PYLE PMXU46BT 4 Channel Audio DJ Mixer User Manual
- June 13, 2024
- Pyle
Table of Contents
PYLE PMXU46BT 4 Channel Audio DJ Mixer
Product Information
- Product Models: PMXU46BT, PMXU67BT, PMXU88BT, PMXU128BT
- Product Type: Wireless BT Streaming Studio Mixer DJ Controller Audio Mixing Console System
Balanced, Unbalanced- What’s the Difference?
Balanced lines provide noise cancellation and are recommended for most
professional mixers, power amplifiers, and equipment. Unbalanced lines can be
used in relatively noise-free environments.
In a word: “noise.” The whole point of balanced lines is noise rejection,
and its some-thing 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
Signal Levels and the Decibel
Most professional equipment has inputs and outputs with a nominal level of +4
dBu, while home-use audio gear usually has a nominal level of -7.8 dBu (-10
dBV). Microphone signal levels vary depending on the type of microphone and
source. 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, and 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. You might encounter a number of different
varieties of the dB: dBu, dBV,dBM and others, but the dBu is the basic decibel
unit. In the case of dBu, “0 dBu” is specified as a signal level of 0.775
volts. For example, if a microphone’s output level is -40 dBu (0.00775 V),
then to raise that level to 0 dBu (0.775 V) in the mixer’s preamp stage
requires that the signal be amplified by 100 times. A mixer may be required to
handle signals at a wide range of levels, and it is necessary match input and
output levels as closely as possible. In most cases the ”nominal” level for a
mixer’s input and outputs is marked on the panelor listed in the owner’s
manual.
To EQ or Not to EQ
Proper use of EQ can eliminate interference between instruments and improve
sound definition. Boost should be used sparingly and with caution.
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 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 instru-ments in the lower ranges will have
better definition. Surprisingly enough, 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 instru-ments.
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
Some Frequency Facts
The lowest and highest frequencies than 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 300Hz 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 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.
Ambience
Reverb and delay time settings should be adjusted based on the music’s tempo and density. Longer reverb times are suitable for ballads, while shorter reverb times are better for up-tempo tunes. Delay times can create various grooves. Your mixes can be further refined by adding ambi• ence eflecls such as reverb or delay.The internal effects can be used to add reverb or delay to individualchannels in the same way as exlernal effects processors.(Refer to page 15).
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 tone” 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 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. Chorus is most
often used to thicken the sound of an instrument, while flanging is usually
used as an outright “special effect” to produce other worldly sonic swoops.
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.
Caution!
- To prevent fire or shock hazard, do not expose the unit to rain or moisture.
- Do not open the top cover (or the rear section), high voltage exist inside the unit dangerously. No user serviceable parts inside.
- Refer servicing to qualified personnel.
Precautions!
- Do not use this apparatus near water, if any liquid or water fall into the cabinet, unplug the unit and have it checked by a qualified personnel before operating it any further.
- Clean only with dry cloth.
- Do not block any ventilation openings.
- 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.
- Operate only on designated power supply which is printed on the unit.
- Unplug the unit from the wall outlet or set the Master switch to OFF if it is not to be used for several days.
- To disconnect the cord, pull it out by the plug. Never pull the cord itself.
- Please note that all units is properly grounded, for your safety, you should never remove any gound connectors from electronic devices, or render them inoperative.
The Modulation Effects
Chorus is commonly used to thicken the sound of an instrument, while flanging is an effect used to create unique sonic swoops.
Product Usage Instructions
- When connecting audio equipment, use balanced lines for optimal noise cancellation.
- For short line-level runs, unbalanced lines can be used in relatively noise-free environments.
- For long line-level runs, consider the ambient electromagnetic noise level and prefer balanced lines.
- Ensure that microphone signal levels are compatible with the mixer’s input levels.
- Use EQ sparingly and with caution, focusing on cutting certain frequency ranges rather than boosting.
- Adjust reverb and delay time settings based on the tempo and density of the music being mixed.
- Select a reverb program that provides the desired depth without compromising the clarity of the mix.
- Gradually bring the reverb level into the mix until it is perceptible but not overwhelming.
- Experiment with chorus and flanging effects to enhance the sound of instruments or create special audio effects.
