Behringer DX1000 사용자 설명서
11
PRO MIXER DX1000
Channel
Input 1
Input 2
3
PHONO 1
CD 1
4
PHONO 2
CD 2
5
PHONO 3
CD 3
6
LINE 1
CD 4
7
LINE 2
TAPE*
Tab. 4.1: Stereo channel configuration
* Channel 7’s TAPE input
is parallel-wired to the TAPE IN
on the top panel.
+
Never patch line level devices into your highly sensitive phono inputs. Phono cartridge output
is measured in millivolts. Line level signals are of the order of magnitude of a volt. With line
levels you are looking at a signal up to 100 times more powerful than the phono pre-amplifier
is designed to handle!
is measured in millivolts. Line level signals are of the order of magnitude of a volt. With line
levels you are looking at a signal up to 100 times more powerful than the phono pre-amplifier
is designed to handle!
+
If for some reason your turntable has a built-in RIAA pre-amp, you should patch it into a line
level input.
level input.
+
A mix could include three turntables (channels 3 - 5) and two samplers for creative DJ work, or
four CD/cart players plus a stereo tape recorder for a broadcast studio. In fact any line level
signal could be patched into any line-level input, so channel 7 could return an extra CD player,
for example. Only the phono inputs are device-specific, being matched exactly to your
cartridge response.
four CD/cart players plus a stereo tape recorder for a broadcast studio. In fact any line level
signal could be patched into any line-level input, so channel 7 could return an extra CD player,
for example. Only the phono inputs are device-specific, being matched exactly to your
cartridge response.
4.2 Gain setting
+
Gain is dependent on EQ. Set up your EQ before fine-tuning gain.
4.2.1 Quick way
Channel input level is continuously monitored by a pair of LEDs
. PEAK lets you know if you’re about to
overload the channel (it lights at +18 dB). The SIG. LED only responds to bass frequencies and is perfectly
suited to keep an eye on the beats. As long as the signal LED is flashing on the beat (and the peak one isn’t)
you can be sure the gain is reasonable. Do this for all music channels. Channel gain can be continuously
adjusted by the GAIN knob
suited to keep an eye on the beats. As long as the signal LED is flashing on the beat (and the peak one isn’t)
you can be sure the gain is reasonable. Do this for all music channels. Channel gain can be continuously
adjusted by the GAIN knob
(from -20 to +20 dB).
+
If you are in the habit of slamming the channel faders all the way up (+6 dB), try to keep your
MAIN faders at a compensatory -6 dB to make sure you don’t risk distortion. At this level PFL
and MAIN meters should show the same level (check this by engaging PFL on the channel
currently playing), allowing easy comparison between outgoing (playing) and incoming (cueing)
tracks. Keep an eye on the output meters—red spells trouble. Remember—distortion is not
volume, and any distortion introduced before the power amplifiers and speakers will worsen
your sound and cause amps and speakers to clip sooner.
MAIN faders at a compensatory -6 dB to make sure you don’t risk distortion. At this level PFL
and MAIN meters should show the same level (check this by engaging PFL on the channel
currently playing), allowing easy comparison between outgoing (playing) and incoming (cueing)
tracks. Keep an eye on the output meters—red spells trouble. Remember—distortion is not
volume, and any distortion introduced before the power amplifiers and speakers will worsen
your sound and cause amps and speakers to clip sooner.
4.2.2 Gain setting by using PFL
Pre-Fader-Listen is the professional way to set gain, and we always recommend you do it if you have the time.
Hit the PFL button
Hit the PFL button
to temporarily send the channel signal to the PFL meter
. Adjust GAIN until the
PFL meter is hitting the yellow (up to +10 dB) but not the red (clip). Once gain has been set for a channel,
release its PFL button.
release its PFL button.
+
Normally you will want to PFL only one channel at a time. This might not be true if you are
layering tracks, and/or using “Permanent PFL”—see the chapter 7 “HEADPHONES, MONITORS
& PFL”. Also note that the mono PFL meter is a sum of L and R channel signals.
layering tracks, and/or using “Permanent PFL”—see the chapter 7 “HEADPHONES, MONITORS
& PFL”. Also note that the mono PFL meter is a sum of L and R channel signals.
4. STEREO INPUT CHANNEL