boytone BT-88MX 9-Channel Professional Sound Mixer Instruction Manual

BT-88MX

Instruction Manual

PRECAUTIONS – SAFETY INSTRUCTIONS-

WARNING

INSTALLATION

• Do not allow water to enter the device, or make it wet. Doing this may result in fires or electric shocks.
• Do not place containers filled with liquid or small metal objects on this device. Or the liquid or small metal objects may fall into the device and result in fires or electric shocks.
• Do not place heavy objects (including this device) on the power cord. Otherwise, it may damage the cord, thus resu
• kings in fires or electric shocks. Take special notice not to place heavy objects on the cord covered under the carpet.

OPERATIONS

• Do not cut. bend, twist, stretch or heat the power cord. Otherwise. it may damage the cord, thus causing fires or electric shocks.
• Do not open the cover shell of this device. Or. it may result in electric shocks.if you consider it necessary to detect. maintain or repair the internal pans, please contact the sales agent.
• Do not try to modify this device. Or, it may result in fires or electric shocks.
• When there are electrical storms, turn off the power switch of this device and remove the power plug.
• When there is lightning, do not touch the power plug in the condition of being connected. Otherwise, it may result in electric shocks

WHEN THERE ISANY ABNORMALITY DURING THE OPERATION

• Cram power cord becomes damaged (such as broken or having wires exposed). please obtain a replacement from the sales agent. Continuing to use this device with a damaged cord may result in fires or electric shocks.
• if you find any abnormality such as smoking. smelling, noise. foreign matters or liquid entering the interior of this device, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the device repaired by the sales agent. Continuing to use may result in fires or electric shocks.

WARNING

INSTALLATION

• Avoid using this device in the following occasions:
  – Exposure to the splashing oil or steam in the places such as close to kitchen ovens, moisturizers, CTC
  – On unstable surfaces, such as shaking table surfaces or slanting surfaces.
  – Exposure to overheating places such as in a car with windows shut or under the direct sunlight.
  – Exposure to the places with high moisture or piling up dirt

• When removing the electric plug from an AC power outlet, do not pull the cord by itself. Pulling by the cord cen damage it, and result in fires or electric shocks.

• Do not touch the power plug with wet hands. Or it may result in electric shocks.

• lf you want to move this device, disconnect the power plug from the AC power outlet first, and remove all connecting cables. It may otherwise damage the cables and cause fires or electric shocks.
  OPERATION

• Do not use cloth or carpet to cos er or wrap the AC power adaptor. Otherwise, the heat will accumulate in the cloth or carpet, melting the shell of the adaptor or causing fires. t Ise it under good ventilation.

– CORRECT OPERATION INSTRUCTIONS-

THE DIVISION OF LABOR OF THE CONNECTING PINS

• XLR connection pins shall be wired as shown below Pin I: ground wire; Pin 2: hot wire (+); Pin 3: cold (-)

• INSERT TRS headphone jack wiring as follows: Sleeve: ground wire;
  Tip: signal sending; Ring: returns a signal.
  CONSUMABLE REPLACEMENT

• The performance of components that are in constant dynamic contacts, such as switches, rotary controls, menu-‘tors, and connection pins, declines over time. Although
  the wear rate varies greatly with the use of different conditions, n certain degree of wear is inevitable. In case of component failure, please contact the agent dealer for replacement.
  Interference from cellular phone calls

• Using a mobile phone near the device may cause noise.

• When making noise. use your mobile phone away from the device. W When the mixer is not in use, turn off the power.

• When the power switch is in the standby position, there is still a trace of current in the mixer. When determined not to be used for a long time, be sure to remove the power plug from the AC power socket.
  The drawings in this manual its for illustration only and may differ from the actual appearance

PREFACE

This mixer is easy to operate and can support various operating environments. Ideal for setup, various installation systems, and many other purposes. In order to maximize the super function of this mixer and extend the normal service life, please read this user manual carefully before using it.
FUNCTION

• Multiple input channels can be provided and these signals are mixed into a stereo and grouped output signals.
• Because of the high-quality internal digital effects, can provide a wide range of effects directly. It also has a SEND socket that can be connected to an external effector.
• The monitor is equipped with a handy phone socket. The socket can be used to monitor the main stereo output signal, PFL signal. or 1-2 groups of signals.
• The mixer is also equipped with an AUX SEND socket and a single RETURN socket. AUX communication buses can send signals to external speaker effectors and monitoring systems.
• The virtual power supply may require a convenient connection to a capacitive microphone connected to an external power supply.
• The single sound channel input channel is equipped with an XLR microphone input socket and TRS crisis linear socket respectively. Stereo input channels are equipped with TRS linear input jack and RCA linear input jack respectively. These various socket integrations allow the mixer to be connected to many different types of sound sources equi-percent, including microphones. linear level devices, and even stereo output synthesizers.

