SENDS TAPE
IN
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
5
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
PRE-FADER
MONITOR 1
MONITOR 2
GAIN
10
10
0
0
-15dB
MIC
LINE
+5dB
-55dB
0dB (LINE)
-35dB
LINE
INSERT
MIC
MIC
LINE
1
LO-CUT
75 Hz
3 kHz
HI-MID
800 Hz
LO-MID
80 Hz
LOW
12 kHz
HIGH
+12-12
+12-12
+15-15
+15-15
6
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
PRE-FADER
MONITOR 1
MONITOR 2
POST-FADER
EFX 1
POST-FADER
EFX 2
10
10
0
0
100
100
RL
MIC
LINE
1
1010
1010
2020
3030
4040
55
55
00
80 Hz
LOW
+15-15
7
STEREO input channel
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
PRE-FADER
MONITOR 1
MONITOR 2
POST-FADER
EFX 1
POST-FADER
EFX 2
GAIN
10
10
0
0
100
100
RL
+20dB
LINE
-20dB
0dB
2.5 kHz
MID
80 Hz
LOW
12 kHz
HIGH
+12-12
+15-15
+15-15
RIGHT
LEFT
(MONO)
17/18
8
MASTER section
MASTER section
1
1
L
2
2
R
PHONESDSP
FOOTSWITCH
MIX B
TAPE IN
TO MIX
MONITOR
OUTPUTS
LEVEL
100
100
100
LEFT
LEFT (MONO) RIGHT
RIGHT
AUX SENDS TAPE
IN
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.
9
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
100
100
100
100
100
100
100
10
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
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
MIXGROUP
124
3
LEFT LEFT LEFT LEFT
RIGHT RIGHT RIGHT RIGHT
OFF
ON
11
PHANTOM
POWER
LEVEL
SET
PFL ACTIVE
OUTPUT/PFL
LEVEL
CLIP
LR
30
20
10
7
4
2
0
2
4
7
10
UTE
URCH
5
L
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
+1
2
+12
-12-12
00
4k2k1k500
BAND GRAPHIC EQSTEREO 7
LEFT LEFT
OFF
ON
MASTER section
12
DSP
EFX 2
TO MIX
EFX 2
TO MON 2
EFX 2
TO MON 1
OFF
ON
100
100
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
13
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
14
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.
15
Connector cables
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
17
Connection examples
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
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
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
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
000000 000000000000
000000 000000000000
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10000000 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
1
MIC
LINE
1
MIC
LINE
2
MIC
LINE
2
MIC
LINE
3
MIC
LINE
3
MIC
LINE
4
MIC
LINE
4
MIC
LINE
5
MIC
LINE
5
MIC
LINE
6
MIC
LINE
6
MIC
LINE
7
MIC
LINE
7
MIC
LINE
8
MIC
LINE
8
MIC
LINE
9
MIC
LINE
9
MIC
LINE
10
MIC
LINE
10
MIC
LINE
11
MIC
LINE
11
MIC
LINE
12
MIC
LINE
12
MIC
LINE
13
MIC
LINE
13
MIC
LINE
14
MIC
LINE
14
MIC
LINE
15
MIC
LINE
15
MIC
LINE
16
MIC
LINE
16
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
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
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
+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
1
1
L
2
2
R
STEREO
LINE
STEREO
LINE
17/18 19/20
MIXGROUP
124
3
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
ON
125 250 8k
+12+12
-12-12
00
4k2k1k500
LEVEL
SET
BAND GRAPHIC EQSTEREO 7
PFL ACTIVE
LEFT LEFT LEFT LEFT
RIGHT RIGHT RIGHT RIGHT
OUTPUT/PFL
LEVEL
CLIP
LR
30
20
10
7
4
2
0
2
4
7
10
PHONESDSP
FOOTSWITCH
MIX B
TAPE IN
TO MIX
MONITOR
OUTPUTS
LEVEL
100
100
100
100
100
100
100
100
100
100
100
OFF
ON
LEFT
LEFT (MONO) RIGHT
RIGHT
AUX SENDS TAPE
IN
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
SWING 20FX
LIVE APPLICATION
AMPLIFIED
MAIN SPEAKERS
from MIX L&R OUT
BASS direct/mic
CH 7/8
STEREO GUITAR
CH 9/10
DRUM MICS
CH 1-6
BRASS
CH 11 STEREO KEYBOARDS
CH 17/18 & 19/20
HEADPHONES
VOCAL MICS
CH 12/16
DIGITAL EFFECT
EFX1 SEND/ RETURNAUX1
MD-RECORDER
TAPE IN/OUT
AMPLIFIED
MONITORS
from MON OUT
DUAL CHANNEL
EQUALIZER
from/to L&R INSERTS
AMPLIFIED
SUBWOOFER
from MONO OUTPUT
18
