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Pyle Audio DJ Controller Audio Mixer Manual

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Pyle Audio BT Streaming Studio Mixer Manual

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Balanced, Unbalanced- What’s the Difference?

In a word: “noise.” The whole point of balanced lines is noise rejection, and it’s something they’re very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation we’re constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more noise it is likely to pick up.

That’s why balanced lines are the best choice for long cable runs. If your “studio” is basically confined to your desktop and all connections are no more than a meter or two in length, then unbalanced lines are new-unless you’re surrounded by extremely high levels of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be amplified to an alarming degree in the mixer’s high-gain head amplifier.

Balanced Noise Cancellation

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Signal Levels and the Decibel
Let’s take a look at one of the most commonly used units in audio: the decibel (dB). If the smallest sound that can be heard by the human ear is given an arbitrary value of 1, then the loudest sound that can be heard is approximately 1,000,000 (one million) times louder. That’s too many digits to deal with for practical calculations, so the more appropriate “decibel” (dB) unit was created for sound-related measurements. In this system, the difference between the softest and loudest sounds that can be heard is 120 dB. This is a non-linear scale, and a difference of 3 dB actually results in a doubling or halving of the loudness.

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Most professional mixers, power amplifiers, and other types of equipment have inputs and outputs with a nominal level of +4 dBu
The Inputs and outputs on home-use audio gear usually have a nominal level of -7.8 dB (-10 dBV). Microphone signal levels vary over a wide range depending on the type of microphone and the source. Average speech is about -30 dB, but the twittering of a bird might be lower than -50dBu while a solid bass drum beat might produce a level as high as 0 dB.

To EQ or Not to EQ

In general: less is better. There are many situations in which you’ll need to cut certain frequency ranges, but use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound a better definition. Bad EQ-and most commonly bad boost-just sounds terrible.

Cut for a Cleaner Mix

For example, cymbals have a lot of energy in the mid and low-frequency ranges that you don’t really perceive as musical sound, but which can interfere with the clarity of other instruments in these ranges. You can basically turn the low EQ on cymbal channels all the way down without changing the way they sound in the mix. You’ll hear the difference, however, in the way the mix sounds more spacious,” and instruments in the lower ranges will have a better definition.

Surprisingly enough, the piano also has an incredibly powerful low end that can benefit from a bit of low-frequency roll-off to let other instruments-notably drums and bass-do their jobs more effectively. Naturally, you won’t want to do this if the piano is playing solo. The reverse applies to kick drums and bass guitars: you can often roll off the high end to create more space in the mix without compromising the character of the instruments. You’ll have to use your ears, though, because each instrument is different and sometimes you’ll want the snap of a bass guitar, for example, to come through.

The fundamental and harmonic frequency ranges of some musical instruments:

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  • Fundamental: The frequency that determines the basic musical pitch.
  • Harmonics: Multiples of the fundamental frequency that play a role.
Some Frequency Facts

The lowest and highest frequencies that can be heard by the human ear are generally considered to be around 20 Hz and 20,000 Hz. respectively. Average conversation occurs in the range from about 300 Hz to about 3,000 Hz. The frequency of a standard pitchfork used to tune guitars and other instruments is 440Hz (this corresponds to the “A3″ key on a piano tuned to the concert pitch). Double this frequency to 880Hz and you have a pitch one octave higher (i.e”A4” on the piano keyboard). In the same way, you can halve the frequency to 220Hz to produce “A2” an octave lower.

Boost with Caution

If you’re trying to create special or unusual effects, go ahead and boost away as much as you like. But if you’re just trying to achieve a good-sounding mix, boost only in very small increments. A tiny boost in the midrange can give vocals more presence, or a touch of high boost can give certain instruments more “air.” Listen, and if things don’t sound clear and clean try using cut to remove frequencies that are cluttering up the mix rather than trying to boost the mix into clarity. One of the biggest problems with too much boost is that it adds gain to the signal, increasing noise and potentially overloading the subsequent circuitry.

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Ambiance

Your mixes can be further refined by adding ambiance effects such as reverb or delay. The internal effects can be used to add reverb or delay to individual channels in the same way as external effects processors.

Reverb and Delay Time
The optimum reverb time for a piece of music will depend on the music’s tempo and density, but as a general rule longer reverb times are good for ballads, while shorter reverb times are more suited to up-tempo tunes. Delay times can be adjusted to create a wide variety of ”grooves”. When adding delay to a vocal, for example, try setting the delay time to dotted eighth notes corresponding to the tune’s tempo.

