Peavey 3D Mix Pro User Manual

3D Mix Pro

Professional DJ Mixing Console

Operating Guide

™

Intended to alert the user to the presence of uninsulated Òdangerous voltageÓ within the productÕs
enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Intended to alert the user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the product.

CAUTION: Risk of electrical shock Ñ DO NOT OPEN!
CAUTION: To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer

servicing to qualified service personnel.

WARNING: To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture. Before
using this appliance, read the operating guide for further warnings.

Este s’mbolo tiene el prop—sito, de alertar al usuario de la presencia de Ò(voltaje) peligrosoÓ que no tiene
aislamiento dentro de la caja del producto que puede tener una magnitud suficiente como para constituir
riesgo de corrientazo.

Este s’mbolo tiene el prop—sito de alertar al usario de la presencia de instruccones importantes sobre la
operaci—n y mantenimiento en la literatura que viene con el producto.

PRECAUCION: Riesgo de corrientazo Ñ ÁNo abra!
PRECAUCION: Para disminu’r el riesgo de corrientazo, no abra la cubierta. No hay piezas adentro que el usario

pueda reparar. Deje todo mantenimiento a los tŽcnicos calificados.

ADVERTENCIA: Para evitar corrientazos o peligro de incendio, no deje expuesto a la lluvia o humedad este
aparato Antes de usar este aparato, Iea m‡s advertencias en la gu’a de operaci—n.

Ce symbole est utilisŽ pour indiquer ˆ lÕutilisateur la prŽsence ˆ lÕintŽrieur de ce produit de tension non­isolŽe dangereuse pouvant •tre dÕintensitŽ suffisante pour constituer un risque de choc Žlectrique.

Ce symbole est utilisŽ pour indiquer ˆ lÕutilisateur quÕil ou quÕelle trouvera dÕimportantes instructions sur
lÕutilisation et lÕentretien (service) de lÕappareil dans la littŽrature accompagnant le produit.

ATTENTION: Risques de choc Žlectrique Ñ NE PAS OUVRIR!
ATTENTION: Afin de rŽduire le risque de choc Žlectrique, ne pas enlever le couvercle. Il ne se trouve ˆ lÕintŽrieur

aucune pi•ce pouvant •tre reparŽe par lÕutilisateur. Confier IÕentretien ˆ un personnel qualifiŽ.

AVERTISSEMENT: Afin de prŽvenir les risques de dŽcharge Žlectrique ou de feu, nÕexposez pas cet appareil ˆ la
pluie ou ˆ lÕhumiditŽ. Avant dÕutiliser cet appareil, lisez les avertissements supplŽmentaires situŽs dans le guide.

Dieses Symbol soll den Anwender vor unisolierten gefŠhrlichen Spannungen innerhalb des GehŠuses
warnen, die von Ausreichender StŠrke sind, um einen elektrischen Schlag verursachen zu kšnnen.

Dieses Symbol soll den Benutzer auf wichtige Instruktionen in der Bedienungsanleitung aufmerksam
machen, die Handhabung und Wartung des Produkts betreffen.

VORSICHT: Risiko Ñ Elektrischer Schlag! Nicht šffnen!
VORSICHT: Um das Risiko eines elektrischen Schlages zu vermeiden, nicht die Abdeckung enfernen. Es befinden

sich keine Teile darin, die vom Anwender repariert werden kšnnten. Reparaturen nur von qualifiziertem
Fachpersonal durchfŸhren lassen.

ACHTUNG: Um einen elektrischen Schlag oder Feuergefahr zu vermeiden, sollte dieses GerŠt nicht dem Regen
oder Feuchtigkeit ausgesetzt werden. Vor Inbetriebnahme unbedingt die Bedienungsanleitung lesen.

2

3D MIX PRO

ª

The 3D Mix Proªis a two channel, two-mic DJ mixer, with SRS¨stereo enhancement circuitry to
enlarge the space of the left-right stereo field. Each stereo channel has three-band equalization with
22 dB of cut and 12 dB of boost to allow for creative mixing of different frequency bands. A signal
present LED and a cue switch are provided to check the signal.

The microphone inputs have individual level controls and signal present LEDs. They share a two
band EQ, a 75 Hz low cut filter (non-defeatable), and a mute switch. Phantom power (15 V) is
available to power condenser mics.

If external effects are desired, a music only loop function Ñ enabled by a switch and monitored with
its own cue switch Ñ allows the insertion of external components such as delay, flange, or other
special effects into the music signal path. Built into this path is the SRS system to give a greater
depth to the stereo image. A special ÒcollapseÓ switch toggles the signal from the width set by the
SRS space control to mono, for dramatic spatial effects on the fly.

A cueing feature has been provided to check the status of Channels 1 and 2 and the loop return
before they are routed to the main outputs. This signal drives the headphone and booth outputs. A
headphone pan control and a split switch give the DJ other ways to compare cue and main signals.

