Instrukcja obsługi Pyle PMXU67BT
Przeczytaj poniżej 📖 instrukcję obsługi w języku polskim dla Pyle PMXU67BT (9 stron) w kategorii gramofon. Ta instrukcja była pomocna dla 9 osób i została oceniona przez 2 użytkowników na średnio 4.5 gwiazdek
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Wireless BT Streaming Studio Mixer
DJ Controller Audio Mixing Console System
PMXU46BT - PMXU67BT - PMXU88BT - PMXU128BT
PMXU46BT PMXU67BT
PMXU88BT PMXU128BT
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Balanced, Unbalanced- What's the Dierence?
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 conned to your desktop and
all connections are no more than a meter or two in length, then unbalanced lines are
ne-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 amplied to an alarming
degree in the mixer's high-gain head amplier.
Balanced Noise Cancellation
Microphones
Short Line - Level runs
Long Line - Level runs
Use balanced lines.
Unbalanced lines are ne if you’re in a relatively
noise free environment
The ambient electromagnetic noise level will
be the ultimate deciding factor, but balanced is best
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, and so the
more appropriate "decibel" (dB) unit was created for sound-related measurements.
In this system the dierence between the softest and loudest sounds that can be
heard is 120 dB. This is a non-linear scale, and a dierence of 3 dB actually results in a
doubling or halving of the loudness.
You might encounter a number of dierent 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 specied 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 amplied 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 ampliers, 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)
Microphone signal levels vary over a wide range
depending on the type of microphone and the source.
Avarage speech is about , but the twittering of a -30 dBu
bird might be lower than while a solid bass -50dBu
drum beat might produce a level as high as 0 dBu
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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 denition. 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 dierence, however, in the way the mix sounds more spacious," and instru-
ments in the lower ranges will have better denition. Surprisingly enough, piano also
has an incredibly powerful low end that can benet from a bit of low-frequency roll
-o to let other instruments-notably drums and bass-do their jobs more eectively.
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 o 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 dierent 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
Boost with Caution
If you're trying to create special or unusual eects, 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.
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.
Specyfikacje produktu
| Marka: | Pyle |
| Kategoria: | gramofon |
| Model: | PMXU67BT |
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