Reverb Tone

Different reverb programs will have different ”reverb tones” due to differences in the reverb time of the high or low frequencies. Too much reverb, particularly in the high frequencies, can result in unnatural sound and interfere with the high frequencies in other parts of the mix. It’s always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix.

Reverb Level

It’s amazing how quickly your ears can lose perspective and fool you into believing that a totally washed-out mix sounds perfectly fine. To avoid falling into this trap start with the reverb level all the way down, then gradually bring the reverb into the mix until you can just hear the difference. Any more than this normally becomes a “special effect”.

The Modulation Effects

Phasing, Chorus, and Flanging
All of these effects work on basically the same principle: a portion of the audio signal is ”time-shifted” and then mixed back with the direct signal. The amount of time shift is controlled, or “modulated”, by an LFO (Low-frequency Oscillator). For phasing effects, the shift is very small. The phase difference between the modulated and direct signals causes cancellation at some frequencies and reinforces the signal at others and this causes the shimmering sound we hear. For chorus and flanging the signal is delayed by several milliseconds, with the delay time modulated by an LFO, and recombined with the direct signal.

In addition to the phasing effect described above, the delay modulation causes a perceived pitch shift which, when mixed with the direct signal, results in a harmonically rich swirling or swishing sound. The difference between chorus and flanging effects is primarily in the amount of delay time and feedback used–flanging uses longer delay times than chorus, whereas chorus generally uses a more complex delay structure.

Compression

One form of compression known as “limiting” can, when properly used, produce a smooth, unified sound with no excessive peaks or distortion. A common example of the use of compression is to “tame” a vocal that has a wide dynamic range in order to tighten up the mix. With the right amount of compression, you’ll be able to clearly hear whispered passages while passionate shouts are still well balanced in the mix. Compression can also be valuable on bass guitar. Too much compression can cause feedback, however, so use it sparingly. Most compressors require several critical parameters to be set properly to achieve the desired sound. The MG compressor makes achieving great sound much easier: all you need to do is set a single ”compression” control and all of the pertinent parameters are automatically adjusted for you.

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Caution!

  • To prevent fire or shock hazards, do not expose the unit to rain or moisture.
  • Do not open the top cover (or the rear section), high voltage exists inside the unit dangerously. No user-serviceable parts inside.
  • Refer servicing to qualified personnel.
Precautions!
  1. Do not use this apparatus near water, if any liquid or water falls into the cabinet, unplug the unit and have it checked by qualified personnel before operating it any further.
  2. Clean only with a dry cloth.
  3.  Do not block any ventilation openings.
  4.  Be sure that there is enough space around the unit for cooling purposes, do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
  5. Operate only on the designated power supply which is printed on the unit.
  6.  Unplug the unit from the wall outlet or set the Master to switch to OFF if it is not to be used for several days.
  7.  To disconnect the cord, pull it out by the plug. Never pull the cord itself.
  8. Please note that all units are properly grounded, for your safety, you should never remove any ground connectors from electronic devices, or render them inoperative.

Connection Diagram

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4/6/8/12/16 Input Channel Mixer, New Multi-Voltage Power Supply for Worldwide Use 4/6/8/12/16 Input Channel, Powered Mixer
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  •  Built-in Bluetooth connects the mobile phone or to another Bluetooth player
  • The built-in MP3 player supports a variety of music formats
  •  Connect the computer to record and play music
  • Digital DSP, 16 Multi-FX effects
  • Ultra-musical 3-band EQ on all channels
  • Peak LED all Channels
  •  High accurate level indicator
  • Phantom power switch (+48V )
  • Sealed rotary controls to resist dust and grime
  •  Rugged steel chassis

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  1. MIC Input jacks These are balanced XLR-type microphone input jacks. (1: Ground; 2: Hot; 3: Cold)
  2. LINE Input Jacks (monaural channels) These are balanced TRS phone-jack line inputs. (T: Hot; R: Cold; S: Ground). You can connect either balanced or unbalanced phone plugs to these jacks.
  3. GAIN Control Adjusts the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the gain so that the PEAK indicator only occasionally and briefly on the highest input transients. The -60 to +10 scale is the MIC input adjustment range. The 40 to +10 scale is the LINE input adjustment range.
  4.  Equalizer 3 (HIGH, MID, and LOW) This three-band equalizer adjusts the channel’s high, mid, and low-frequency bands. Setting the knob to the “0” position produces a flat response in the corresponding band. Turning the knob to the right boosts the corresponding frequency band while turning to the left attenuates the band.
  5.  AUX Control Used to adjust the output to the AUX pin signal level.
  6.  FX Control Adjusts the level of the signal sent from the channel to the FX SEND buses.

