Behringer DX1000 用户手册
9
PRO MIXER DX1000
3. MONO INPUT CHANNEL
Plug a mic or line source (tape, CD player etc.) into the appropriate MIC
or LINE
input. Speak or play
music at typical volume to check out and set up the channel.
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The mic pre-amps are of the same quality as those in our award-winning EURODESK studio
consoles. These give an incredibly warm, clear and noiseless performance. Mic and line in-
puts are on balanced XLR and 1/4" 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”).
consoles. These give an incredibly warm, clear and noiseless performance. Mic and line in-
puts are on balanced XLR and 1/4" 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”).
3.1 Input selection
Inputs are on the back panel. Your input source is selectable between MIC and LINE by a switch
. A pair
of associated LEDs
lets you know which input is selected.
3.2 Gain setting
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Gain is dependent on EQ. Set up your EQ before fine-tuning gain. If you re-EQ, also re-check
gain.
gain.
3.2.1 Quick way
Channel input level is continuously monitored by a pair of LEDs
. As long as the SIG. LED is flickering and
the PEAK one isn’t the gain is reasonable. Mic channel input level can be continuously adjusted by the GAIN
knob
knob
(from +10 to +60 dB; Mic signals are low, therefore they need to be heavily pre-amplified).
PEAK lets you know if you overload the channel (it lights at +18 dB).
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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.
can use it to keep an eye on the beats.
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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)
on a stereo music channel, albeit 20 dB more sensitive. (from - 10 to + 40 dB ; = 20 dB pad on
mic input)
3.2.2 Gain setting by using PFL
Pre-Fader-Listen is the professional way to set gain. Hit the PFL button
to temporarily send the channel
signal to the PFL bargraph meter
. 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.
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You will usually want to PFL only one channel at a time, otherwise the PFL meter reading will
be meaningless.
be meaningless.
3.3 Insert point
Situated on the rear of the console, mic channels have insert points
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”).
processor(s) in line with your microphone (see chapter 10 “CONNECTIONS”).
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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.
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.
3. MONO INPUT CHANNEL