Connection examples
MULTIMEDIA PC
from GROUPS 1-4 to CH 1-6
SWING 20FX
STUDIO APPLICATION
AMPLIFIED
MONITOR
SPEAKERS
from MIX A
BASS direct/mic
CH 7/8
STEREO GUITAR
CH 9/10 VOCAL MICS
CH 12/13/14
BRASS
CH 11 STEREO KEYBOARDS
CH 16/17 & 17/18
HEADPHONES
DAT RECORDER
to TAPE IN
from TAPE OUT
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
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
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
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
000000 000000000000
000000 000000000000
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10000000 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
1
MIC
LINE
1
MIC
LINE
2
MIC
LINE
2
MIC
LINE
3
MIC
LINE
3
MIC
LINE
4
MIC
LINE
4
MIC
LINE
5
MIC
LINE
5
MIC
LINE
6
MIC
LINE
6
MIC
LINE
7
MIC
LINE
7
MIC
LINE
8
MIC
LINE
8
MIC
LINE
9
MIC
LINE
9
MIC
LINE
10
MIC
LINE
10
MIC
LINE
11
MIC
LINE
11
MIC
LINE
12
MIC
LINE
12
MIC
LINE
13
MIC
LINE
13
MIC
LINE
14
MIC
LINE
14
MIC
LINE
15
MIC
LINE
15
MIC
LINE
16
MIC
LINE
16
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
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
1010
1010
2020
3030
4040
55
55
00
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
+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
1
1
L
2
2
R
STEREO
LINE
STEREO
LINE
17/18 19/20
MIXGROUP
124
3
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
ON
125 250 8k
+12+12
-12-12
00
4k2k1k500
LEVEL
SET
BAND GRAPHIC EQSTEREO 7
PFL ACTIVE
LEFT LEFT LEFT LEFT
RIGHT RIGHT RIGHT RIGHT
OUTPUT/PFL
LEVEL
CLIP
LR
30
20
10
7
4
2
0
2
4
7
10
PHONESDSP
FOOTSWITCH
MIX B
TAPE IN
TO MIX
MONITOR
OUTPUTS
LEVEL
100
100
100
100
100
100
100
100
100
100
100
OFF
ON
LEFT
LEFT (MONO) RIGHT
RIGHT
AUX SENDS TAPE
IN
TAPE IN
LEVEL
TAPE
OUT
AUX RETURNS
MUTE
VOC2
VOC1
PERC
PLATE
S/ROOM
DEL2
DEL1
VOC3
CHURCH
DEL5
DEL4
DEL3
M/HALL
L/HALL
L/ROOM
DIGITAL EFFECT
EFX1 SEND/ AUX1 RETURN
19
Technical specifications
Technical specifications
SECTION LEVELS & DATA CONNECTORS
MONO INPUT CHANNEL sensitivity from -10 to -60dB
impedance 1.3 kOhms
sensitivity from +10 to -40dB
impedance 10 kOhms
HPF 75Hz, 18dB/oct
HIGH ±15dB @ 12kHz, SHELVING
HI-MID ±12dB @ 3kHz, PEAKING
LO-MID ±12dB @ 800Hz, PEAKING
LOW ±15dB @ 80Hz, SHELVING
STEREO INPUT CHANNEL sensitivity +4dB
impedance 10 kOhms
HIGH ±15dB @ 12kHz, SHELVING
MID ±12dB @ 2.5kHz, PEAKING
LOW ±15dB @ 80Hz, SHELVING
MASTER SECTION
MIX output (balanced) output level +4dB /-26dB Balanced XLR-
M
MIX output (unbalanced) output level +4dB Unbalanced
JACK
MIX B output output level +4dB RCA phono
MONO output output level +4dB Balanced XLR-
M
GROUP output output level +4dB Balanced XLR-
M
CONTROL ROOM output output level +4dB Unbalanced
JACK
MONITOR output output level +4dB Unbalanced
JACK
AUX sends output level +4dB Unbalanced
JACK
AUX return sensitivity -10dB Unbalanced
JACK
IN -10dB
OUT +4dB
inimum impedance 200 Ohms
output level 2x160mW
DSP
A/D converters bit 18
D/A converters bit 18
Internal dynamics bit 24
Sampling frequency kHz 44.1
PRESETS number 15
Effects HALL REVERB, ROOM REVERB, PLATE
REVERB, STEREO DELAY
GENERAL SPECIFICATIONS
Frequency response 20Hz - 60kHz, ±1dB
Hum & Noise -90dB
THD <0.05% @ 1kHz
Crosstalk FADER
MUTE -85dB
-84dB
Maximum levels
MIC IN
TAPE IN
other outputs
MIX OUT (XLR)
other outputs
+14dBu
+16dBu
+22dBu
+28dBu
+22dBu
Power supply see label on the apparatus
Weight kg 11
Dimensions mm (WxHxD) 440x92x375
TAPE RCA phono
HEADPHONES output Stereo JACK
EQ
Balanced JACK
MIC input Balanced XLR-F
LINE input Balanced JACK
STEREO LINE input
EQ
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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.
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