Mixer Basics

You’ve got yourself a mixer and now you’re ready to use it. lust plug everything in, twiddle the controls, and away you go•right? Well, if you’ve done this before, you won’t have any problem, but if this is the first time you’ve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance and make better mixes,
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, and 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 arc fine unless you’re surrounded by extremely high levels of electromagnetic noise. Another place balanced i 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.

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 car is given an arbitrary value 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 he 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 d13: dI3V, IBM, and others, but the dBu is the basic decibel unit. In the case of DBU, “0 dates is specified as a signal level of 0.775 volts. For example. if a microphone’s output level is -40dBu (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 to match input and output levels as closely as possible. In most cases, the “nominal” level for a mixer’s inputs and outputs is marked on the panel or listed in the owner’s manual.

Quick Guide

1. Be sure that your mixer is turned oft and that all level controls* are turned all the way down.
   • STEREO OUT Master fader, Channel faders, GROUP 1-2 faders, GAIN controls, etc.
   Note: Set the equalizer and the PAN controls to their ► positions.

2. Turn off any other external devices, a* then connect microphones, instruments and speakers.
   Note:
   • Connect electric guitars and basses through an intermediary device such as a direct box, preamp, or amp simulator. Connecting these instruments directly to the professional audio mixer may result in degraded sound and noise.

3. To avoid damage to your speakers, power up the devices in the following order: Peripheral devices—professional audio mixer—power amps (or powered speakers). Reverse this order when turning the power off.
   NOTE: If you use a microphone that requires phantom power, please open the mixer illusions after the power switch, then open the power of the active power amplifier or speakers.

4. Adjust the channel CAIN controls so that the corresponding PEAK indicators flash briefly on the highest peak levels. Note: To use the level meter to get an accurate reading of the incoming signal level, turn the channel PH- switch on. Adjust the GAIN controls so that the level meter indication occasionally rises above the “110 (0) level.

5. Set the STEREO OUT Master fader 5 to the “0” position.

6.  Set the Channel faders to create the desired initial balance, then adjust the overall volume using the STEREO OUT Master fader.
   NOTE:
   • To use the level meter to view the level being applied to the STEREO L/R buses.
   • If the PEAK indicator lights frequently, lower the Channel faders a little to avoid distortion.

Front panel and rear panel

Channel control section

1. MIC/LINE Input jack
   Can connect X IR socket and TRS type plug. Connect to the microphone or musical instrument you want to use.

2. INSERT socket
   Each of these sockets provides an insertion point between the equalizer and attenuator of the corresponding channel A. this insert% can he used to independently access devices such as graphic equalizers. compressors. or noise filters to the appropriate channels. These jacks arc the TRS(tip. ring, sleeve) headphone jacks, which can carry both sending and returning signals (tip – send/output; Ring = return/input; Sleeve ground wire)
   When assigning an external device via an INSERT socket, you need to use a dedicated socket cable as shown in the figure below (socket cables arc available separately)
   **** The output signal of be IN CI’ RT v>ckn u reversed Tkn sboskInn evet4on Wa tenecznag n Wens wire. Kt is re we Out DNA ion In Otos e. abet. abet ceineenng to other types of devices

3. GAIN control knob
   Adjust the input signal level. In order to achieve the optimal balance between SNR and dynamic range, the adjustment gain causes the PEAK indicator ( 12 ) to occasionally and briefly light up only at the highest instantaneous input PEAK.

4. Equalizers (HIGH. MID, and LOW)
   The tri-band equalizer can adjust the high, medium, and low frequencies of the channel. Setting the knob to ” ‘ gives you a flat response on the right frequency band. Turning the knob to the right enhances the corresponding frequency range while turning to the left weakens it. The monophonic channel has Mit) frequency control to adjust the middle frequency band. The following table shows the EQ types, frequencies, and maximum reduction/enhancement of the three frequency bands. Band| Type| Frequency| Maximum Cut) Boost
   ---|---|---|---
   111611| Shelving| 12 kilt| + 15 dB
   MID| Peaking| 1 1 011t–1 kilt (variable)
   LOW| Shelving| 80 Hz

5. AUX control knob
   Adjust the signal level sent from the channel to the AUX bus. This knob should usually be set close to “.On the stereo channel, the L and R channel signals are mixed and sent to the AUX bus.