Connection Diagram
Built- in Power Amplifier
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
- Built-in Bluetooth connects the mobile phone or in other Bluetooth player
- Built-in MP3 player that supports 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
-
MIC Input jacks
These are balanced XLR-type microphone input jacks. (1: Ground; 2: Hot; 3: Cold) -
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. -
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. -
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. -
AUX Control
Used to adjust the output to AUX pin signal level. -
FX Control
Adjusts the level of the signal sent from the channel to the FX SEND buses. -
PEAK LED
The PEAK-LED lights up when the input signal is driven too high. If this happens, back off the TRIM control and if necessary, check the setting of the EQ channel. -
PAN Control
The PAN control determines the position of the channel signal within the stereo image. When working with sub groups, you can use the PAN control to assign the signal to just one output, which gives you additional flexibility in recording situations. -
MUTE Switch
The MUTE switch breaks the signal path pre-channel fader, hence muting that channel in the main mix. The aux sends which are set to post-fader are likewise muted for that channel, while the pre-fader monitor paths remain active irrespective of whether the channel is muted or not. -
PFL Switch
The PFL switch is used to route the channel signal to the the PFL bus (Pre Fader Listen). This enables you to listento a channel signal without affecting the main output signal. The signal you hear is taken either be fore the pan control (PFL mono) . -
CHANNEL FADER
Adjusts the level on the channel signal. Use these faders to adjust the balance between the various channels. -
TAPE INPUT/OUTPUT SOCKET
The TAPE IN jack (on stereo RCA) allows the connection of play-back devices such as CD players etc. Use the TAPE OUT jack to connect, for example, a tape deck for recording applications. -
AUX/RETURN jacks
These are unbalanced phone-jack type line inputs. These jacks are typically used to receive the signal returned from an external effect device (reverb, delay, etc.). These pins can be connected, such as the effect of external equipment. -
SUB Jack Bass Output Jack
-
Main IN/OUT (L,R) Jacks
These jacks delivers the mixer’s stereo output. You use these jacks to connect the power amplifier to your main speakers. -
EFFECTOR DISPLAY: Shows the kind of effector.
-
PROGRAM Control
You can select the effects preset by turning the PROGRAM control. The display flashes with the number of the current preset. To recall the selected preset, press ON the button; the flashing stops. You can also recall the selected preset with the foot switch. -
DSP MUTE SWITCH: Mutes the DSP or effects.
-
AFL SWITCH
The AFL switch is used to route the channel signal to AFL bus (post-fader listen), it allows you to listen to a channel signal that is affected by the main output signal. The signal you hear is taken after PAN control. -
FX Control Used to adjust size effect.
-
PARAMETER Control
Used to adjust the depth of the selected effect, speed, etc. -
ST GRAPHIC EQUALIZER
This 7-band equalizer adjusts the sound of the signal sent to the MAIN OUT jacks. -
+ 48 V PHANTOM Power This switch toggles phantom power ON and OFF. When the switch is turned ON, the mixer supplies +48V phantom power to all channels that have XLR mic input jacks. Turn this switch ON when using one or more phantom-powered condenser microphones.
-
+48 V Indicator: This indicator lights up when the +48V is turned ON.
-
POWER Indicator: This indicator lights up when the mixer is turned ON.
-
Level Meter: Shows the signals level
-
AUX Control: Used to adjust the output to the AUX pin signal level.
-
RETURNS Control: Adjusts the level at which the signal received at the RETURN jacks (L (MONO) and R) is sent to the STEREO L/R bus.
-
TAPE Control: Used to adjust the output to the TAPE pin signal level.
-
EQ IN SWITCH: Use this switch to activate the graphic equalizer.
-
PHONES Control: Controls the level of the signal output to the PHONES jack OUT jacks.
-
PHONES Jacks: Connect a pair of headphones to this TRS phone-type output jack.
-
MP3 Control
-
Selected Songs / Play / Pause: When playing music, rotate to change up /down the song, press to pause / play.
-
Recording: When playing music, long press to record, short press to finish recording and enter to playback the recorded music. When playing the recorded music, short press to switch into playing the USB music first track. When playing the USB music, short press to switch into playing the recorded music first track
-
Mode/Repeat: Short press to switch into USB model or BLUETOOTH, long press to repeat the current song. While playing the current song, long press to return to normal play.
-
MP3 player EQ: Adjust the MP3 Player two-band equalizer level.
-
FX SEND Fader: Control effect input signal level.
-
MP3 VOL Fader: To increase or decrease the MP3 VOL.
-
SUB Fader: Adjust the SUB output level.
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MAIN MIX Fader: High-precision quality faders to control the output level of the main mix.
-
POWER Switch
Use the POWER switch to turn ON the mixing console. The POWER switch should always be in the “OFF” position when you are about to connect your unit to the mains. To disconnect the unit from the mains, pull out the main cord plug. When installing the product, ensure that the plug is easily accessible. -
FUSE HOLDER / IEC MAINS RECEPTACLE
The console is connected to the mains via the supplied cable, which meets the required safety standards. Blown fuses must only be replaced by the same type and rating. The mains connection is made via cable with IEC mains connector. The appropriate mains cable is supplied with the equipment. -
AMPLIFIER OUTPUT: Connect with two 4ohm speakers.
-
COOLING FAN: Cools the amplifier to avoid overheat.
INSTALLATION
Cable Connections
You will need a large amount of cables for the various connections of the
console. The image below shows the wiring of these cables. Use only HIGH GRADE
cables
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).
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.
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.
PMXU46BT ˛ PMXU67BT ˛ PMXU88BT ˛ PMXU128BT
Bluetooth Studio Mixer – DJ Controller Audio Mixing Console System
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
What’s in the Box:
- Bluetooth Studio Mixer
- Power Adapter Cable, 3-Pin
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
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