XB-14MK2+User+Guide+AP8769 2 PDF

USER GUIDE
Publication AP8769
Limited One Year Warranty
This product is warranted to be free from defects in materials or

workmanship for period of one year from the date of purchase by the
original owner.
To ensure a high level of performance and reliability for which this
equipment has been designed and manufactured, read this User Guide
before operating. In the event of a failure, notify and return the
defective unit to ALLEN & HEATH Limited or its authorised agent as
soon as possible for repair under warranty subject to the following
conditions
Conditions Of Warranty
The equipment has been installed and operated in accordance with the
instructions in this User Guide.
The equipment has not been subject to misuse either intended or
accidental, neglect, or alteration other than as described in the User
Guide or Service Manual, or approved by ALLEN & HEATH.
Any necessary adjustment, alteration or repair has been carried out by
ALLEN & HEATH or its authorised agent.
This warranty does not cover fader wear and tear.
The defective unit is to be returned carriage prepaid to ALLEN &
HEATH or its authorised agent with proof of purchase.
Units returned should be packed to avoid transit damage.
In certain territories the terms may vary. Check with your ALLEN &
HEATH agent for any additional warranty which may apply.
This product complies with the European Electromagnetic Compatibility directive 2004/108/EC
and the European Low Voltage directive 2006/95/EC.
This product has been tested to EN55103 Parts 1 & 2 2009 for use in
Environments E1, E2, E3, and E4 to demonstrate compliance with the
protection requirements in the European EMC directive 2004/108/EC.
During some tests the specified performance figures of the product were
affected. This is considered permissible and the product has been passed as
acceptable for its intended use. Allen & Heath has a strict policy of
ensuring all products are tested to the latest safety and EMC standards.
Customers requiring more information about EMC and safety issues can
contact Allen & Heath.
NOTE: Any changes or modifications to the console not approved by
Allen & Heath could void the compliance of the console and therefore the
users authority to operate it.
Allen & Heath XB-14 MK2 User Guide AP8769 Issue 2

Copyright © 2012 Allen & Heath Limited. All rights reserved
Allen & Heath Limited

Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK
http://www.allen-heath.com
Allen & Heath 3 XB-14 MK2 User Guide

PACKED ITEMS
Check that you have received the following:
ST2 ST4 MIX B OUT CRM SPEAKERS AUD OUT

MIC MIC MIC MIC TEL IN TEL IN INSERT L
L L L L L
L
MAIN
PGM
R R R R R INSERT R OUT
LINE LINE LINE LINE CLF OUT CLF OUT EXT MON IN
L/M L/M L/M L/M
R
L
AUX
M1 M2 M3 M4 ST1 ST3 ST5 ST7
INSERT INSERT INSERT INSERT
R MONO
R R R R OUT
TELCO 1 TELCO 2
GUEST PHONES 1 GUEST PHONES 2 CRM PHONES

M1 0 M2 0 M3 0 M4 0 T1 T2 ST2 ST4 ST6
20 3010 20 3010 20 3010 20 3010 0
5
0
5 0 0 0
USB
10 10 10 10 GAIN 10 GAIN 10
GAIN GAIN GAIN GAIN 5 5 5 SEND
0 40 0 40 0 40 0 40 -5 -5
MIC MIC MIC MIC -15 -15 -15
20 20
LINE 50 LINE 50 LINE 50 LINE 50 RETURN
-10 -6 63 26 -10 -6 63 26 -10 -6 63 26 -10 -6 63 26 -1O 26 -1O 26 + 15 + 15 + 15 AUX+ MONO POWER
USB SOURCE SELECT

ST2 ST4 ST6 (USB)
ALLEN& HEATH
100Hz 100Hz 100Hz 100Hz
120Hz 120Hz AUDITION 48V + 16 + 16

1/2 3/4 5/USB +9 +9
HF HF HF HF +6 +6
12kHz 12kHz 12kHz 12kHz ON
HPF HPF +3 +3
ST1 ST3 ST5 MIX B 0VU 0VU
PGM MIX -3 -3
-15 + 15 -15 + 15 -15 + 15 -15 + 15 20Hz 6kHz 20Hz 6kHz -6 -6
0 0 0 0
500
650
1k 500
650
1k 500
650
1k 500
650
1k
3k 3k ST1 ST3 ST5 ST7 -9
-12
-9
-12
5 5 5 5
200 200 200 200 -16 -16
2k 2k 2k 2k
LPF LPF -15 -15 -15 -15 -20 -20
3k 3k 3k 3k -30 -30
120Hz 4k 120Hz 4k 120Hz 4k 120Hz 4k 700Hz 20k 700Hz 20k + 15 + 15 + 15 + 15
L R
MF MF MF MF HF HF HF HF
12kHz 12kHz 12kHz 12kHz PFL ACTIVE
TALK TALK
-15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 AUD
AUDITION AUDITION
LF LF LF LF LF LF LF LF
80Hz 80Hz 80Hz 80Hz CLF SCE CLF SCE 80Hz 80Hz 80Hz 80Hz AUX
AUX AUX
-15 + 15 -15 + 15 -15 + 15 -15 + 15 PGM PGM -15 + 15 -15 + 15 -15 + 15 -15 + 15 EXT
MON
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
USB
IN
AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
CRM+ PHONES GUEST PHONES
SELECTION MIX B SELECTION
OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6 OO +6
CRM
MIX B MIX B MIX B MIX B MIX B MIX B MIX B MIX B MIX B MIX B SPEAKERS
BUS BUS BUS BUS BUS BUS BUS BUS BUS BUS PFL ENABLE
TO GUEST
= = = = = = = = = = MIN MAX
PAN PAN PAN PAN PAN PAN BAL BAL BAL BAL
TALK
DIM SPKS
TO GUEST
L R L R L R L R L R L R L R L R L R L R CUT SPKS
AUD AUD AUD AUD AUD AUD AUD AUD AUD AUD MIC FADER UP
= CUT SPKS
REM MUTE REM MUTE REM MUTE REM MUTE REM MUTE REM MUTE CRM GUEST
PHONES PHONES
MIN MAX MIN MAX
+ START/CUE + START/CUE + START/CUE + START/CUE

PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK PEAK
SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL SIGNAL
PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL MIN MAX MIN MAX MIN MAX
EX MON MIX B LEV AUD
PGM PGM PGM PGM PGM PGM PGM PGM PGM PGM PGM MIX
FDR FDR FDR FDR FDR FDR FDR FDR FDR FDR FADER
0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10
15 15 15 15 15 15 15 15 15 15 15
20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50
OO OO OO OO OO OO OO OO OO OO OO
M1 M2 M3 M4 T1 T2 ST1 ST2 ST3 ST4 PGM
XB-14 MK2 MIXER
Mains Lead (or leads)

Check that the correct
mains plug is fitted.
This User Guide
Type A-B USB Lead

To connect the XB-14 to
your computer.

SAFETY INSTRUCTIONS
WARNINGS - Read the following before proceeding :
CAU TION
ATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIR
Read instructions: Retain these safety and operating instructions for future reference. Adhere to all warnings printed here
and on the console. Follow the operating instructions printed in this User Guide.
Do not remove cover: Operate the console with its covers correctly fitted.
Power sources: Connect the console to a mains power unit only of the type described in this User Guide and marked
on the rear panel. Use the power cord with sealed mains plug appropriate for your local mains supply
as provided with the console. If the provided plug does not fit into your outlet consult your service
agent for assistance.
Power cord routing: Route the power cord so that it is not likely to be walked on, stretched or pinched by items placed
upon or against it.
Grounding: Do not defeat the grounding and polarisation means of the power cord plug. Do not remove or tamper
with the ground connection in the power cord.
! WARNING: This equipment must be earthed.
Water and moisture: To reduce the risk of fire or electric shock do not expose the console to rain or moisture or use it in
damp or wet conditions. Do not place containers of liquids on it which might spill into any openings.
Ventilation: Do not obstruct the ventilation slots or position the console where the air flow required for ventilation is
impeded. If the console is to be operated in a rack unit or flightcase ensure that it is constructed to
allow adequate ventilation.
Heat and vibration: Do not locate the console in a place subject to excessive heat or direct sunlight as this could be a fire
hazard. Locate the console away from any equipment which produces heat or causes excessive vibra-
tion.
Servicing: Switch off the equipment and unplug the power cord immediately if it is exposed to moisture, spilled
liquid, objects fallen into the openings, the power cord or plug become damaged, during lightening
storms, or if smoke, odour or noise is noticed. Refer servicing to qualified technical personnel only.
Installation: Install the console in accordance with the instructions printed in this User Guide. Do not connect the
output of power amplifiers directly to the console. Use audio connectors and plugs only for their in-
tended purpose.

SAFETY INSTRUCTIONS
Important Mains plug wiring instructions
The console is supplied with a moulded mains plug fitted to the AC

mains power lead. Follow the instructions below if the mains plug has to
be replaced. The wires in the mains lead are coloured in accordance
with the following code:
TERMINAL WIRE COLOUR

European USA/Canada
! L
N
LIVE
NEUTRAL
BROWN
BLUE
BLACK
WHITE
E EARTH GND GREEN & YELLOW GREEN
The wire which is coloured Green and Yellow must be connected to the
terminal in the plug which is marked with the letter E or with the Earth sym-
bol. This appliance must be earthed.
The wire which is coloured Blue must be connected to the terminal in the
plug which is marked with the letter N.
The wire which is coloured Brown must be connected to the terminal in the
plug which is marked with the letter L.
Ensure that these colour codes are followed carefully in the event of the
plug being changed.
General Precautions:
Damage : To prevent damage to the controls and cosmetics avoid placing heavy
objects on the control surface, scratching the surface with sharp objects, or
rough handling and vibration.
Environment : Protect from excessive dirt, dust, heat and vibration when operating
and storing. Avoid tobacco ash, smoke, drinks spillage, and exposure to rain
and moisture. If the console becomes wet, switch off and remove mains pow-
er immediately. Allow to dry out thoroughly before using again.
Cleaning : Avoid the use of chemicals, abrasives or solvents. The control panel is
best cleaned with a soft brush and dry lint-free cloth. The faders, switches and
potentiometers are lubricated for life. The use of electrical lubricants on these
parts is not recommended. The fader and potentiometer knobs may be re-
moved for cleaning with a warm soapy solution. Rinse and allow to dry fully
before refitting them.
Transporting : The console may be transported as a free-standing unit or mounted in
a rack or flightcase. Protect the controls from damage during transit. Use
adequate packing if you need to ship the unit.
Hearing : To avoid damage to your hearing do not operate any sound system at exces-
sively high volume. This applies particularly to close-to-ear monitoring such as
headphones and in-ear systems. Continued exposure to high volume sound
 can cause frequency selective or wide range hearing loss.

