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For the best results and the satisfaction from your new unit, please read this manualthoroughly, and retain it for future reference.
Balanced, Unbalanced-What's the Difference?
In a word: " noise ." The whole point of balanced lines is noise rejection, and its 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 fine-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
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.
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 dBu (-10 dBV) .
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.
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Microphone signal levels vary over a wide range depending on the type of microphone and the source. Avarage speech is about -30 dBu , 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 dBu www.PyleUSA.com
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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 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 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 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
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.
Fundamental: The frequency that determines the basic musical pitch.
Harmonics: Multiples of the fundamentalfrequency that play a role
in determining the timbre of the instrument.
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Ambience
Your mixes can be further refined by adding ambience 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 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.
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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.
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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!
1. 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.
2. Clean only with 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 designated power supply which is printed on the unit.
6. Unplug the unit from the wall outlet or set the Master 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 is properly grounded, for your safety, you should
never remove any gound connectors from electronic devices, or render them
inoperative.
Contents
Balanced, Unbalanced - What's the Difference?
Signal Levels and the Decibel
To EQ or Not to EQ
Ambience
Contents
Connection Diagram & Functional Specification
Installation
Troubleshooting
Features and Specifications
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6
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Connection Diagram
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6/8/12/16 Input channel mixer,
New multi-voltage power supply for worldwide use
6/8/12/16 input channel, powered mixer
• 6/8/12/16 channels mixer
• Built-in Wireless BT, connect with mobilephone to other
BT player
• Built-in Mp3 player to play music in multiple formats and
record
• Connect USB to PC to play/record the stereo audio
• Built-in 380 digital effects
• Rugged steel chassis and exquisite panel on two sides
• Built-in power amplifier,with complete protecting
function, strong power
1. [MIC] Input, use this socket to connect the microphone of
BALANCED XLR PLUG
2. [LINE] Input, connect the microphone, musical instrument or
audio device (CD player and so on)to the device. The socket is
supporting UNBALANCED 1/4"PLUG
3. [GAIN] Controller, determines the basic volume of each channel,
adjust them for the maximum volume performance, when the
volume gets too loud, the [PEAK] LED indicator light will keep
flashing.
4. [HIGH] Treble tone controller, adjust the controller to enhance
or attenuate for 15dB at 12KHz.
5. [MID] Alto tone controller, adjust the controller to enhance or
attenuate for 15dB at 2.5KHz.
6. [LOW] Bass tone controller, adjust the controller to enhance or
attenuate for 15dB at 80Hz.
7. [AUX CONTROL] Used to adjust the output to AUX pin signal
level.
8. [FX] Adjusts the level of the signal sent from the channel to the
FX SEND buses.
9. [PEAK] The PEAK-LED lights up when the input signalis driven
too high. If this happens, back off the TRIM control and if
necessary, check the setting of the channel EQ
10. [PAN] The PAN control determines the position of the channel
signal within the stereo image.When working with subgroups,
you can use the PAN control to assign the signal to just one
output, which gives you additional flexibility in recording
situations.
11. [INDICATOR] the leds are on, switch means the channel is MUTE.
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12. [MUTE SWITCH] The MUTE switch breaks the signal path pre-channel fader,
hence muting that channelin the main mix. The aux sends which are set to
post-fader are likewise muted for that channeI,while the pre-fader monitor
paths remain active irrespective of whether the channel is muted or not.
13. [PFL SWITCH] The PFL switch is used to route the channel signal to the PFL
bus (Pre Fader Listen). This enables you to listen to a channel signal wilhout
affecling the main output signal. The signal you hear is taken either before
the pan control (PFL, mono).
14. [CHANNEL FADER] Adjusts the level of the channel signal. Use these faders
to adjust the balance between the various channels.
15. [AUX/SEND JACKS] The AUX SEND jack carries the master aux mix (from the
channel's FX controls).
16. [PHONES JACKS] Connect a pair of headphones to this TRS
17. [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.).
18. [ROOM OUT] This ROOM OUT can connect audio devices in the minitor
room to minitorthe audio effect
19. [SUB] Stereo Output Jacks: The SUB OUT output jacks are 1/4"TS jacks, one
for the left channel and another for the right channel. If both left channel
and right channel are connected, the SUB OUT output jacks will be stereo.
