Behringer DX1000 Manuel D’Utilisation
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PRO MIXER DX1000
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Take care to ensure that SENSITIVITY is not set too high, otherwise spill from loudspeakers
into the mic could trigger the talk over system, and the music volume will just keep going up
and down! (You have set up an intermittent negative feedback loop.)
into the mic could trigger the talk over system, and the music volume will just keep going up
and down! (You have set up an intermittent negative feedback loop.)
Once SENSITIVITY has been set so that talk over is only being activated by speech, it’s time to fine-tune the
system with the other two controls again, according to taste. Twin LEDs let you know how your talk over
system is behaving. When DAMP
system with the other two controls again, according to taste. Twin LEDs let you know how your talk over
system is behaving. When DAMP
is lit, your music is being automatically attenuated. ON
lets you
know that one or both mic channels have talk over engaged.
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If two mics are being used, set SENSITIVITY with both mic channels switched on.
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Talk over could just as easily be used for MC-ing. It might not however be appropriate for
rapping, which takes place alongside rather than over the music, unless the damping effect is
set to be quite subtle.
rapping, which takes place alongside rather than over the music, unless the damping effect is
set to be quite subtle.
6. MASTER AUDIO OUTPUTS
6.1 Crossfader
The heart of your music mix is the horizontally-mounted ULTRA-HIGH QUALITY FADER
, which controls
the blend of the X and Y mixing channels. When set fully to the left, only X is heard in the mix, and vice versa.
We know how much you rely on this, and for that reason we have not only ensured that it is incredibly durable
and smooth-acting. We also allow you to tailor its response to your “feel” by means of a simple adjustment
(see chapter 11 “CROSSFADER ADJUSTMENT”). The crossfader is most often used to fade one track into
another during a DJ mix.
We know how much you rely on this, and for that reason we have not only ensured that it is incredibly durable
and smooth-acting. We also allow you to tailor its response to your “feel” by means of a simple adjustment
(see chapter 11 “CROSSFADER ADJUSTMENT”). The crossfader is most often used to fade one track into
another during a DJ mix.
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If you are bringing in an intro over an outro, there will be a time when you want to hear both
tracks at full volume. Simply pause your crossfader in the middle position until you are ready
to fade out the outgoing track.
tracks at full volume. Simply pause your crossfader in the middle position until you are ready
to fade out the outgoing track.
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The crossfader is actually a sophisticated VCA controller. Its ultra-high quality design means
that you can expect a massive 200,000 smooth operations before wear & tear even becomes a
factor. And even if the fader does get something nasty poured over it by mistake (please don’t
do this!) the quality of your music should be unaffected. This is because no audio signal
actually passes through your crossfader, unlike on many other DJ mixers.
that you can expect a massive 200,000 smooth operations before wear & tear even becomes a
factor. And even if the fader does get something nasty poured over it by mistake (please don’t
do this!) the quality of your music should be unaffected. This is because no audio signal
actually passes through your crossfader, unlike on many other DJ mixers.
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You can immediately tell if any channel is switched on (CROSSFADER switch depressed) by
looking at the master ASSIGN X and ASSIGN Y indicators
looking at the master ASSIGN X and ASSIGN Y indicators
situated under the crossfader.
6.2 Transforming with punch and cut
Transforming is a DJ term used to describe the chopping up of sound to create dramatic effects. Traditionally
this is done by rapidly moving a crossfader to give a stuttering or “gated” effect, either between two music
sources, or one source and silence. Another DJ trick is to use the channel faders or channel on buttons to
chop one music track over another. These methods are still valid, but if you are looking for instantaneous
transforming action, check out our ergonomic alternative—a pair of big assignable PUNCH/CUT buttons. We
are sure you will grow to love their speed and ease of operation.
this is done by rapidly moving a crossfader to give a stuttering or “gated” effect, either between two music
sources, or one source and silence. Another DJ trick is to use the channel faders or channel on buttons to
chop one music track over another. These methods are still valid, but if you are looking for instantaneous
transforming action, check out our ergonomic alternative—a pair of big assignable PUNCH/CUT buttons. We
are sure you will grow to love their speed and ease of operation.
Punch and cut are two transform modes selectable by the TRANSFORM MODE button
. A pair of LEDs
lets you know whether PUNCH or CUT is active. The X and Y PUNCH/CUT buttons
and
are
ergonomically situated by the crossfader with which they are designed to work. CUT mode enables the big
buttons to be used as mutes for interesting gating effects, temporarily silencing the X or Y output. In PUNCH
mode the X button
buttons to be used as mutes for interesting gating effects, temporarily silencing the X or Y output. In PUNCH
mode the X button
introduces the X signal to the mix, while the Y button
brings in the Y signal. This
means you can add in bits and beats from X on top of Y and vice versa, opening up your scope for creative
mixing.
mixing.
6. MASTER AUDIO OUTPUTS