6. EFFECT control knob
   Adjust the level of the signal to the EFF SEND jack

7. The PAN control knob
   adjusts the STEREO position of channel signals on the STEREO Land R bus.

8. MUTE Indicator light
   Press the MUTE switch the lamp indicator light goes red.

9. PEAK light
   Detect the peak level of the signal after EQ. When the level reaches 3dB below clipping, the PEAK indicator lights up in yellow.

10. SOLO switch
    The switch is used to monitor the channel front attenuator signal. Press the switch ( ) to turn on the light. When the switch is turned on. the channel’s pre-attenuation signal is output to the phone interface for listening.

11. G1 – G2 switch
    This switch outputs channel signals to GROUP I and 2 buses.

12. ST switch
    This switch outputs channel signals to the STEREO I_ and R bus.

13. Channel attenuator
    Adjust the level of the channel signal. These attenuators are used to regulate the balance between the channels.
    The 2TRK IN control knob IN the main control section can be used to adjust the signal level.

Master control section

1. LPF of socket
   Low pass filter output

2. MAIN OUT (L, R) jack
   This poi i. transmit stereo output from professional audio these sockets can be used to connect to the power amplifier that drives the main speaker. These pins can also be connected to a recording device while recording the stereo output of a professional audio mixer while using the MAIN OUT attenuator for level control.

3. GROUP Jack
   These impedance-balanced headphone jacks can output GROUP signals. These sockets can be used to connect to the input sockets of multitrack recorders or other such devices

4. SEND Jack
   AUX is an impedance balanced headphone jack. This port outputs signals from the AUX bus and can be used to connect effects units, video filters, or other listening This is an impedance balanced headphone jack that outputs a signal from the EFFECT bus and connects to the external effects unit.

5. Music player
   A high-quality music player will store MP3. WMA and other music files of the U disk into the player jack. through the USB knob to control the playback of high-quality music. This player comes with a Bluetooth function and recording function, using the “MODE’ button to switch.

6. Mp3 control knob
   Adjust the signal level of the USB music player to the MAIN bus.

7. LED level Indicator light
   This LED meter shows the signal levels of MAIN and PHONES. The 0″ segment corresponds to the nominal output level. When the output level reaches clipping power, the red light will be on.

8. RETURN control knob
   Adjust the level at which the RETURN jack L (MONO) and the L/R signal received by R are sent to the Max bus.

9. PHONES control knobs
   The knob can control the volume of the earphone

10. ST/G1-G2 switch
    This switch switches the output signal of ST or GROUP to PHONES for listening and is displayed by the LED level meter.

11. PHONES jacks
    Headphone (Inflection jack. this is a balanced ear model output jack.

12. REC OUT
    These RCA pin pins can be connected to external recorders such as the MD recorder to record the same signals as the STEREO Ot IT jack output.
    The S FIRE° 01 I main attenuator on the miser has no effect on the output of these sockets. De sure to make appropriate comments and adjustments on the recording equipment.

13. 2TRK IN
    These RCA pins arc used to input stereo sound sources. If you want to connect the CD player directly to the tuning desktop. use this pons. The 2TRK IN control knob IN the main control section can be used to adjust the signal level.

14. RETURNS (MONO) socket
    These are non-balanced headphone plugs with linear input ports. Signals received by these ports are sent to the STEREO LiR bus and AUX bus. When the stereo signal is returned, the mono mix of the signal is sent to AUX I and AUX2 buses. These pins are generally used to receive signals from exter­nal effects devices (reverb, delay. etc.).
    • These pins are also used as auxiliary stereo inputs.
    •  If you only link to the L t MONO) jack, the mixer will treat the signal as a MONO and send the same signal to the Land R pins