In addition to the main servo-balanced (TRS) output, the 3D Mix Pro has unbalanced (phono) and
tape (-10 dB) outputs. A third order, 40 Hz rumble filter can be switched in to keep inaudible, power­robbing, low frequency energy from the speakers. A dual twelve segment LED display indicates the
main output level. The 3D Mix Pro is powered by an internal power supply.

FEATURES

Two Distinct Stereo Input Channels:
Features per channel

Two selectable stereo inputs
One input selectable to phono or line (rear)
CD/Phono(Line) switch
100 mm smooth operating fader
Three-band active EQ with extreme 22 dB cut
Input gain trim control
Gold-plated RCA connectors
Cue switch w/LED
Signal present LED

Two Microphone Inputs:
Features per input

XLR balanced input jack
Rotary level control
Signal present LED
15 V phantom power

3

ENGLISH

Master mic features

Two-band EQ
Low cut filter (18 dB/oct @ 75 Hz)
Mute switch w/LED

Master Section:

Replaceable ultra smooth X-Fader (45 mm)
Main level
Main balance pan
Booth level
Mono level
Music (no mic) L/R 1/4" loop jacks (post X-Fader)
Loop in/out engage w/LED
Loop cue w/LED
Cue master level
Headphone level
HP selector switch (normal/split)
HP pan (cue/main)
SRS enable switch w/LED
SRS width control (space)
SRS collapse switch (momentary)
Manual voice-over switch w/LED
Main rumble filter (40 Hz) switch (rear)
Stereo 12 seg meters (-33 dB to clip range)
Headphone jack
Booth outputs (1/4")
Tape outputs (RCA)
Main L/R outputs (TRS balanced 1/4" and RCA)
Mono out (1/4" unbalanced)
Two turntable ground posts (rear)
Power switch Ñ rear
Power on LED
IEC AC line input

4

POWER AND GROUNDING

1. Removable AC Power Cord/IEC Socket

This receptacle is for the IEC line cord (included), which provides AC power to the unit. Connect the line

cord to this connector and to a properly grounded AC supply. Damage to the equipment may occur if an
improper line voltage is used. (See voltage marking on unit.) Never remove or cut the ground pin of the line
cord plug. This unit is supplied with a properly rated line cord. When lost or damaged, replace this cord with
one of the proper ratings.

2. Power Switch

This switch applies power to the unit. Press the switch to the (I) position to turn the unit on. Return the switch
to the (O) position to turn it off. The Power LED (24) will illuminate when proper power is supplied to the 3D
Mix Pro.

3. Phono Ground

Grounds from external turntables should be connected at this point. Note: There are two points on the rear of
the unit for convenience.

MAIN OUTPUTS

4. Mono Out

This 1/4" output supplies an unbalanced mono (L+R) signal to an outboard EQ, power amp, lighting system,
or subwoofer crossover etc. The Mono Out level is set by the Mono Level control (29).

BACK PANEL

5

1

23

8

6

5

10

9

7

4

5. 40 Hz Rumble Switch

The Rumble Switch inserts a low cut filter at the main outputs, rolling the signal off at 40 Hz. Use this switch
to eliminate turntable rumble and excessive low frequency energy. Using the rumble switch in this manner will
increase amplifier headroom.

6. Main TRS Balanced Outputs (L and R)

These 1/4" balanced stereo outputs are the preferred method of signal transfer from the 3D Mix ProÕs main
outputs to outboard equipment. The 1/4" connectors are Tip-Ring-Sleeve (TRS), where the tip is positive, the
ring is negative, and the sleeve is ground. Use these Left and Right connectors for optimum power amp noise
rejection. These outputs are also compatible with unbalanced (TS) inputs. The signals at this output are
controlled by the Main Level control (26).

7. Main RCA Unbalanced Outputs (L and R)

These RCA (phono) stereo outputs are unbalanced and should be used when the TRS Balanced Outputs are
not practical. You will achieve the same output signal here as with the TRS Balanced Outputs. The
connectors are gold-plated for maximum life and minimal contact resistance.

MONITOR OUTPUTS

8. Tape Outputs (L and R)

The Tape Outputs are duplicates of the RCA Unbalanced Outputs except -10 dB lower in level. They
offer a Left and Right output designed to feed a recording tape deck. These outputs also feature gold­plated connectors and may be used as an additional output to external line level gear.

9. Booth Outputs (L and R)

These 1/4" unbalanced stereo outputs are used to feed the booth (or monitor) amplifiers. They have the same
signal as the headphones, but have their own level control. With the Headphone Select switch in the ÒNormalÓ
position, the signal determined by the Headphone Pan control (31) will be present. In the ÒSplitÓ mode, the left
signal will be a sum of the L+R cue signals and the right signal will be a sum of the L+R main signals. This
allows you to monitor the cue on the left and the main on the right. The Booth Output level is always
controlled by the master Booth Level control (28).