If only the left channel jack is connected while the right channel jack is left
open (not connected), the signals from the left channel and the right channel
will be combined and sent from the left channel jack.
20. [MAIN OUT] Output, connect the active speaker or amplifier.
21. [EFFECTOR DISPLAY) The 380 effectors are shown.
22. [SELECT) Press UP or DOWN button to select from the 380 DSP.
23. [4 MEMORIES] Press this button M1, M2, M3, M4 to memory the DSP you
selected last time.
24. [MP3 PLAY WINDOW] Shows the Mp3 playing time song name and other
play instruction.
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25. [USB INTERFACE] Use for MP3 input or computer connection (can be used
for U disk or computer software recording)
26. [PROGRAM] Control Knob - Push down and turn this control knob to select
one of the sixteen built-in sound effect modes.
27. [HIGH-LOW] The two-band equalizer adjusts the level of the two bands
Mp3 player.
28. [+48V PHANTOM POWER] This switch toggles phantom power on and off.
When the switch is 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.
29. [+48V INDICATOR] This indicator lights up when the +48V power is ON.
30. [POWER INDICATOR] This indicator lights up when the mixer's power is ON.
31. [PFL] After pressing the PFL button, the PFL indicator light will be up.
32. [LEVEL METER] Shows the level Signal's strength.
33. [FX TO AUX] Adjust the effect value to AUX 1 and AUX 2 output.
34. [AUX1 & AUX2] Adjust the volume of AUX 1 and AUX 2 outputs.
35. [RETURN] Level controller, adjust the return level.
36. [SUB SWITCH] Press SUB to send the signal to the headphone jack output.
37. [MAIN SWITCH] Press MAIN to send the signaI to the headphone jack output.
38. [PHONES CONTROL] Controls the level of the signal output to the PHONES
jack OUT jacks.
39. [FX SEND FADER] Control effect input signal level.
40. [MP3 VOL FADER] Adjust VOL button to control the MP3 VOL.
41. [SUB] Level ControlFader: This level control fader is used to raise or lower
the SUB output level.
42. [MAIN MIX FADER] Use the high-precision quality faders to control the
VOL output level of the main mix. Built-In power amplifier.
43. [FUSE HOLDER/IEC MAINS RECEPTACLE] The console is connected to the
mains via the cable supplied, which meets the required safety standards.
Blown fuses must only be replaced by fuses of the same type and rating.
The mains connection is made via cable with IEC mains connector.
44. POWER SWITCH
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
6.3: 1/4” Mono Plug
Foot Switch Connector
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).
Balanced 1/4” TRS Connector
Insert Send/Return Stereo Plug www.PyleUSA.com
XLR Connections
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.
1/4” TRS Headphones Connector www.PyleUSA.com
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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.
PROBLEM
Power can't be turned on.
POSSIBLE CAUSES
Power Supply cord is not connected or not connected securely.
The power supply cord is defective.
The AC power outlet has no power.
SOLUTIONS
Securely connect the power supply cord to the mixer DC input and/or the AC power outlet.
Replace the power supply cord.
Connect the power supply to an AC power outlet with proper power.
No output sound
One channel no sound
Microphone no sound
Distorted sound
The AC power source is from an AC power extension cord.
Extension cord power switch is not turned ON.
The amplitude of the main output signal is over the threshold of the connected amplifiers or active speakers.
Turn on the power switch of the AC power extension cord.
The power is turned OFF
The stereo level fader was turned to minimum.
The main output audio cable is missing or defective.
Turn ON the power
Adjust the stereo level fader to have an optimal output level.
Connect, repair or replace the audio cables.
The gain control knob to the channel was turned to minimum.
Adjust the gain control knob to that channel to have an optimal output level.
The level control knob to the microphone channel was turned to minimum.
Adjust the level control knob to that channel to have an optimal output level.
No phantom power to the condenser microphone
Turn on the phantom power.
The gain control knob to the microphone channel was turned to minimum.
Adjust the gain control knob to that microphone channel to have an optimal microphone output level.
The level control knob to the microphone channel was turned to minimum.
The amplitude of the input signal is over the threshold.
Adjust the level control knob to that microphone channel to have an optimal microphone output level.