15. ROOM(LIR) non-equilibrium jack
    This output is the left and right channel output of the KTV room.

16. PHANTOM +48 power switch
    With this switch, the phantom power supply can be turned on or off. When this switch is turned on. the mixer will supply 4 4$v phantom power to channels with input sockets for XLR microphones. Turn this switch on when using one or more capacitor microphones powered by phantom power. When this switch is turned on. the miser will supply DC  power to pin 2 and pin 3 of all XLR MK’s INPUT pins.
    **** If you do not need phantom power, be sure to turn off the switch I AL I ‘ When thus switch ( a) is tut nod on, be sure to connect only deuces collet than the condenser microphone to the phantom power supply this may damage the device Note, how es cr. that this switch may marlin on when connected to a balanced moving coil microphone. To avoid damaging the speaker, be sure to turn off the power =plain for active speaker) before turning on or off the switch It is recommended that you adjust all output control buttons Imam-L, main-R MAIN encounters to the minimum setting before operating this switch, so as to avoid hearing damage or equipment. cm damage caused by excessive noise

17. 2 TRK control knob
    Adjust the level signal sent from the 2TRK IN jack to the STEREO Lilt bus.

18. PROGRAM data plats
    Select one of 24 internal effects. For more information about internal effects, See page II.

19. PARAMETER knob
    Select one of 24 internal effects. For more information about internal effects. See page II.
    =When you snitch to • different effect type. the miser will automatically restore the previously used PARAMETER values for the newly selected effect (regardless of the current position of the PARAMETER control knobt. When the posher was turned oft the ‘, ammeter 1. Altm• will be reset

20. FX TO AUX1, FX TO AUX2 control knob
    Adjust the signal level of the effect sent to the AUX I .AUX2 jack

21. RET TO AUXI, RET TO AUX2 control knob
    Adjust the signal level returned to the AUX I.AUX2 jack.

22. AUX1.AUX2 control knob
    Adjust the signal level sent to AUX I.AUX2 jack.

23. AUXI, AUX2 control knob
    Adjust the input signal level. To achieve the optimal balance between SNR and dynamic range, the adjustment gain causes the PEAK indicator to light up only occasionally and briefly at the highest instantaneous input PEAK.

24. EFFECT control knob
    Adjust the signal les el to the EFF SEND jack.

25. EFF MUTE switch
    Open the tube to close the internal effect. Only when this switch is turned on can internal effects be applied. The yellow light is on when the switch is off (pressed).

26. PEAK light
    The signal peak level after detecting EQ. When the level reaches Adli below clipping, the PEAK indicator lights up.

27. SOLO switch
    I ion on this switch to send a digital effect signal to the PFL bus. Press the switch (s I to turn on the light. When the switch is turned on, the channel’s pre-attenuation signal is output to the phone interface for listening.

28. G1-02 switch
    This su itch outputs digital effect signals to GROUP I and bus .2
    Digital effects section and back panel input? output section
    ****

29. ST switch
    Thes switch outputs the digital effect signal to the MAIN I. and R buses,

30. EFFECT attenuator
    Adjust the level of the digital effects signal transmitting the large STEREO bus.

31. LPF attenuator
    Used to regulate the signal level sent to the LPF jack.

32. ROOM attenuator
    Used to adjust the signal level sent to the ROOM jack.

33. GROUP attenuator
    Adjust the signal level sent to the GROUP OUT jack.

34. STEREO attenuator
    Used to regulate the signal level sent to the STEREO OUT jack.

35. POWER
    Power switch.

36. AC INPUT socket
    ACI 7V input. connect the supplied AC power adapter to this socket.

**** Only use the power adapter that comes with the mut. Using other power adapters may cause fire or electric shock

List of digital effects

concert hall
2| REV IIALL 2| Reverb Time
3| REV ROOM 1| Revcrb Time| Simulates the reverberation of the acoustic environment in a small space (room)
4| REV ROOM 2| Revcrb Time
5| REV STAGE I| Reverb Time| Simulate the reverberation of a large stage.
6| REV STAGE 2| Reverb Time
7| REV PLATE| Reverb Time| Simulate the metal reverberation unit to produce more sharp reverberation.
8| DRUM AMB| Reverb Time| Short reverberation. especially for drum sets
9| EARLY REF| Room Size| This effect separates only the early reflection from the reverberation. creating a more “showy effect than normal reverberation.
10| GATE REV| Room Size| This effect cuts the reverberation tail in half.producing a more powerful sound.
II| SINGLE DLY| Delay Time| The effect of repealing the same sound only once.Shortening the delay time doubles the effect.
12| DELAY| Delay Time| Add feedback delay for multiple delay signals.
13| VOCAL ECHO| Delay Time| Used for the echo of a common chorus.
14| KARAOKE| Delay Time| Used as an echo fur karaoke.
15| PHASER| LEO° Freq| Loop changes phase to add modulation to sound.
16| FLANGER| LEO Freq| Add a debug sound to the to sound Introduce a pulsating sound similar to that of a jet engine.
17| CHORUS I| LEO’ Freq| Multiple layers of sound are added with different delay times to create a thick replaying sound.
18| CHORUS 2| LFO• Freq
19| SYMPHONIC| LEO Depth| Add a richer texture to the sound
20| TREMOLO| LEO* Freq| The effect of adjusting the volume in a loop.
21| AUTO WAH| LEO’ Freq| Wow effect with periodic filter modulation. The [PARAMETER] knob can adjust the speed of the LIFO° modulated to the ”waV filter.
22| RADIO VOICE| Cutoff Offset| Recreate the low-fidelity sound of an am radio. The PARAMETER knob is used to adjust the frequency band to be enhanced.
23| DISTORTION| Drive| Add mutation distortion to the sound.
24| PITCH CHANGE| Pitch| This effect changes the pitch of the signal.