CONTENTS
Thank you for purchasing your Allen & Heath XB-14 mixer. To ensure
that you get the maximum benefit from the unit please spare a few
minutes familiarizing yourself with the controls and setup procedures
outlined in this user guide. For further information please refer to the
additional information available on our web site, or contact our technical
support team.
http://www.allen-heath.com
http://www.allen-heath.com/xb
Warranty .............................................. 3
Packed Items ........................................ 4
Safety Instructions .............................. 5
Contents ............................................... 7
Panel Drawings .................................... 8
Introduction to XB-14....................... 9
Specifications ....................................... 11
Dimensions .......................................... 13
Block Diagram ..................................... 14
Mono Input Channel .......................... 15
TELCO Channels 1&2 ....................... 18
Stereo Input Channel ST1 & ST2.... 21
Stereo Input Channels ST3 & ST4 .. 23
Master Section .................................... 24
Remote Interface connectors .......... 27
On Switch Options ............................ 28
Remote Interface wiring ................... 29
USB Connecting to a Computer .... 30
Application Diagram—Self Op ........ 31
Application Diagram—Studio .......... 32
Tips– off-air recording ....................... 33
Fixing into a Rack or furniture ........ 34
General wiring notes ......................... 35
Product Support ................................. 36
Service Options .................................. 37

PANEL DRAWINGS
This device complies with Part 15 of the FCC Rules.

CAU TION Operation is subject to the following two conditions:
RISK OF ELECTRIC SHOCK (1) this device may not cause harmful interference, and
DO NOT OPEN (2) this device must accept any interference received,
ALLEN&HEATH
including interference that may cause undesired operation.
AVIS: RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR.
CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE FUSE WITH SAME TYPE AND RATING.
ATTENTION: REMPLACER PAR UN FUSIBLE STRICTEMENT IDENTIQUE EN VALEURS.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
WARNING: THIS APPARATUS MUST BE EARTHED CET APPAREIL DOIT ETRE MIS A LA TERRE
Laite on liitettävä suojamaadoituskoskettimilla varustettuun pistorasiaan SETUP OPTION SWITCHES
Apparatet må tilkoples jordet stikkontakt (SEE USER MANUAL)
Apparaten skall anslutas till jordat uttag FUSE
T1.0A L 250V 20mm
AC MAINS IN ~
OFF ON 100 - 240V~ 47-63Hz 30W
0 I
CONFORMS TO ANSI/UL STD. 60065-2003 EXT METER
CERTIFICATED TO CAN/CSA STD.60065-03 REMOTE A
Serial No.
REMOTE B
ENGINEERED IN ENGLAND BY ALLEN & HEATH LIMITED. MADE IN CHINA

L L L L L
L
MAIN
PGM
L/M L/M L/M L/M
R
L
AUX
R MONO
R R R R OUT
TELCO 1 TELCO 2

M1 0 10
M2 0 10
M3 0 10
M4 0 10
T1 5
T2 5
ST2 0
ST4 0
ST6 0
20 30 20 30 20 30 20 30 0 0 USB
10 10 10 10 GAIN 10 GAIN 10
0 40 0 40 0 40 0 40 -5 -5
20 20
-10 -6 63 26 -10 -6 63 26 -10 -6 63 26 -10 -6 63 26 -1O 26 -1O 26 + 15 + 15 + 15 AUX+ MONO POWER
USB SOURCE SELECT

ST2 ST4 ST6 (USB)
ALLEN& HEATH
100Hz 100Hz 100Hz 100Hz
120Hz 120Hz
AUDITION 48V + 16 + 16
1/2 3/4 5/USB +9 +9
HF HF HF HF +6 +6
HPF HPF +3 +3
-15 + 15 -15 + 15 -15 + 15 -15 + 15

PGM MIX -3 -3
20Hz 6kHz 20Hz 6kHz -6 -6
0 0 0 0
500
650
1k 500
650
1k 500
650
1k 500
650
1k
-12
-9
-12
5 5 5 5
200 200 200 200 -16 -16
2k 2k 2k 2k
LPF LPF -15 -15 -15 -15 -20 -20
3k 3k 3k 3k -30 -30
L R
TALK TALK
-15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 AUD
AUDITION AUDITION
AUX AUX
-15 + 15 -15 + 15 -15 + 15 -15 + 15 PGM PGM -15 + 15 -15 + 15 -15 + 15 -15 + 15 EXT
MON
USB
IN
CRM
TO GUEST
= = = = = = = = = = MIN MAX
TALK
DIM SPKS
TO GUEST
= CUT SPKS
PHONES PHONES
MIN MAX MIN MAX

0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10
15 15 15 15 15 15 15 15 15 15 15
20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50

INTRODUCTION TO THE XB-14
Background overview:
The Allen & Heath XB-14 mixer has been carefully and lovingly designed in the beautiful county of Cornwall in the UK and is manufac-
tured alongside a wide range of professional audio mixing consoles. Many of the components used in the XB-14 are exactly the same as in
the larger Allen & Heath products and the construction methods are also very similar utilising individual vertically mounted channel circuit
boards with each rotary control fixed with a metal nut to the front panel. This provides a very robust product that will resist damage and
give years of reliable use. It also makes servicing much easier should it be required, with the ability to remove one particular channel from
the mixer at a time, or easily change a fader.
The audio circuitry is based on years of continual development and refinement , the performance of all the elements within the mixer
scrutinised and perfected to ensure the very best sound quality possible.
Multi-application:
The XB-14 is great for a range of applications from small radio or internet broadcast studios, or for larger studios with multiple rooms,
for hospital radio, university radio and community radio broadcast applications. The XB-14 has a wealth of features specifically designed
for broadcasters, things like telephone communication modules for telephone callers, mic fader start sensing for external connection and
internal automatic muting of the speaker outputs, stereo channel start/cue outputs for CD deck transport control, separate headphones
mix & outputs for guests, an audition bus…. The list goes on!
Mic/Line Pre-amps:
The XB-14 pre-amps use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the
XLR input, the gain range is huge (69dB of range to be exact) and is very evenly distributed around the gain control, meaning better con-
trol of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. There is no “pad” switch, or pad
circuit — line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket. This has the great
advantage of lower noise when using the line input. (It is common to attenuate line level signals, then amplify them back up again which can
give more noise or hiss).
EQ:
The XB-14 is equipped with a 3-band equaliser circuit on each mono input which can be used to cut sibilance or mic popping or to
change the tone of a presenters voice. The telco channels are fitted with a total cut high pass and low pass filter which can be used to
eliminate the top or bottom end of the channel frequency response. This can be very useful when a caller is connected via a low quality
telephone line. Stereo channels have high and low frequency tone controls for use with music.
AUX bus:
XB-14 has a single Auxiliary bus that can be used for external processing, effects, recording or auditioning.
MIX B:
A separate stereo mix bus is provided for recording an independent mix to the main program mix, or creating a clean feed source with
selected channels.
Audition bus:
The XB-14 has a dedicated stereo audition bus that can be used for auditioning or off air recording. Pressing the button marked AUD on
the channels required, transfers the mix from the program feed over to the audition bus.
Channel signal/peak indicators:

Each channel on the XB-14 has an indicator to show if there is signal present. This is pre fader / ON switch so the operator can be aware
of channels that are active. The peak LED also gives a warning if a channel is in danger of exceeding its peak level.
Remote Control:
The mono mic/line channels have fader start logic switching enabling them to control external equipment or automatically mute the speak-
er outputs to prevent acoustic feedback in localised or self-operated applications. The stereo channels have start & cue logic outputs avail-
able to hook up to external equipment like CD players. There are also options to mute the mono inputs remotely using an external
“cough” switch or similar.

INTRODUCTION TO THE XB-14
USB:
Getting audio to and from a computer easily is now a common requirement for sound and music production and broadcast applications.
The way we have implemented this on XB-14 is super-flexible and super-easy! No longer do you need to fiddle around the back of your
computer to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your XB-14, select
the USB routing on the mixer and the device on your computer and that’s it! Quality audio to and from your PC or MAC.
Guest headphones:
The XB-14 has 3 headphone outputs. There is a headphones socket for the presenter/engineer with a routing matrix. There are two guest
headphone outputs with a separate routing matrix. There is also a talk button for off air conversation with guests via the user selected
comms mic channel.
Output matrix:
Both the operator and guest headphone outputs (and the control room speakers) have an output matrix with priority switched feeds. This
means the operator could be monitoring one bus while a guest is listening to the program mix. There are many possible combinations.
Electronically balanced outputs:

The main program outputs are on XLR connectors with an electronically balanced output circuit.
Self operation or Producer operated:

Whether you need a mixer for a self operated broadcast situation, or whether you have a separate studio and engineer, the XB-14 has
the features to fit. Separate monitor mixes can be created for operator and guests or presenter so the engineer can check levels and cue
sources while the presenter or guest can listen to a different source. The engineer/producer can communicate to the guest or presenter
using the Talk feature, as well as off-air communication to telephone callers.
There is also the facility for remote control of channel mutes from the studio using the remote interface connectors, ideal for studio situ-
ated mute switches.

SPECIFICATIONS
Operating Levels
Input
Mono channel Mic input (XLR) +6 to –63dBu for nominal (+17dBu in max)
Mono channel Line input (TRS Jack socket) +10 to –26dBu (+30dBu maximum)
Insert point (TRS Jack socket) 0dBu nominal +21dBu maximum
Stereo input (TRS Jack sockets) 0dBu nominal (control = Off to +10dB)
Stereo input (RCA phono sockets) 0dBu nominal (control = Off to +10dB)
Telco channel input (XLR) +10 to –26dBu (+30dBu maximum)
External monitor inputs (RCA phono sockets) 0dBu Nominal
Output
PGM L & R outputs (XLR) +4dBu nominal. +25dBu maximum.
PGM Mono output (RCA phono) 0dBu nominal. +21dBu maximum.
PGM L & R inserts (TRS jack sockets) -2dBu nominal. +21dBu maximum
Aux output (Jack socket) 0dBu nominal. +21dBu maximum.
Mix B outputs (RCA phono sockets) 0dBu nominal. +21dBu maximum.
Audition outputs (RCA phono sockets) 0dBu nominal. +21dBu maximum.