Adjust the gain control knob to lower the input gain.
Adjust the stereo level fader to lower the main output level.
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PMX646
6-Channel Inputs Mixer w/ Recording Interface
4 XLR Input/2 XLR Output Connectors, Built-in FX/SUB Output & MP3 Player
Features:
• Rugged, Metal Chassis & Exquisite Panel on 2 Sides
• Preset 380 Digital Effects
• Built-in SUB Output, EQ Control for MP3 Player
• Can Choose 6 Kinds of Sound Effects Normal/ Rock/ POP/ Classical/ Jazz/
Country)
• MUTE, PFL Buttons on All Mono Channels
• Flexible Connectivity for a Variety of External Devices
• Ultra-Low Noise Design with High Headroom
• Integrated Sound Card for Computer Recording Support
• USB Interface: Connect to Mac / PC
• Smooth Rotary-Style Faders for Mic/USB/Line/Master Controls
• Extremely Musical 2-Band EQ & Pan, on Each Channel
• Combo Microphone Jack Connector – XLR and 6.35 Jack
• 4 XLR+6.35 JACK (L/R) Stereo Input Connectors
• 2 XLR+6.35 JACK Output Connectors
• Voice Echo Effect/Delay Features
• Audio Signal CLIP LED Indicator Lights
• Input Selection / Control Buttons
• Independent Channel + MASTER Volume Controls
• Independent Channel Balance/High + Low-Frequency Adjustment
• Universal Digital Audio File Compatibility
What’s in the Box:
• Mixer Interface
• Power Cable (US Type)
Technical Specs:
• Power Supply: AC 100/240V (50-60Hz)
• Phantom Power: +48V
• Frequency Range: 20Hz-20KHZ±1dB+4dBμ@1KHZ
• T.H.D.: ≤0.5%@+4dBμ (22HZ-22KHZ)
• EQ Range: Bass ±15dB/80Hz, High ±15dB/12kHz
• USB Interface: SB 2.0, Windows 98SE+, Mac OS
• Power Supply: AC 100-240V (50HZ-60HZ)
• Dimensions (L x W x H): 14.96’’ x 15.59’’ x 4.45’’ -inches
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PMX648
8-Channel Audio Mixer w/ Recording Interface
6 XLR Input/ 2 XLR Output Connectors, Built-in FX/SUB Output & MP3 Player
Features:
• Rugged, Metal Chassis & Exquisite Panel on 2 Sides
• Preset 380 Digital Effects
• Built-in SUB Output, EQ Control for MP3 Player
• Can Choose 6 Kinds of Sound Effects Normal/ Rock/ POP/ Classical/ Jazz/
Country)
• MUTE, PFL Buttons on All Mono Channels
• Flexible Connectivity for a Variety of External Devices
• Ultra-Low Noise Design with High Headroom
• Integrated Sound Card for Computer Recording Support
• USB Interface: Connect to Mac / PC
• Smooth Rotary-Style Faders for Mic/USB/Line/Master Controls
• Extremely Musical 2-Band EQ & Pan, on Each Channel
• Combo Microphone Jack Connector – XLR and 6.35 Jack
• 6 XLR+6.35 JACK (L/R) Stereo Input Connectors
• 2 XLR+6.35 JACK Output Connectors
• Voice Echo Effect/Delay Features
• Audio Signal CLIP LED Indicator Lights
• Input Selection / Control Buttons
• Independent Channel + MASTER Volume Controls
• Independent Channel Balance/High + Low-Frequency Adjustment
• Universal Digital Audio File Compatibility
What’s in the Box:
• Mixer Interface
• Power Cable (US Type)
Technical Specs:
• Power Supply: AC 100/240V (50-60Hz)
• Phantom Power: +48V
• Frequency Range: 20Hz-20KHZ±1dB+4dBμ@1KHZ
• T.H.D.: ≤0.5%@+4dBμ (22HZ-22KHZ)
• EQ Range: Bass ±15dB/80Hz, High ±15dB/12kHz
• USB Interface: SB 2.0, Windows 98SE+, Mac OS
• Power Supply: AC 100-240V (50HZ-60HZ)
• Dimensions (L x W x H): 14.96’’ x 17.56’’ x 4.45’’ -inches www.PyleUSA.com
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