“L FO” means low-frequency oscillator. LEO is commonly used to periodically modulate another signal with different waveform shapes and modulation rates.

Jack list

Pin 2: Hot (+)
Pin 3: Cold (-)INPUT OUTPUT| INPUT-OUTPUT
LINE INPUT (monaural channels GROUP OUT. STEREO OUT. MONITOR OUT, AUX SEND, EFFECT SEND| Tip:   Hot     (+)
Ring: Cold (-)
Sleeve: Ground|
I NSERT| Tip: Output Ring: Input Sleeve: Ground
PHONES| Tip: L Ring: R Sleeve: Ground
RETURN LINE INPUT (stereo channels)| Tip: Hot Sleeve: Ground|

• Them: jacks will also accept connections to phone plugs. If you use monaural plugs, the connection still is unbalanced.

Specifications

■ Input Specifications

Input Connectors| Gain| Maul| Impedance)impedance Appropriate| Sensitivity’| Nominal Level| Ma bethge Gipping| Connector
SpeCitait)003
---|---|---|---|---|---|---|---
CH INPUT MIC| 60 aB| 3k0| 50-603U
Mks| -83 oBu ( 0 076 rn’i )| -Walla ( 0 775 mY )| -4C da, I 7 75 “nr )| XLR 3.31 type (balanced :1- GNO. 2.HOT 34401 Tr
– le dB| -36 deu ( 123mV )| -16 dB, ( 123mV )| a Mu ( 1 23V )
CH INPUT LINE| -34 dB| 10k0| 60011 Lines| -54 diu ( 155 mV )| -31108u ( 15 5 InV 1| -1406u ( I% rrN I| TRS phone jack (balanced (Tip .. Not. Ring. Cold. Sleeve . ONO’
.10dB| _ 10 au ( 245 mV)| •1003u ( 2 45 V )| .30 dBu (245V)
RETURN
(L• R)| | 104 fl| 60011 Lines| -1203u ( 195 mV )| .4 dB° ( t 23 V )| .24 dBu ( 123 V )| Phone jack (unbalanced)
RCA pin Jack
2TR IN (1.. R)| –| WkIl| WOO Lines| -203dBV ( 50i mV )| -10dBV ( 0 316V 1| .1003V ( 3 16 V )

Where 0 dB a 0.775 Vrms, 0 dB 1 Vrms • Sensitivity: The lowest level that will produce an output of +4dB (1.23 V), or the nominal output level when the unit is set to the maximum level. (All faders and level controls are at their maximum position.)

Output Specifications

Output Connectors| Output
Impedance| Appropriate Impedance| Nominal Level| Max. before
clipping| Connector Specifications
---|---|---|---|---|---
MAIN OUT ( L• R)| 7611| 600L1 Lines| .4d13u ( 1 23 V )| .24 dflu ( 12 3 V )| XLR-3-32 type ‘balanced I aGND.
2•HOT, 3.COLD I /
phone lack (balanced t Tip . HOT. Ring – COLD, Sleeve – GNI)!
EFFECT/AUX
I AUX’ • 2’1 SEND| 150TI| 10k0 Lines| +eau ( 1 23 V 1| +20 au ( 7 75 V)| phone jack (impedance balanced (Tip a Not, Ring a Cold. Sleeve an ONO/
REC OUT ( L . R)
PHONES OUT| soon
WOO| Mal Lines| tO dBv (031e V)
3 truW| • tO cil3V ( 3.16 V )
7S MW| RCA pin jack
400 Phones| STEREO phone jack

Socket connection

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