Telco output (XLR) 0dBu nominal. +21dBu maximum.
CRM Speaker outputs (RCA phono sockets) 0dBu nominal. +21dBu maximum.
THD+n
Mic in to PGM L/R Out, 0dB gain, 1kHz, +10dBu out <0.01%
Mic in to PGM Out, 30dB gain, 1kHz, +10dBu out <0.01%
Line in to PGM L/R out 0dB gain, 1kHz, 0dBu out <0.01%
Stereo in to PGM out 0dB gain, 1kHz, +10dBu out <0.01%
USB Audio CODEC (Coder/Decoder)

USB Audio In/Out USB 1.1 compliant 16bit.
Sample Rate 32, 44.1, or 48kHz
Noise
Mic Pre EIN @ max gain 150R input Z 22-22kHz -124dBu
PGM out, PGM fader = 0, 22-22kHz < -100dBu
Audition out, Mix B out = 0, 22-22kHz < -100dBu
Aux out, Mono out = 0, 22-22kHz < -85dBu

SPECIFICATIONS
Headroom
Analogue Headroom from nominal (0Vu) Outputs 21dB
Analogue Headroom from nominal (0Vu) Mix point 24dB
USB in & out headroom from nominal (0Vu) 14dB
Crosstalk & Attenuation (dB 22-22kHz)

Mono fader attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-95
Mono ON switch attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-95
TELCO fader attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-95
TELCO ON switch attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-95
Stereo fader attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-90

Stereo ON switch attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-95
PGM fader attenuation (dB relative to +10dBu) 1kHz/10kHz -100/-95
TELCO clean-feed isolation from I/P (dB relative to +10dBu) 1kHz/10kHz -55/-40
Stereo separation, L in to PGM R out. dBr 1kHz/10kHz -70/-50
Frequency Response
Mic in to PGM L/R Out, 30dB gain +0.5/-1dB 10Hz to 30kHz.
Line in to PGM L/R out 0dB gain +0.5/-1dB 10Hz to 30kHz
Stereo in to PGM L/R out +0.5/-1dB 10Hz to 30kHz

Dimensions

L L L L L
L
MAIN
PGM
L/M L/M L/M L/M
R
L
AUX
R MONO
R R R R OUT
TELCO 1 TELCO 2

M1 0 M2 0 M3 0 M4 0 T1 T2 ST2 0
ST4 0
ST6 0
20 3010 20 3010 20 30
10 20 30
10
0
5
0
5 USB
10 10 10 10 GAIN 10 GAIN 10
0 40 0 40 0 40 0 40 -5 -5
20 20
-10 -6 63 26 -10 -6 63 26 -10 -6 63 26 -10 -6 63 26 -1O 26 -1O 26 + 15 + 15 + 15 AUX+ MONO POWER
USB SOURCESELECT
ST2 ST4 ST6 (USB)
ALLEN& HEATH
100Hz 100Hz 100Hz 100Hz
120Hz 120Hz AUDITION 48V + 16 + 16

1/2 3/4 5/USB +9 +9
HF HF HF HF +6 +6
HPF HPF +3 +3
PGM MIX -3 -3
-15 + 15 -15 + 15 -15 + 15 -15 + 15 20Hz 6kHz 20Hz 6kHz -6 -6
0 0 0 0
500
650
1k 500
650
1k 500
650
1k 500
650
1k
-12
-9
-12
5 5 5 5
200 200 200 200 -16 -16
2k 2k 2k 2k
LPF LPF -15 -15 -15 -15 -20 -20
3k 3k 3k 3k -30 -30
465mm (18.3 inches)

L R
TALK TALK
-15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 AUD
AUDITION AUDITION
AUX AUX
-15 + 15 -15 + 15 -15 + 15 -15 + 15 PGM PGM -15 + 15 -15 + 15 -15 + 15 -15 + 15 EXT
MON
USB
IN
CRM
TO GUEST
= = = = = = = = = = MIN MAX
TALK
DIM SPKS
TO GUEST
= CUT SPKS
PHONES PHONES
MIN MAX MIN MAX

0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10
15 15 15 15 15 15 15 15 15 15 15
20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50
The plastic side trims are

12.5mm each so width with
trims removed = 360mm.
385mm (15.2 inches)
R20mm [R0.8"]
97mm [3.8"]
103mm [4.1"]
43mm [1.7"]
450mm [17.7"]
Weight
XB-14
Unpacked 7.5kg (16.5lb)
Packed 11.5kg (25.3lb)
A rack mounting kit is available for XB-14. The part number is: ZED1402-RK19

XB-14 MK2 BLOCK DIAGRAM
XB-14 MK2 User Guide

PP GLOBAL 48V SWITCH
+ 48V MAIN PGM
PEAK
METER SIGNAL EXT METER
PFL L INSERT
L
GAIN MONO CHANNEL FADER
MAIN PGM
OUT
FADER + 4dBu
REMOTE MUTE MIX B
HPF R INSERT
3 BAND EQUALISER R
MIC IN
LINE IN INSERT
100Hz LF HM HF PAN
+ +
- - MUTE AUD
ON MONO PGM
M
DISABLE ON
MONO CHANNEL L
SWITCH
TALK SELECTION LOW= FADER UP AUDITION
FACTORY SET TO M1 LOGIC
PRE
AUX AUDITION LEVEL AUD
OPTION R OUT
CAN BE CHANGED
AT SERVICE CENTRE
LEVEL 0dBu
2 BAND FILTER PEAK PFL
METER
BLOCK DIAGRAM
AUX
SIGNAL
AUX OUT
LPF HPF MIX B
+
- FADER
L
PAN MIX B OUT
MIX B LEVEL MIX B R
MUTE AUD
TELCO CHANNEL (T1) ON 0dBu
TALK
DISABLE ON
CLEANFEED + COMMS SWITCH
LOW= FADER UP
USB STEREO I/O
LOGIC AUX + MONO USB DEVICE
COMMS MIC INPUT PRE
AUX AUX
MONO PGM
AUDITION
14
AUDITION - T1 AUD
CLEANFEED SOURCE OPTION
USB
AUX - T1 MIX B RETURN
MIX B
METERS
MONO PGM - T1 PRIORITY SWITCHING
PEAK AUD
USB METER SIGNAL
ST6 AUD
RETURN
GAIN STEREO CHANNEL PFL AUX PFL
AUX
L EXT MON
A/B MIX B EXT MON
2 BAND EQUALISER USB RTN
R ST2&4 FADER
USB RTN
LF HF MIX B CRM
PAN PHONES
MUTE LEVEL
PRIORITY SWITCHING (OPTION FOR ADDITIVE MIX)
L ST1,3,5&7
AUD
GAIN
OPTION PFL ACTIVE
Move 4 jumpers on first three PULSE LOW = START SWITCH CRM
R stereo channels to mix input LOGIC ON
sources ST1&2, ST3&4 and PULSE LOW = STOP DIM HEADPHONES
ST5&6(USB). DISABLE ON
CRM
AUX SPEAKERS L
ENABLE
PFL TO GUESTS CRM
PRE CUT/DIM SPEAKERS
L OPTION R
EXT MON IN REMOTE INTERFACE AUD
D SUB 3 (METERS) AUD
R REMOTE B REMOTE A
1 + 15V DISABLE STEREO AUX CUT CRM SPKRS
1 ST1 START PULSE 1 M1 FADER UP LOGIC 2 -15V
9 ST1 STOP/CUE PULSE 9 M2 FADER UP LOGIC MUTE CIRCUIT (JAM ON) AUX FROM MIC FDRS
3 GND BUT
2 ST2 START PULSE 2 M3 FADER UP LOGIC 4 LEFT METER (POST FADE PGM L) LEDs FOLLOW SWITCH
EXT MON GUEST
10 ST2 STOP/CUE PULSE 10 M4 FADER UP LOGIC 5 RIGHT METER (POST FADE PGM R) EXT MON
3 ST3 START PULSE 3 T1 FADER UP LOGIC ON ALL 4 STEREO CHs HEADPHONES
6 GND USB RTN
11 ST3 STOP/CUE PULSE 11 T2 FADER UP LOGIC 7 GND DISABLE ON SWITCHES
4 ST4 START PULSE 4 MUTE_M1 8 GND (MAKE PERMANENTLY ON) USB RTN
12 ST4 STOP/CUE PULSE 12 MUTE_M2 TALKBACK
9 + 10V (LED'S ALWAYS ON) MIX B
5 ST5 START PULSE 5 MUTE_M3 MONO INPUTS STEREO INPUTS
13 ST5 STOP/CUE PULSE 13 MUTE_M4
6 ST6 START PULSE 6 MUTE_T1 1 2 3 4 T1 T2 1 2 3 4 GUEST
14 ST6 STOP/CUE PULSE 14 MUTE_T2 TALK HEADPHONES
PRIORITY SWITCHING (OPTION FOR ADDITIVE MIX)
Allen & Heath

7 ST7 START PULSE 7 CUT CRM SPEAKERS (INPUT) STANDARD OPERATION TO GUEST
15 ST7 STOP/CUE PULSE 15 N/C OPTIONAL OPERATION
8 GROUND 8 GROUND ON ON ON ON ON ON ON ON ON ON ON ON FACTORY SET TO M1
MONO CHANNEL
MIC CHANNELS TALK SELECTION CAN BE CHANGED
AT SERVICE CENTRE
1 - 4 PREFADE
MONO INPUT CHANNEL
Mic Input Socket

MIC Standard 3-Pin XLR socket wired as Pin 1=Chassis, Pin 2=hot
(+), Pin 3=Cold (-).
Line Input Jack Socket

Standard 1/4” (6.25mm) Jack socket for balanced or unbalanced line
level signals. Wired Tip=Hot (+), Ring=cold (-), Sleeve=Chassis.
The Line input overrides the Mic input, so if you want to hear
something plugged in to the xlr socket, make sure nothing is
plugged into the Line input.
LINE
Insert Jack Socket

