Behringer DX2000USB Data Sheet
5
PRO MIXER DX2000USB User Manual
1.6 Packing
Your BEHRINGER PRO MIXER DX2000USB was carefully packed in the factory
and the packaging was designed to protect the unit from rough handling.
Nevertheless, we recommend that you carefully examine the packaging and its
contents for any signs of physical damage, which may have occurred in transit.
◊
If the unit is damaged, please do not return it to us, but notify your
dealer and the shipping company immediately, otherwise claims for
damage or replacement may not be granted. Shipping claims must be
made by the consignee.
dealer and the shipping company immediately, otherwise claims for
damage or replacement may not be granted. Shipping claims must be
made by the consignee.
2. Mono Input Channel
Plug a mic or line source (tape, CD player etc.) into the appropriate MIC
(52)
or
LINE
(51)
input. Speak or play music at typical volume to check out and set up
the channel.
◊
Mic and line inputs are on balanced XLR and ¼" jacks respectively.
Balanced operation gives best noise performance. Unbalanced
microphones need to have XLR pins 1 and 3 shorted. Any Line source
will work perfectly well if a mono jack is used, or the ring and barrel of
a TRS jack are shorted (see chapter 10 “CONNECTIONS”).
Balanced operation gives best noise performance. Unbalanced
microphones need to have XLR pins 1 and 3 shorted. Any Line source
will work perfectly well if a mono jack is used, or the ring and barrel of
a TRS jack are shorted (see chapter 10 “CONNECTIONS”).
2.1 Input selection
Inputs are on the back panel. Your input source is selectable between MIC and
LINE by a switch
(1)
. A pair of associated LEDs
(2)
lets you know which input
is selected.
2.2 Gain setting
◊
Gain is dependent on EQ. Set up your EQ before fine-tuning gain. If you
re-EQ, also re-check gain.
re-EQ, also re-check gain.
2.2.1 Quick way
Channel input level is continuously monitored by a pair of LEDs
Channel input level is continuously monitored by a pair of LEDs
(3)
. As long as the
SIG. LED is flickering and the CLIP is not, the gain is reasonable. Mic channel input
level can be continuously adjusted by the GAIN knob
(4)
(from +10 to +60 dB;
Mic signals are low, therefore they need to be heavily pre-amplified).
CLIP lets you know if you overload the channel (it lights at +18 dB).
CLIP lets you know if you overload the channel (it lights at +18 dB).
◊
SIG. lets you know if a signal is present (it only responds to bass
frequencies). That’s why you can use it to keep an eye on the beats.
frequencies). That’s why you can use it to keep an eye on the beats.
◊
If you are using a mono line source in a mic channel, the gain structure
is comparable to that on a stereo music channel, albeit 20 dB more
sensitive. (from - 10 to + 40 dB ; = 20 dB pad on mic input)
is comparable to that on a stereo music channel, albeit 20 dB more
sensitive. (from - 10 to + 40 dB ; = 20 dB pad on mic input)
2.2.2 Gain setting by using PFL
Pre-Fader-Listen is the professional way to set gain. Hit the PFL button
Pre-Fader-Listen is the professional way to set gain. Hit the PFL button
(13)
to
temporarily send the channel signal to the PFL bargraph meter
(39)
. Adjust the
GAIN control until the bargraph meters are in the yellow (0 dB) but not the red
(Clip). Once gain has been set for a channel, release its PFL button.
◊
You will usually want to PFL only one channel at a time, otherwise the
PFL meter reading will be meaningless.
PFL meter reading will be meaningless.
2.3 Insert point
Situated on the rear of the console, mic channels have insert points
(50)
on TRS
jacks. (These are post-gain and pre-EQ). You can use these combined input/
output sockets to put a compressor, gate or any other signal processor(s) in line
with your microphone (see chapter 10 “CONNECTIONS”).
◊
Compressors can help even out voice volume, adding loads of energy,
but they can also cause feedback problems if over-used. Noise gates
shut off mics automatically when not in use—useful for keeping
out music spillage which can muddy the sound of your mix. Often a
compressor/gate combination is best. Check out the excellent
BEHRINGER range of interactive dynamics products.
but they can also cause feedback problems if over-used. Noise gates
shut off mics automatically when not in use—useful for keeping
out music spillage which can muddy the sound of your mix. Often a
compressor/gate combination is best. Check out the excellent
BEHRINGER range of interactive dynamics products.
2.4 Equalizer
The mic channel EQ section comprises three control knobs and one switch.
Depressing the LOW CUT switch
(5)
rolls off the bass end (-18 dB/oct @ 75 Hz).
We recommend using this feature with microphones to eliminate “popping”
and handling noise. Where loud music is playing, LOW CUT also helps to avoid
bass feedback. Separate controls cut and boost HIGH
(6)
, MID
(7)
and LOW
(8)
frequencies respectively. Use EQ creatively to sweeten the sound of your
microphone, or defensively to help cut feedback (see below for EQ specifications).
EQ
Frequency
Range
Centre
High
Shelving EQ
10 kHz
+/– 12 dB
OFF
Mid
Peaking EQ
750Hz
+/- 8 dB
OFF
Low
Sheiving EQ
50Hz
+/– 12 dB
OFF
Tab. 2.4: Equalizer of the mono input channels
◊
If you are serious about your mic channel, and want to really kill
feedback, you can patch our FEEDBACK DESTROYER PRO DSP1124P
across the channel insert point at the rear of the console. It is ideal for
this purpose.
feedback, you can patch our FEEDBACK DESTROYER PRO DSP1124P
across the channel insert point at the rear of the console. It is ideal for
this purpose.
2.5 Output
Mic channel output is fed directly into the main mix, not via the X and Y subgroup
channels. Level is controlled by a precision 100 mm fader
(14)
, while stereo
position is set by the PAN control
(10)
. The channel signal is sent to the mix by
depressing the CHANNEL ON switch
(12)
. A LED indicator illuminates when the
channel is on. (Channel on is the inverse of the more traditional channel mute
found on standard recording consoles).
◊
The mic channels are routed to the RECORD OUT jacks
(66)
on the rear
panel of the DX2000USB, but not to the LINE OUT jacks
(22)
situated to
the left of the main meters.
◊
The faders used are special high-quality true-log faders. These give
ultra-smooth operation even at low levels, on par with those used in
very expensive studio consoles.
ultra-smooth operation even at low levels, on par with those used in
very expensive studio consoles.
2.6 Effects
You can patch a mono or stereo outboard effects processor into your DX2000USB
via the SEND
(53)
and RETURN
(54)
jacks on the back panel. Now you can add
effects to your voice instantly simply by punching the illuminated EFFECT button
(9)
. The effect send level is dependent on the fader setting. Adjust the desired
amount of effect (from -oo to +30 dB) by the FX RETURN knob
(42)
to the right of
the bargraph meters.
◊
Set your effects unit input level so that the input meter reading
(if there is one) is healthy when you are sending a typical signal to it.
Too low a level will mean too much hiss on your effects return, too high
and you’ll get distortion.
(if there is one) is healthy when you are sending a typical signal to it.
Too low a level will mean too much hiss on your effects return, too high
and you’ll get distortion.
3. Stereo Input Channel
Plug a phono (turntable) or line source (CD player etc.) into the appropriate
PHONO/LINE
(59)
or CD
(58)
input. Play music at a typical volume to check out
and set up the channel. Press the PHONO/LINE button if you would like to use the
PHONO/LINE jacks for a line-level source instead of a turntable.