INSTALLATION

Cable Connections
You will need a large number of cables for the various connections to the console. The image below shows the wiring of these cables. Use only HIGH-GRADE cables

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Audio Connections
Use commercial RCA cables to wire the 2-track input and output. You can also connect unbalanced devices to the balanced input/output. Use either mono plugs, or use stereo plugs to link the ring and shaft (or pins 1 & 3 in the case of XLR connectors).

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CAUTION!
NEVER USE unbalanced XLR connectors (PIN 1 and 3 connected) at the MIC input jacks if you want to use the phantom power supply.

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TROUBLESHOOTING

If a problem occurs while operating, use this troubleshooting guide to help remedy the problem before requesting repairs. If the problem persists, consult your nearest dealer.

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PMXU46BT ˛ PMXU67BT ˛ PMXU88BT ˛ PMXU128BT
Bluetooth Studio Mixer – DJ Controller Audio Mixing Console System

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Features:

  • DJ & Studio Console Mixer System
  •  Built-in Bluetooth Wireless Receiver
  • FX (Analog Effects) & 16 Bit DSP processor
  • Direct-to-Computer Connect & Sound Record Ability
  • 7-Band EQ
  • 32-Bit Dual Engine DSP
  • 24-Bit ADC DAC Converter
  • FX Configuration Adjustment Controls
  • Rotary Adjustment Knobs & LED Indicator Lights
  •  MP3 Digital Audio File Compatibility
  •  USB Flash Drive Reader
  • USB Port for Desktop Connection
  •  Connect & Stream Audio from External Devices
  •  (2) 1/4’’ (L/R) MAIN Outputs
  • (2) XLR/14’’ Combo Audio LINE/Microphone Inputs
  • 1/4’’ Mono + Stereo Inputs
  • 1/4’’ Send + Return Inputs
  •  1/4’’ Headphone Jack
  •  Stereo Level Fader/Slider
  •  Output Signal Level Indication
  •  BUS Audio Control, Sound Routing
  •  PAD Channel Source Input Switch
  • Independent Channel Input Audio Configuration
  •  Gain, High, Mid, Low, FX/Send, Level, Base + Tone Adjustment
  • +48V Phantom Power Control
  •  Power ON/OFF Switch
  •  Used for Professional Studio Applications & On-Stage Performances

Wireless Bluetooth Connectivity:

  • Hassle-Free Audio Streaming Ability
  •  Works with All of Today’s Latest Devices (Smartphones, Tablets, Laptops, Computers, etc.)
  • Bluetooth Network Name: ‘KG-08A’
  • Bluetooth Version: 2.0
  •  Wireless Range: 16.4’ ft.

Technical Specs:

  •  Mic Input: Sensitivity/Impedance: 1.5mV/750 Ohm
  •  Input Frequency Response: 20Hz-20kHz, +/-3dB
  • Input Distortion: 0.03%, 1kHz/150mV Input
  • Channel GAIN Adjustment: +20/+64 (-6/+38)
  •  HIGH Gain: +/-15 dB, 12kHz Frequency Shelving
  • MID Gain: +/-15 dB, 2.5kHz Frequency Shelving
  • LOW Gain: +/-15 dB, 80kHz Frequency Shelving
  • HIGH/MID/LOW Adjustment: -15/+15dB
  • Stereo Output Level Meter: 12-segment (+6, +3, 0, -3, -10dB)
  • PAD Input Channel Adjustment: 26dB
  • Peak CLIP Level: < 3dB
  •  Phantom Power Voltage: +48V
  •  Power Supply: 100-240V (+/-15V DC Power Adapter)
  •  Digital Audio File Compatibility File-Types: MP3, WAV
  •  Sold as: 1

Reference Link

https://www.pyleaudio.com/products/sound-and-recording/Mixers—DJ-Controllers

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