Standard 1/4” (6.25mm) Jack socket for unbalanced insert send and
M1 return signals. Wired Tip=send, Ring=return, Sleeve=Chassis. Nom-
inal level is 0dBu. The insert point is after the 100Hz filter and be-
INSERT fore the EQ.
Gain Control
This adjusts the gain of the input amplifier to match the signal level
of the input. The gain is varied from –6dB (attenuation) to +63dB
M1 0 for signals plugged in to the xlr socket (Mic Input) and –10dB to
20 3010 +26dB for signals plugged into the Line input jack.
10
GAIN
0 40
MIC
LINE 50
-10 -6 63 26
100Hz
dBr
10.00
100Hz High Pass Filter

0.00
The Hi-pass filter is used for reducing pop noise and rum-
ble from microphone signals. It is a 2-pole (12dB per oc-
tave) filter with a corner frequency set at 100Hz.
-10.00
The filter affects signals from both Mic XLR and Line jack
socket.
-20.00
-30.00
-40.00
-50.00
10.00 Hz 100.00 1000.00 10000.00 30000.00

MONO INPUT CHANNEL
M1 HF EQ
0 The HF (High Frequency) equaliser affects the frequency response
20 3010
10 of the higher audible frequencies. The corner frequency of 12kHz is
GAIN around 3dB from the maximum cut or boost of the circuit. It has
0 40 plenty of gain and actually gives slightly more that the +/-15dB leg-
MIC end suggests.
LINE 50
-10 -6 63 26
dBr
20.00
100Hz 15.00
10.00
5.00
HF 0.00
12kHz -5.00
-10.00
-15.00
-15 + 15 -20.00
10.00 Hz 100.00 1000.00 10000.00 30000.00
650
500 1k
MF EQ
200 The MF (Mid Frequency) equaliser affects the middle of the audible
2k
frequency range. The frequency graduations on the sweep control
3k are the centre frequencies of the EQ. The range has been carefully
chosen to cover “boomy” frequencies around 120Hz to 250Hz
120Hz 4k which may need cutting back, or a lift at 2 to 3kHz may be required
for microphone intelligibility.
MF
dBr
20.00
15.00
-15 + 15
10.00
LF 5.00
80Hz 0.00
-5.00
-10.00
-15.00
-15 + 15 -20.00
10.00 Hz 100.00 1000.00 10000.00 30000.00
LF EQ
dBr
20.00
The LF (Low Frequency) equaliser 15.00
affects the response at the low end of 10.00
the audio range. The graph shows the

response of the LF EQ at maximum
5.00
cut and boost. The corner frequency 0.00
is 80Hz. -5.00
-10.00
-15.00
-20.00
10.00 Hz 100.00 1000.00 10000.00 30000.00

MONO INPUT CHANNEL
Aux
PRE This control sends a signal to an auxiliary bus. The signal is sourced pre-fade
or post-fade depending on the PRE switch position. The pre-fade source
AUX selection will be affected by the channel ON/OFF switch if active. The send
control varies the signal level to the bus from off (fully attenuated) to +6dB,
with unity gain at the arrow.
OO +6
MIX B MIX B
BUS
The MIX B switch routes the channel signal to a stereo bus which is inde-
= pendent of the main PGM (program) bus. The signal is post-fade and follows
PAN
the PAN control. The MIX B bus can be used for creating mixes for record-
ing or clean-feed sources for external equipment.
L R
PAN
AUD
The pan control adjusts how the signal from the mono input channel is
shared between the left and right sides of the PGM, Audition and MIX B bus.
REM MUTE
Set to the mid position, equal amounts of signal are fed to left and right,
with pan set to L, none is sent to the Right bus.
AUDITION
PEAK Pressing the audition button illuminates the red LED and switches the signal
SIGNAL from the program bus to the audition bus. The signal is post fade and fol-
lows the PAN control. The AUD switch is after the MIX B switch in the
PFL signal chain and so has no effect on the MIX B selection.
PGM
FDR ON Switch
0 This mechanically latching switch operates the channel mute circuitry, turn-
ing the signal to the PGM, Audition, MIX B and Aux buses on or off.
The switch is illuminated green when pressed.
5 There is an option to disable the switch (make permanently ON) using the
option switches on the rear-panel. If this is activated, then the switch will be
illuminated green regardless of whether it is pressed or not.
10
There is also a remote mute option wired to a D type connector on the
rear panel. When this is wired and operated the REM MUTE red LED illumi-
15 nates and the mute circuit is activated regardless of whether the ON switch
is pressed.
20
SIGNAL & PEAK LEDs
The Signal LED illuminates when the pre-fader signal level is above –15dB.
The Peak LED illuminates and stays on for around 0.5 seconds when a peak
level is detected (pre-fader signal) within 5dB of clipping.
30
PFL Switch
The PFL (Pre-Fade Listen) switch sends the channel signal to the PFL bus
40
and subsequently to the headphones/CRM speakers and the main L R me-
50 ters. Used for checking the audio signal before raising the fader or un-
muting the channel.
OO
Fader
The 100mm fader controls the level of the channel signal to the left & right
M1 PGM bus, Audition bus, MIX B bus and post fade Aux.
The Mono channel faders have Fader Start switching logic available to either
interface to external equipment or activate the muting circuit for the con-
trol room speaker outputs.

TELCO CHANNELS
TEL IN TEL IN
The Telephone Communication channel input XLR socket. Wired
as Pin 1=Chassis, Pin 2=hot (+), Pin 3=Cold (-).
CLF OUT
Standard XLR output connector for the Clean-Feed output from
the Telephone Communication channel.
Wired Pin 1=Chassis, Pin 2=hot (+), Pin 3=Cold (impedance bal-
CLF OUT anced ground).
TELCO Input Gain

The Telephone Communication channel input gain control. Varies
the gain applied to the TELCO input channel from –10dB to +26dB.
TELCO 1
T1 5
TELCO Channel Filters
0 The TELCO Channel has a high pass and low pass total cut filter which
GAIN 10 is designed to allow the user to reduce the frequency range of the
-5 channel when used with a telephone caller.
20 The high pass filter can be varied from 20Hz (full range) to 6kHz. The
low pass filter from 20kHz (full range) to 700Hz.
-1O 26
The default position (full range frequency response) is shown.
dBr
5.00
120Hz
0.00
HPF -5.00
-10.00
20Hz 6kHz
3k -15.00
-20.00
LPF -25.00
700Hz 20k -30.00

20.00 Hz 100.00 1000.00 10000.00 30000.00

TELCO CHANNELS
TALK
The TALK switch enables the presenter or operator to communicate with
the telephone caller with the presenters channel fader down so the pre-
senters voice does not go to the program mix.
The source for the TALK signal is one of the mono channels, pre-selected
by links set within the XB-14, the factory default is mono channel 1. The
signal source is pre-fade and pre-mute on the selected mono channel.
CLF SCE
The Clean-Feed Source switch selects the signal source for the TELCO
TALK cleanfeed output. With both buttons in the up position the signal will be the
entire program (PGM) mix (pre main PGM fader) but without the signal
from the input on that TELCO channel, so the caller does not hear any dis-
AUDITION tracting echo of their voice.
If the AUX or AUDITION switch is pressed, the TELCO clean feed signal is
CLF SCE sourced from the selected bus, but minus the signal sent from that TELCO
channel.
AUX
This is a really useful feature that can enable the operator to send a mix of
PGM signals from different channels to the telephone caller, the sources may be
on or off air because the sources for the AUX bus can be pre or post fader
or the Audition bus can be used.
PRE In addition, The telephone conversation could be recorded off air using the
audition or aux buses, and replayed at a later time.
AUX
AUX
This control sends a signal to an auxiliary bus. The signal is sourced pre-fade
OO +6 or post-fade depending on the PRE switch position. The pre-fade source
selection will be affected by the channel ON/OFF switch if active. The send
control varies the signal level to the bus from off (fully attenuated) to +6dB,
MIX B with unity gain at the arrow.
BUS
=
PAN MIX B
The MIX B switch routes the channel signal to a stereo bus which is inde-
pendent of the main PGM (program) and audition buses. The signal is post-
fade and follows the PAN control. The MIX B bus can be used for creating
mixes for recording or clean-feed sources for external equipment.
L R
PAN
The pan control adjusts how the signal from the TELCO input channel is
shared between the left and right sides of the PGM, audition and MIX B bus-
es. Set to the mid position, equal amounts of signal are fed to left and right,
with pan set to L, none is sent to the Right bus.

TELCO CHANNELS
AUDITION Switch
Pressing the audition button illuminates the red LED and switches the sig-
AUD
nal from the program bus to the audition bus. The signal is post fade and
follows the PAN control. The AUD switch is after the MIX B switch in the
REM MUTE signal chain and so has no effect on the MIX B selection.
ON Switch
PEAK This mechanically latching switch operates the channel mute circuitry, turn-
SIGNAL ing the signal to the PGM, Audition, MIX B and Aux buses on or off.
PFL There is an option to disable the switch (make permanently ON) using the
option switches on the rear-panel. If this is activated, then the switch will
be illuminated green regardless of whether it is pressed or not.
There is also a remote mute option wired to a D type connector on the
PGM rear panel. When this is wired and operated the REM MUTE red LED illu-
FDR minates and the mute circuit is activated regardless of whether the ON
0 switch is pressed.
5 SIGNAL & PEAK LEDs

The Signal LED illuminates when the pre-fader signal level is above –15dB.
10 level is detected (pre-fader signal) within 5dB of clipping.
15
PFL Switch
The PFL (Pre-Fade Listen) switch sends the channel signal to the PFL bus
20 and subsequently to the headphones/CRM speakers and the main L R me-
ters. Used for checking the audio signal before raising the fader or switching
on the channel or raising the fader.
30
Fader
The 100mm fader controls the level of the TELCO channel signal to the left
40 & right PGM bus, MIX B bus and post fade Aux.
The TELCO channel faders have fader start switching logic signals available
50 on the rear-panel remote interface connectors for control of external
equipment.
OO
T1

STEREO INPUT CHANNELS ST1 & ST2
ST2
FOR CLARITY ONLY ST1 CHANNEL IS DESCRIBED HERE
L ST2 Inputs
Standard RCA phono sockets for ST2 L & R inputs.
Unbalanced. Nominal input level = 0dBu.
R
ST1 Inputs
Standard 1/4” jack sockets for input signals to ST1 L & R inputs.
L/M Wired Tip=Hot(+), Ring=cold (-), Sleeve=Chassis.
Fully balanced. Nominal input level = 0dBu.
ST1
Stereo source selector switch
Selects either ST1 or ST2 stereo inputs to the stereo channel ST1.
R Allows the user to select between multiple stereo sources connected to
the XB-14.
A green LED will illuminate to show which input is selected.
ST2 0 Stereo input level controls

5 For adjustment of the stereo input levels from fully attenuated to +15dB
-15 of gain.
+ 15
ST2 Stereo channel EQ

The stereo channel EQ is 2 band with corner frequencies of 12kHz for
1/2 the HF and 80Hz for the LF.
dBr
20.00
ST1
15.00
0
ST1 10.00
5
-15 5 .0 0
0 .0 0
+ 15
HF -5 .0 0
12kHz
-1 0 .0 0
-15 + 15 -1 5 .0 0
LF -2 0 .0 0
80Hz 1 0 .0 0 Hz 1 00 .00 1 0 00 .00 10 0 00 .00 3 0 0 0 0 .0 0
-15 + 15
AUX
This control sends a signal to an auxiliary bus. The signal is sourced pre-
PRE
fade or post-fade depending on the PRE switch position and is a com-
bined sum of the left and right stereo signals. The pre-fade source selec-
tion will be affected by the channel ON/OFF switch if active. The send
AUX
control varies the signal level to the bus from off (fully attenuated) to
+6dB, with unity gain at the arrow.
OO +6
MIX B
MIX B The MIX B switch routes the channel signal to a stereo bus which is inde-
BUS
pendent of the main PGM (program) and audition buses. The signal is post-
fade and follows the PAN control.
STEREO INPUT CHANNELS ST1 & ST2
FOR CLARITY ONLY ST1 CHANNEL IS DESCRIBED HERE
=
BAL
BAL
The balance control adjusts the relative levels of the left & right signals in the
stereo input channel as they are sent to the PGM, Audition and MIX B buses.
L R
Set to the mid position, the signals are balanced equally. With the balance con-
trol set fully anticlockwise the right channel will be fully attenuated and the left
AUD channel will increase by approximately 3.5dB.
AUDITION Switch
Pressing the audition button illuminates the red LED and switches the signal
from the program bus to the audition bus. The signal is post fade and follows
the PAN control. The AUD switch is after the MIX B switch in the signal chain
+ START/CUE
and so has no effect on the MIX B selection.
PEAK
SIGNAL
ON (+START/CUE) switch
The stereo channel ON switch operates the stereo channel mute circuitry,
PFL
turning the signals to the PGM, MIX B, Audition and Aux buses on or off.
The ON switch also activates the START/CUE logic signals (for the corre-
PGM sponding selected input) wired to the remote interface connector on the rear
FDR panel.
0
There is an option to disable the mute circuit on all the stereo channels (make
the channels permanently ON) using the option switches on the rear panel.
This can be done for all 4 stereo channels together, retaining the illumination
5
switching (if the ON switch is being used for Start/Cue).
It can also be done on an individual channel basis by using the STEREO INPUTS
1,2,3&4 slide switches in which case the illumination of the switch will be
10 STEREO jammed permanently ON.
ON Switch
Optional
Modes
15 MONO INPUTS STEREO INPUTS ON Switch Not Pressed ON Switch Pressed
1 2 3 4 T1 T2 1 2 3 4
Standard Channel Muted Channel ON

Operation START Deck
) ON ON ON ON ON ON ON ON ON ON ON ON CUE Deck
20
Mute MONO INPUTS STEREO INPUTS
Disabled 1 2 3 4 T1 T2 1 2 3 4
(Always ON) Channel ON Channel ON

LEDs FOLLOW ON ON ON ON ON ON ON ON ON ON ON ON
SWITCH ) CUE Deck START Deck
(All stereos)
30 MONO INPUTS STEREO INPUTS
Mute 1 2 3 4 T1 T2 1 2 3 4
Disabled Channel ON Channel ON
(Always ON
All Stereos) ON ON ON ON ON ON ON ON ON ON ON ON
CUE Deck START Deck
)
LEDs always
illuminated
40 (On ST1 only)
Fader
50
The 100mm fader controls the level of the stereo channel L & R signals to the
OO PGM, MIX B, Audition and post fade Aux buses.
There is no fader start logic feature on the stereo channel faders.
SIGNAL & PEAK LEDs
The Signal LED illuminates when the pre-fader L or R signal level is above –
ST1 15dB.
level is detected (pre-fader signal) within 5dB of clipping.
PFL Switch
Sends the summed L & R stereo channel signals to the PFL bus.

STEREO INPUT CHANNELS ST3 & 4
MIX B OUT SIMILAR TO THE ST1 & 2 CHANNELS—
THE DIFFERENCES ARE DETAILED HERE.
L
MIX B OUT
L/M Standard RCA phono sockets for the MIX B bus output. The output
level can be controlled by the MIX B Level control.
Nominal level = 0dBu, unbalanced.
ST5
USB RTN (ST6) level
R The source for the ST6 input is from the USB audio device, in other
words from an external computer. The level control varies the gain ap-
plied to the USB audio device input signal from off (fully attenuated) to
+15dB.
ST6 0
5
-15
+ 15
ST6 (USB)
5/USB
ST5
CRM SPEAKERS outputs

CRM SPEAKERS
Standard RCA phono sockets for connecting to either powered speakers
or a stereo amplifier for the control room speakers. The output level can
L be controlled by the CRM Speakers Level control.
L/M
USB audio send & return
The USB connection uses a USB1.1 compliant stereo USB audio CODEC
which is also fully compliant with USB 2.
The connector is a standard USB “B Type” connector.
ST7 When connected to a computer (Windows or Mac) you will be able to
transfer stereo audio to and from the XB-14.
R The signal source for the send is selected using the switches below the
USB connector.
If all switches are un-pressed, the post-fader main program mix will be
sent to the USB output. The priority switch matrix also gives the choice
USB of post level MIX B, post level audition bus and AUX (left hand channel)
SEND
and mono program feed (right hand channel).
RETURN
AUX+ MONO The USB audio input can be selected to feed the stereo channel 4 (ST4)
USB SOURCE SELECT
by selecting the stereo input 6 (ST6) to that channel.

AUDITION
MIX B
PGM MIX

MASTER SECTION
Audition Out
Standard RCA phono sockets for the Audition bus output. The out-
put level can be controlled by the AUD Level control.
External Monitor Input

Standard RCA phono sockets for a stereo signal which can be routed
to either the engineers’ CRM monitor headphones & speakers, or the
guest headphones. It can be used for monitoring the program trans-
mission or switching any external stereo source to the engineers or
guests monitors.
The input level can be controlled with the EX MON level control.
Main PGM Inserts

Standard 1/4” (6.25mm) Jack socket for unbalanced insert send and
return signals.
Wired Tip=send, Ring=return, Sleeve=Chassis. Nominal level is 0dBu.
AUD OUT The insert point is pre the main PGM fader.
INSERT L
Main PGM Outputs

L
L
MAIN
PGM Standard XLR output connector for the main program mix left &
R OUT
INSERT R
right outputs.
EXT MON IN Wired Pin 1=Chassis, Pin 2=hot (+), Pin 3=Cold (-).
L
R
Electronically balanced, nominal level = +4dBu (=0VU).
AUX
R MONO AUX Output

OUT
Standard 1/4” (6.25mm) Jack socket for aux output.
Wired Tip=Hot (+), Ring=cold (-), Sleeve=Chassis. Impedance bal-
anced. Nominal level = 0dBu.
Mono Output
Standard RCA phono socket for the Mono PGM bus output.
The mono program bus is Nominal level = 0dBu, unbalanced.
The PGM mono output is a mono version of the main PGM stereo
out but is independent of the main fader.
Headphone Output Sockets

Standard 1/4” (6.25mm) Jack sockets for the engineer/self operator
and two guests.
Wired Tip=Left (+), Ring=Right (-), Sleeve=Ground.
!
Warning ! To avoid damage to your
hearing do not operate the headphones
or sound system at excessively high
volume. Continued exposure to high
volume sound can cause frequency
selective or wide range hearing loss.

MASTER SECTION
48v Phantom Power switch

Press this in to switch 48v Phantom Power to the 4 Mic input xlr
connectors, if any of the microphones attached require power.
Dynamic microphones won’t mind being connected to a phantom
powered input, but care is needed to ensure that 48v is not switched
on if an xlr is used to input a signal from an electronic circuit (ie. An-
other mixer or keyboard).
When switching 48v on or off, or plugging in connectors to
channels with 48v present, it is important (and normal pro-
cedure) to mute the channels. This will avoid loud clicks and
bangs potentially getting through to the amps & speakers
with the possible effect of damaging the speakers, or the au-
dience’s hearing!
POWER
Main Left & Right meters

ALLEN& HEATH
12 segment LED meters, peak type response, the “0” position reflects
48V + 16 + 16
+9 +9
+6 +6
ON
+3
0VU
+3
0VU nominal level at the outputs (+4dBu from the main PGM outputs).
The meters display the signals from the CRM + Phones selector
-3 -3
-6 -6
-9 -9
-12
-16
-12
-16
switches below, or the PFL (pre-fade listen) signal from any selected
-20
-30
-20
-30 channels, which overrides.
L R
PFL Active LED

PFL ACTIVE
AUD
Illuminates red when any one or more PFL (pre-fade listen) switch is
AUX pressed. Indicates that the meters are displaying the PFL signal rather
EXT
than the signal from the selected source.
MON
USB
IN CRM + PHONES Source Selector switches
CRM+ PHONES
MIX B GUEST PHONES
These 5 switches select the signal source for the control room speak-
ers, headphones monitor and the meters. They work on a priority
SELECTION SELECTION
CRM
SPEAKERS basis. If they are all up then the post-fade main PGM signals will feed
PFL ENABLE
TO GUEST the monitor circuit, if any of the switches are pressed then the PGM
signal will be replaced. If more than one switch is pressed the switch
MIN MAX
TALK
DIM SPKS
TO GUEST nearest the meters will take priority.
The PFL signal will override the selection to the meters and CRM if
activated.
GUEST PHONES Source Selector switches

Similar to the CRM + PHONES selection switches, these select the
source for the guest headphones output. The choices are the same as
for the CRM outputs, but a different source can be selected for the
guests to that selected for the operator.
The PFL signal will not be fed to the guest phones outputs unless the
PFL ENABLE TO GUEST switch is pressed. This is an under-panel
switch so it cannot be operated accidentally.
TALK TO GUEST switch

Pressing this switch allows the microphone channel that has been
selected as the comms channel, to speak to the guest headphone
feed. If the guest is listening to the program mix, for example, this
will reduce in volume to a background level when the talk switch
is pressed.

MASTER SECTION
CRM Speakers level

Adjusts the level of the signal to the control room speaker outputs
from off (fully attenuated) to unity gain.
DIM & Cut CRM Speakers

The Dim switch reduces the level of the control room speakers by
20dB.
CRM
SPEAKERS
PFL ENABLE
The Cut CRM Speakers LED illuminates red when the control room
TO GUEST speakers mute circuit is activated, either by external switching using
the remote interface or by raising any one of the mono channel fad-
MIN MAX
TALK
DIM SPKS
TO GUEST ers (if the MIC FADER UP switch has been pressed).
CUT SPKS
MIC FADER UP
= CUT SPKS
MIC FADER UP = CUT Speakers
An under-panel switch to enable the fader start logic switching to cut
CRM GUEST
PHONES PHONES
MIN MAX MIN MAX

the control room speaker outputs. This is useful when the CRM
speakers are in close proximity to the microphones plugged into the
mono channels and acoustic feedback may occur from the speakers
to the microphones.
MIN
EX MON
MAX MIN MAX
MIX B LEV
MIN
AUD
MAX
Press the switch to enable the automatic muting.
Control Room Phones level

PGM MIX
FADER
0
Adjusts the level of the operators’ control room headphones from off
(fully attenuated) to maximum. The headphone amplifier has a gain of
5
12dB.
10
15 Guest Phones level

Adjusts the level of the guests’ headphones from off (fully attenuated)
20
to maximum.
Each headphone output socket has a dedicated amplifier with a gain
of 12dB.
30
EX MON level
This is the master level control for the external monitor stereo input.
40
50
The range of adjustment is from off (fully attenuated) to unity gain.
OO
MIX B level
PGM This is the master level control for the MIX B stereo bus output.
AUD level
This is the master level control for the audition stereo bus output.
Program Mix Fader

The main program mix level control. Affects the stereo PGM output,
but not the mono PGM output.
0dB, or unity gain is at the top of the fader.

REMOTE INTERFACE CONNECTORS
15 Way D socket connector REMOTE A
PIN FUNCTION
1 M1 FADER UP LOGIC (OPEN COLLECTOR OUTPUT)
3 T1 FADER UP LOGIC (OPEN COLLECTOR OUTPUT)
4 M1 EXTERNAL MUTE (INPUT, ACTIVE LOW)
6 T1 EXTERNAL MUTE (INPUT, ACTIVE LOW)
7 CUT CRM SPEAKERS (INPUT, ACTIVE LOW)
8 GROUND
11 T2 FADER UP LOGIC (OPEN COLLECTOR OUTPUT)
14 T2 EXTERNAL MUTE (INPUT, ACTIVE LOW)
15 N/C
15 Way D plug connector REMOTE B
PIN FUNCTION
1 ST1 START PULSE (OPEN COLLECTOR OUTPUT)
8 GROUND
9 ST1 STOP/CUE PULSE (OPEN COLLECTOR OUTPUT)
Start/Cue logic
The Start/Cue logic from the Stereo channel ON switches is designed to interface to a common standard employed
by Denon and Pioneer equipment. The logic signals are usually wired to a 2 pole 3.5mm jack plug where a low pulse
on the tip starts the deck and a low pulse on the sleeve stops or cues the deck. There needs to be some form of
ground connection between the equipment for this to work—normally effected by the audio connector leads.
Notice that there are Start/Cue outputs for 7 machines even though there are only 4 Stereo channel ON switches.
That’s because there are dual inputs on 3 of the stereo channels making a total of 7 sources and the XB-14 only sends
a Start/Cue signal to the deck selected as a source to the channel whose switch is pressed. It’s clever like that!

9 Way D socket connector EXTERNAL METER
PIN FUNCTION
1 +15V POWER
2 -15V POWER
3 GROUND
4 LEFT METER
5 RIGHT METER
6 GROUND
7 GROUND
8 GROUND
9 +10V POWER
External Meter socket

This can be used to feed the main Program PGM L & R signals to external metering equipment. These are line level
analogue signals, the level at 0VU will be 0dBu.
+/- 15V power is also available to power meter circuits, current draw should be kept under 100mA or so.
ON SWITCH OPTIONS DISABLE STEREO

MUTE CIRCUIT (JAM ON)
BUT
LEDs FOLLOW SWITCH
ON ALL 4 STEREO CHs
DISABLE ON SWITCHES
(MAKE PERMANENTLY ON)
(LED'S ALWAYS ON)
MONO INPUTS STEREO INPUTS
1 2 3 4 T1 T2 1 2 3 4
STANDARD OPERATION
OPTIONAL OPERATION
ON ON ON ON ON ON ON ON ON ON ON ON
Configuration Switches
The tiny slide switches accessible on the rear panel are for configuring the XB-14’s channel ON switches. In the up position,
the channel ON switch will act as a normal ON/OFF switch affecting the channel signal accordingly. If the slide switch is moved
down to the “ON” position, then the corresponding channel’s ON switch will be disabled (made so that it is jammed ON).
The green LEDs in the switch will then permanently illuminate. UNLESS….
Unless you are using the Stereo channel ON switches for transport Start/Cue and would like the channel mute circuit disabled
but the switch illumination still to follow the switch position. In this case use the last switch in the row to disable the mute
circuit on all 4 stereo channels, but make the illumination follow the switch position.
If you want, you can disable the Stereo channel mute circuit on an individual channel basis using the Stereo Inputs 1,2,3 & 4
slide switches individually. This will make the channel permanently on and the switch illumination also permanently on.
This may seem like a fussy complication, but could be useful if you want to revert to basic operation, where only the faders
control the signal going out on air, disabling the ON switches so the operator cannot turn off the channel accidentally, but still
want the switch illumination on certain stereo channels to follow the Start/Cue on the CD player or deck.
ALSO SEE P22 FOR A DIAGRAM TO EXPLAIN THESE SETTINGS.

REMOTE A Connector wiring
The REMOTE A connector is used for the “Fader Up” logic signals from the Mono and Telco channel faders. It is also
used for remote muting of channels and control room speakers. An example of how these remote signals can be used
is below:
REMOTE A Connector Example: Remote mute wiring and Fader Up interface
Remote mute switch for Mono Ch2
Pin 12 = mute Mono Ch2
REMOTE A +12V +12V

Relay or circuit
9 10 11 12 13 14 15
1 2 3 4 5 6 7 8
Ground
Pin 1 = CH 1 Fader = UP
ON AIR
Input resistor = 10 Ohms for over-current protection. 100mA max
Ensure input current is less than 100mA
REMOTE B Connector Example: CD Deck start/cue from stereo channel ON switch
REMOTE B
3.5mm Jack Plug
Cue pulse wire to sleeve
15 14 13 12 11 10 9
8 7 6 5 4 3 2 1
Start pulse wire to tip To CD player or deck
Additional Ground wire may be required

Optional

USB CONNECTION
ST4 MIX B OUT CRM SPEAKERS AUD OUT

INSERT L
L L L L
L
MAIN
PGM
R R R R INSERT R OUT
L/M L/M L/M EXT MON IN

R
L
AUX
ST3 ST5 ST7
R MONO
R R R OUT

ST4 0
ST6 0
USB
5 5 SEND
-15 -15
RETURN
+ 15 + 15 AUX+ MONO POWER
USB SOURCE SELECT
ST4 ST6 (USB)

ALLEN& HEATH
3/4 5/USB +9 +9
+6 +6
ON
+3 +3
ST3 ST5 MIX B 0VU 0VU
PGM MIX -3 -3
-6 -6
0 0 0
ST3 ST5 ST7 -9
-12
-9
-12
5 5 5
-16 -16
-15 -15 -15 -20 -20
-30 -30
+ 15 + 15 + 15
L R
HF HF HF
2kHz 12kHz 12kHz PFL ACTIVE
-15 + 15 -15 + 15 -15 + 15 AUD
LF LF LF
80Hz 80Hz 80Hz AUX
-15 + 15 -15 + 15 -15 + 15 EXT

MON
PRE PRE PRE
USB
IN
AUX AUX AUX
USB Audio Interface
The XB-14 is equipped with a stereo bi-directional USB 1.1 compliant audio CODEC. It is fully compliant with USB2
ports and uses standard Windows and MAC Core Audio Drivers. In other words, plug it in and your computer will find
it and be able to transfer audio to and from the USB device.
You will need some form of audio software running on your computer for playback/recording or a voice over internet
phone, but on a basic level, you can use your computers media player to play straight to the XB-14 device.
Just a couple of points to look out for:
Windows XP/Vista:
When you plug in your XB-14 USB interface to your computer, if the volume level is low or inaudible, check the device
volume in control panel/Sounds and Audio Devices/Volume. Set the volume to High.
Windows 7:
At present, Windows 7 treats the USB audio device as a microphone source instead if a line input, so set the device
volume level much lower, we found setting to 3 is ideal.

XB-14 MK2 User Guide
APPLICATION DIAGRAM: SELF OPERATION
Telephone caller
Control Room
Monitor Speakers
Telephone
Amp
Hybrid Module
Guests
Broadcast
Transmission
CD
Method
Music sources
CD
31
Sound sources
Jingle
OR
Limit TX 1
L L L L L
L
MAIN
PGM
Compressor/Limiter
L/M L/M L/M L/M
R
L
AUX
R MONO
R R R R OUT
TELCO1 TELCO2
M1 0 M2 0 M3 0 M4 0 T1 T2 ST2 ST4 ST6
20 3010 20 3010 20 3010 20 3010 5 5 0 0 0
USB
10 10 10 10 GAIN 0 10 GAIN 0 10
0 40 0 40 0 40 0 40 -5 -5
20 20
-10 -6 63 26 -10 - 6 63 26 - 10 -6 63 26 -10 -6 63 26 - 1O 26 -1O 26 + 15 + 15 + 15 AUX+ MONO POWER
USB SOURCESELECT
ST2 ST4 ST6 (USB)
ALLEN& HEATH
100Hz 100Hz 100Hz 100Hz
120Hz 120Hz AUDITION 48V + 16 + 16
HF HF HF HF 1/2 3/4 5/USB +9 +9
+6 +6
HPF HPF +3 +3
PGM MIX -3 -3
-15 + 15 -15 + 15 -15 + 15 -15 + 15 20Hz 6kHz 20Hz 6kHz -6 -6
650 650 650 650 3k 3k 0 0 0 0
500 1k 500 1k 500 1k 500 1k ST1 ST3 ST5 ST7 -9
-12
-9
-12
5 5 5 5
200 200 200 200 -16 -16
2k 2k 2k 2k
LPF LPF -15 -15 -15 -15 -20 -20
3k 3k 3k 3k -30 -30
L R
TALK TALK
-15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 AUD
AUDITION AUDITION
80Hz 80Hz 80Hz 80Hz CLFSCE CLF SCE 80Hz 80Hz 80Hz 80Hz AUX
AUX AUX
-15 + 15 -15 + 15 -15 + 15 -15 + 15 PGM PGM -15 + 15 -15 + 15 -15 + 15 -15 + 15 EXT
MON
USB
IN
CRM
TO GUEST
= = = = = = = = = = MIN MAX
TALK
DIM SPKS
TO GUEST
L
REM MUTE
AUD
R L
REM MUTE
AUD
R L
REM MUTE
AUD
R L
REM MUTE
AUD
R L
REM MUTE
AUD
R L
REM MUTE
AUD
R L R
AUD
L R
AUD
L R
AUD
L R
AUD
CUT SPKS
MIC FADERUP
= CUT SPKS
CRM
PHONES
GUEST
PHONES
KEY
MIN MAX MIN MAX
Operator
MIN MAX MIN MAX MIN MAX
USB connection to computer
PFL PFL PFL PFL PFL PFL PFL PFL PFL PFL
0 0 0 0 0 0 0 0 0 0 0
5
10
15
20
5
10
15
20
5
10
15
20
5
10
15
20
5
10
15
20
5
10
15
20
5
10
15
20
5
10
15
20
5
10
15
20
5
10
15
20
5
10
15
20
Single room Microphone signals to mono inputs

Telephone line in (or exchange)
Self Operation
30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40
50
OO
50
OO
50
OO
50
OO
50
OO
50
OO
50
OO
50
OO
50
OO
50
OO
50
OO Line level to/from telephone module
Line level stereo signals
System Headphone signals
PGM inserts to limiter
Program mix for transmission
Notes:
Allen & Heath

Ensure FADER UP = CUT SPKS switch is enabled to avoid feedback from CRMs
The Telephone module could be substituted with a Skype system.
APPLICATION DIAGRAM: STUDIO+CONTROL ROOM
Telephone caller Telephone caller
Studio
Presenter Guest
KEY
Microphone signals to mono inputs
Telephone line in (or exchange)

Line level to/from telephone module
Line level stereo signals
Headphone signals
Telephone call handling
PGM inserts to limiter
Program mix for transmission
Telephone
USB lead
Hybrid Module
Control Room Control Room

Monitor Speakers
Amp
CD
Music sources
CD
Sound sources
Jingle
Limit Compressor/Limiter
MIC MIC MIC MIC TEL IN TEL IN
ST2 ST4 M IX B OUT CRM SPEAKERS AUD OUT
INSERT L
Broadcast
L L L L L
Transmission
L
MAIN
PGM
L/M L/M L/M L/M
R
L
Method
AUX
R MONO
R R R R OUT
TELCO 1 TELCO 2
GUEST PHONES1 GUEST PHONES2 CRM PHONES

M1 0 10
M2 0 10
M3 0 M4 0 T1 5
T2 5
ST2 0
ST4 0
ST6 0
30 10 10 10 GAIN 0
GAIN 0 USB
0 40 0 40 0 40 0 40
MIC MIC MIC MIC - 15 -15 - 15
20
LINE LINE LINE 50 LINE 50 RETURN
-10 63 - 10 63 -10 26 - 10 26 - 1O 26 - 1O 26 + 15 + 15 + 15 AUX+ MONO POWER
USB SOURCE SELECT
ST2 ST4 ST6 (USB)

ALLEN & HEATH
100Hz 1 00Hz 100Hz 100Hz

120 Hz 120Hz
HF HF HF HF 1/2 3/4 5/USB +9 +9
+6 +6
12k Hz 12kHz 12kHz 1 2kHz ON +3 +3
HPF HPF
- 15 + 15 - 15 + 15 - 15 + 15 -15 + 15
PGM MIX
20Hz 6kHz 2 0Hz 6kHz
650 650 650 650 0 0 0 0
500 500 500 500 ST1 ST3 ST5 ST7 -12 - 12
5 5 5 5
200 200 2 00 200 -16 - 16
LPF LPF - 15 -15 - 15 - 15 -20 - 20
-30 - 30
1 20Hz 120Hz 120Hz 120 Hz 700Hz 20k 7 00Hz 20k + 15 + 15 + 15 + 15
L R
TALK TALK
- 15 + 15 - 15 + 15 - 15 + 15 -15 + 15 - 15 + 15 -15 + 15 - 15 + 15 - 15 + 15 AUD
AUDI TION AUDI TION
80 Hz 80Hz 80Hz 80Hz CLF SCE CLF SCE 80Hz 80Hz 80Hz 8 0Hz AUX
AUX AUX
- 15 + 15 - 15 + 15 - 15 + 15 -15 + 15 PGM PGM - 15 + 15 -15 + 15 - 15 + 15 - 15 + 15 EXT

MON
USB
IN
SEL ECTION MIX B SELECTION
+6 +6 +6 +6 +6 +6 +6 +6 +6 +6
CRM
MIX B MIX B M IX B MIX B MIXB MIX B MIX B MIX B MIX B M IX B SPEAKERS
TO GUEST
PAN
=
PAN
=
PAN
=
PAN
=
PAN
=
PAN
=
BAL
=
BAL
=
BAL
=
BAL
=
DIM SPKS
CUT SPKS
MIN MAX
TALK
TO GUEST
TX 1
L R L R L R L R L R L R L R L R L R L R
AUD AUD AUD AUD AUD AUD AUD AUD AUD AUD MICFADER UP
= CUT SPKS
PHONES PHONES
Operator/Producer
MIN MAX MIN MAX

SIGNAL SI GNAL SI GNAL SI GNAL SI GNAL SIGNAL SI GNAL SI GNAL SI GNAL SIGNAL
EXMON MIX B LEV AUD
0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5 5 5 5
Computer for sound

10 10 10 10 10 10 10 10 10 10 10
15 15 15 15 15 15 15 15 15 15 15
20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30
sources and
40 40 40 40 40 40 40 40 40 40 40
recording via USB

50 50 50 50 50 50 50 50 50 50 50
OO OO OO O
O OO OO OO OO OO OO OO
Separate studio & control

room setup.

APPLICATION TIPS: OFF-AIR CALL RECORDING
This diagram shows the basic mixer setup using the Audition bus to rec-
ord an interview with a telephone caller off-air, whilst playing music
through stereo channel ST1. The interview could be recorded from the
Audition out phono connectors or via the USB port as shown here.
CD

L L L L L
L
MAIN
PGM
L/M L/M L/M L/M
R
L
AUX
R MONO
R R R R OUT
TELCO 1 TELCO 2

M1 0 M2 0 M3 0 M4 0 T1 T2 ST2 ST4 ST6
20 3010 20 30
10 20 30
10 20 3010 0
5
0
5 0 0 0
USB
10 10 10 10 GAIN 10 GAIN 10
0 40 0 40 0 40 0 40 -5 -5
20 20
-10 -6 63 26 -10 -6 63 26 -10 -6 63 26 -10 -6 63 26 -1O 26 -1O 26 + 15 + 15 + 15 AUX+ MONO POWER
USB SOURCE SELECT
ST2 ST4 ST6 (USB)
ALLEN& HEATH
100Hz 100Hz 100Hz 100Hz
120Hz 120Hz AUDITION 48V + 16 + 16

1/2 3/4 5/USB +9 +9
HF HF HF HF +6 +6
HPF HPF +3 +3
-15 + 15 -15 + 15 -15 + 15 -15 + 15

PGM MIX -3 -3
20Hz 6kHz 20Hz 6kHz -6 -6
0 0 0 0
500
650
1k 500
650
1k 500
650
1k 500
650
1k
-12
-9
-12
5 5 5 5
200 200 200 200 -16 -16
2k 2k 2k 2k
LPF LPF -15 -15 -15 -15 -20 -20
3k 3k 3k 3k -30 -30
L R
TALK TALK
-15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 -15 + 15 AUD
AUDITION AUDITION
AUX AUX
-15 + 15 -15 + 15 -15 + 15 -15 + 15 PGM PGM -15 + 15 -15 + 15 -15 + 15 -15 + 15 EXT
MON
USB
IN
CRM
TO GUEST
Notes:
= = = = = = = = = = MIN MAX
TALK
DIM SPKS
TO GUEST
Ensure Audition buttons

= CUT SPKS
PHONES PHONES

MIN MAX MIN MAX
are pressed and audition
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL
PEAK
SIGNAL lights are on for the off-

air channels
0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5 5 5 5
Switch the CLF source for
10 10 10 10 10 10 10 10 10 10 10 the caller to Audition.
15 15 15 15 15 15 15 15 15 15 15
20 20 20 20 20 20 20 20 20 20 20
Select Audition to USB if
30 30 30 30 30 30 30 30 30 30 30
recording to computer.
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
The producer can monitor
either the live program or
M1 M2 M3 M4 T1 T2 ST1 ST2 ST3 ST4 PGM the off-air interview using
the CRM selection switch-
es.

FIXING TO A RACK OR FURNITURE
The XB-14 can be fitted to a 19” rack or incorporated into studio furniture using the optional 19” rack fixing kit.
The following pictures give you an idea of how the rack fixing kit is fitted to the XB-14.
Should you decide to purchase the kit, please follow the fitting instructions provided with the kit.
The rack mounting kit part number is: ZED1402-RK19

WIRING NOTES
Insert cable wiring
PROCESSOR
RETURN OUT
S T
INSERT R
T S
R
SEND
GROUND S T
RETURN R
IN
SEND
LINK RING TO SLEEVE TO UNBALANCE
General Wiring Information
Y-Adapter Y-Adapter
2 Outputs to 1 Input RCA phono jacks adapter 1 Output to 2 Inputs
RCA PHONO CABLE
UNBALANCED
No ! UNBALANCED INSTRUMENT CABLE UNBALANCED Yes
BALANCED TRS JACK CABLE BALANCED
Sleeve= ground Sleeve= ground

Ring= cold (-) Ring= cold (-)
Tip= hot (+ ) Tip= hot (+ )
MIC CABLE 1= ground 2= hot (+ )

TO 2= hot (+ ) 1= ground
BALANCED BALANCED FROM
INPUT OUTPUT
XLR MALE XLR FEMALE
3= cold (-)
3= cold (-)
TRS to XLR-F CABLE 1= ground 2= hot (+ )

BALANCED BALANCED
Sleeve= ground XLR FEMALE

3= cold (-)
Ring= cold (-)
Tip= hot (+ )
2= hot (+ ) 1= ground BALANCED TRS to XLR-M CABLE

BALANCED
XLR MALE Sleeve= ground

3= cold (-) Ring= cold (-)
Tip= hot (+ )

PRODUCT SUPPORT
Investigate ALLEN & HEATH’s other ranges at www.allen-heath.com
Large Live Sound mixers — iLive digital, ML and GL Series
Small Format Live Sound mixers — ZED, MixWizards , PA Series, XB
DJ products — Xone Series
Sound Management Series — iDR Series
Registering your product
Thank you for buying the Allen & Heath XB-14 mixer. We hope that you are happy with it and that you
or your end users enjoy many years of faithful service with it.
Please go to www.allen-heath.com/register.asp and register your product’s serial number and your details.
By registering with us and becoming an official Registered User, you will ensure that any warranty claim
you might make is actioned quickly and with the minimum delay.
Alternatively, you may either copy or cut off this section of the page, fill in the details, and return it by
mail to:
Allen & Heath Ltd, Kernick Industrial Estate, Penryn, Cornwall TR10 9LU, UK


SERVICE OPTIONS
CAUTION
These servicing instructions are for use by qualified service

personnel only. To reduce the risk of electric shock do not
perform any servicing other than that contained in the oper-
CAUTION ating instructions unless you are qualified to do so.
The XB-14 mixer has a versatile architecture which should satisfy most
applications that you may encounter without modification. However,
the following internal options provide alternative settings for those
applications that may demand them.
Access is required to internal assemblies. There are a mixture of plug-

gable jumpers, cuttable wire links and solder bridge options inside the
unit that can be modified to change mixer functionality.
NOTE: We advise that the modifications below are carried out by

an authorised Allen & Heath service centre. The following information
is provided to give the user an idea of how the console can be modified
if required.
The diagram below shows the mixer with the rear cover removed.
Modifications to the rear mounted boards are relatively straightfor-

ward and can be done in situ. Jumper options on the channel boards
can also be changed with a pair of pliers or tweezers.
Cut and solder links on channel boards are best performed by remov-
ing the relevant channel beforehand.
MIX B / REC OUT SOLDER OPTION

COMMS MIC MIC FADER
MIX MUTE
MIC FADER MUTE
COMMS MIC MIX
METER MASTER MIX STEREO TELCO MONO
INPUT
OPTION
JP2
JP3
JP4
JP1
AUX
AUX AUX AUX
GUEST CRM
PGM FADER
CN17
JP7
BYPASS
ADDITIVE ADDITIVE MIX JP8

CN16
MIX OPTION OPTION
BYPASS
PROGRAM
FADER AUD FDR STRT
AUD FDR STRT

SERVICE OPTIONS
AUX Pre ON switch / Pre fade option (Mono, Telco and stereo
Cut and solder option channels)
This is a cut and solder link that sets the action of the AUX pre
switch when it is in the down position.
The default setting is prefade which sources the audio signal after
SOLDER BLOB the ON switch but before the channel fader. The option when mod-
HERE ified sources the signal pre ON switch and post EQ.
CUT TRACK
HERE
Audition fader start option (Mono and telco channels only)
Cut and solder link. The default for this option is to disable the
channel fader start signal if the audition bus button is depressed. If
NOTE: when cutting the fader start option is required with the audition bus then cut and
track ensure cut lines
don't extend beyond
re-solder this link.
marked area
Stereo channel input option (channels ST1 - 3 only)
This option enables the stereo sources for these channels to be
mixed and fed into the channel together. Simply move the position
of all 4 jumpers to their opposing position to enable this option.
JP1 JP4 JP3 JP2 The red gain pots can still be used to set relative levels. The green
selection LEDs will both stay on to indicate that both channels are
Stereo channel jumpers
being mixed. The main channel fader now controls both inputs.
JP8
JP7
Program fader bypass (Mix PCB)

By moving the position of these 2 jumpers, the main program fader
CN16
CN17
will be bypassed. This eliminates the possibility of the program fader

PGM FADER being accidentally pulled down.
BYPASS
CRM / Guest additive mix option (Master & meter PCBs)
Additive mix options By bridging all eight solder links on the master and meter PCBs re-
spectively, the feed selection buttons on the right hand side of the
mixer are changed from priority mix to additive mix. The default
setting is priority mixing where pressing a button higher up on the
Add a solder bridge to each pair of pads mixer cuts the previous signal to listen to the selected signal.
In additive mixing mode the bottom button still priority switches
between the main program mix and Mix B but all other feeds are
mixed in to the signal when pressed.
Mix B / Rec out solder option (Distribution PCB)

Cut and solder link. Cutting and re-soldering these 2 links changes
the Mix B out phono sockets to provide a pre fader program mix
for recording purposes.
Comms mic mix option (Logic PCB)

Cutting or adding wire links here determines the source of the mi-
crophone signal that is used to talk to telephone callers and studio
guests with the mixer talk buttons. The signal is sourced after the
channel gain pot and so is not affected by the channel faders. A sin-
M1 M2 M3 M4 M1 M2 M3 M4
gle source or a mix of sources can be used. The default is M1.
COMMS MIC MIC FADER
MIX MUTE Mic fader mute option (Logic PCB)
Cutting or adding wire links here selects which microphone chan-
nels will mute the control room speakers when a channel fader is
raised and the corresponding ON switch depressed. The default is
that all mic channels will mute the control room feed but any com-
bination can be used.

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USER GUIDE

This product is warranted to be free from defects in materials or

Allen & Heath XB-14 MK2 User Guide AP8769 Issue 2

Allen & Heath Limited

Allen & Heath 3 XB-14 MK2 User Guide

Check that you have received the following:

ST2 ST4 MIX B OUT CRM SPEAKERS AUD OUT

GUEST PHONES 1 GUEST PHONES 2 CRM PHONES

USB SOURCE SELECT

120Hz 120Hz AUDITION 48V + 16 + 16

MIN MAX MIN MAX

+ START/CUE + START/CUE + START/CUE + START/CUE

M1 M2 M3 M4 T1 T2 ST1 ST2 ST3 ST4 PGM

XB-14 MK2 MIXER

Mains Lead (or leads)

Type A-B USB Lead

Allen & Heath 4 XB-14 MK2 User Guide

WARNINGS - Read the following before proceeding :

ATTENTION: RISQUE DE CHOC ELECTRIQUE – NE PAS OUVRIR

! WARNING: This equipment must be earthed.

Allen & Heath 5 XB-14 MK2 User Guide

Important Mains plug wiring instructions

The console is supplied with a moulded mains plug fitted to the AC

TERMINAL WIRE COLOUR

Allen & Heath 6 XB-14 MK2 User Guide

Allen & Heath 7 XB-14 MK2 User Guide

This device complies with Part 15 of the FCC Rules.

ST2 ST4 MIX B OUT CRM SPEAKERS AUD OUT

GUEST PHONES 1 GUEST PHONES 2 CRM PHONES

USB SOURCE SELECT

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

MIN MAX MIN MAX

+ START/CUE + START/CUE + START/CUE + START/CUE

M1 M2 M3 M4 T1 T2 ST1 ST2 ST3 ST4 PGM

Allen & Heath 8 XB-14 MK2 User Guide

Channel signal/peak indicators:

Allen & Heath 9 XB-14 MK2 User Guide

Electronically balanced outputs:

Self operation or Producer operated:

Allen & Heath 10 XB-14 MK2 User Guide

Insert point (TRS Jack socket) 0dBu nominal +21dBu maximum

External monitor inputs (RCA phono sockets) 0dBu Nominal

PGM Mono output (RCA phono) 0dBu nominal. +21dBu maximum.

Aux output (Jack socket) 0dBu nominal. +21dBu maximum.

Mix B outputs (RCA phono sockets) 0dBu nominal. +21dBu maximum.

Audition outputs (RCA phono sockets) 0dBu nominal. +21dBu maximum.

USB Audio CODEC (Coder/Decoder)

Allen & Heath 11 XB-14 MK2 User Guide

Crosstalk & Attenuation (dB 22-22kHz)

Mono ON switch attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-95

TELCO fader attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-95

TELCO ON switch attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-95

Stereo fader attenuation (dB relative to +10dBu) 1kHz/10kHz -95/-90

Allen & Heath 12 XB-14 MK2 User Guide

ST2 ST4 MIX B OUT CRM SPEAKERS AUD OUT

GUEST PHONES 1 GUEST PHONES 2 CRM PHONES

120Hz 120Hz AUDITION 48V + 16 + 16

120Hz 4k 120Hz 4k 120Hz 4k 120Hz 4k 700Hz 20k 700Hz 20k + 15 + 15 + 15 + 15

MIN MAX MIN MAX

+ START/CUE + START/CUE + START/CUE + START/CUE

M1 M2 M3 M4 T1 T2 ST1 ST2 ST3 ST4 PGM

The plastic side trims are

Packed 11.5kg (25.3lb)