EFFECTS SEND/RETURN

10. Effects Loop (L and R)

Stereo 1/4" TRS jacks are provided for use with external effects units such as delays, reverbs, exciters, etc.
Both jacks (L and R) are wired so that the tip is the send and the ring is the return. Of course, the sleeve is a
common ground. The Effects Loop is post X-Fader, meaning that the X-fader controls what is being sent to
your effects. Signal is present at the Effects Loop sends at all times, so it can be cued but not applied to the
mains until the Loop Engage button (37) is pressed. (The indicator light will illuminate.) Effects can be
checked during a cue by pressing the Loop Cue switch (38).

INPUT CHANNELS 1 AND 2

The following section will cover information pertaining to the input channels. Since the
3D Mix Pro has two, identical, feature-packed channels, all descriptions in this section
pertain to both channels. For ease of explanation, this section is divided into two sub­sections: INPUTS and CONTROLS/INDICATORS.

INPUTS

11. CD/Line Level Input

These gold-plated, stereo RCA jacks are provided for connection to external devices
such as a CD, Minidisc, or DAT player. DO NOT USE THIS CONNECTION AS AN
INPUT FOR TURNTABLES.

12. Phono/Line Level Input

This stereo input can be used for two types of equipment as determined by the
Phono/Line switch (13). With the switch in Phono position, this input will accept the

6

11

13

12

output from a turntable cartridge. By placing the switch in the Line position, you can adjust this input to
handle line level signals from a CD, Minidisc, or DAT player. An improper setting can result in severe clipping
and distortion.

13. Phono/Line

This switch changes the input gain and equalization of the Phono/Line Level Input (12) to accommodate
either a Phono or Line level signal. With the switch in, the input is set for line level signals. In the up position,
the switch sets the input for low level cartridge signals. This switch does not affect the CD/Line Level Input (11).

CAUTION: DO NOT CHANGE THE PHONO/LINE SWITCH FROM THE LINE POSITION TO THE
PHONO POSITION WHILE MATERIAL IS BEING PLAYED. A MAJOR CHANGE IN GAIN IS
INTRODUCED, WHICH WILL RAISE YOUR SIGNAL LEVEL DRASTICALLY. THIS COULD RESULT IN
DAMAGE TO BOTH HEARING AND EQUIPMENT.

CONTROLS/INDICATORS

14. Input Selector

The Input Selector switch determines which stereo pair of RCA inputs will
be present on the channel. In the CD position, the CD/Line Level Input (11)
is utilized by the channel. When placed in the Phono/Line position, the
channel uses the Phono/Line Level Input (12). This switch effectively gives
you four inputs for connecting a variety of material sources.

15. Signal Present LED

This LED illuminates to indicate that a signal is present on the channel
(prefader). Signals below the -20 dBu level will not illuminate the LED and
need to be adjusted higher with the Gain (16) adjustment control.

16. Gain

The Gain control adjusts the input gain of the selected inputs. Use the
Gain control to reduce strong signals and to amplify weaker signals. With
the Channel Fader (19) set to 0 dB, adjust the gain control to a nominal
output. The MIN position will produce no output and the MAX position will
produce 6 dB of gain.

17. EQ

The EQ section consists of three active equalization controls: Hi, Mid, and
Low. A shelving type filter is used for the Hi and Low, centered at 10 kHz
and 70 Hz respectively. The Mid EQ is of the peaking type and is centered
at 850 Hz. Each control offers a boost of up to +12 dB or a cut of up to

-22 dB for creative mixing techniques.

18. Cue/Cue LED

This switch allows the channelÕs signal to be present in the Headphone and the Booth Outputs. In typical
operation, only the Cue switch from one channel should be activated at any given time. While one channel is
playing, the other is usually in cue. Thus, you should find yourself pressing these buttons simultaneously and
quite often throughout a show. The Cue LED will illuminate when the cue is active for the channel.

19. Channel Fader

This 100 mm stereo fader offers a smooth transition from infinite cut to +10 dB of boost. Use this control after
your input gain and EQ have been set. Use the Stereo Level Meters to monitor the level from the Channel
Fader. The signal level determined by the Channel Fader should stay consistent when crossfading from
channel to channel. In standard practice, this control is generally set to 0 dB for nominal output.

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14

16

15

17

18

19

MIC INPUTS AND CONTROLS

20. Mic 1/Mic 2 Inputs

Mic 1 and Mic 2 Inputs are balanced XLR types. Each has a separate
Level control but shares a common EQ. A phantom power of +15 VDC
is supplied automatically for those mics that may require it. Care should
be taken when using some wireless mics that cannot work with
phantom power. Consult your wireless mic ownerÕs manual for proper
operation. If phantom power cannot be used it is possible to modify
your unit to defeat the phantom power. You may contact an authorized
Peavey Service Center for more information.

21. Mic Signal Level/Indicator

The Mic 1 and Mic 2 Level controls adjust the input level of their
respective mics. Turning the control fully clockwise (+45 dB) will result
in maximum gain. Both level controls have a signal present LED
Indicator which illuminates when the signal level exceeds -40 dBu.

22. Mute Switch/Indicator

The Mute Switch defeats both mics so that they become inactive when
mic silence is desired. Mute is indicated when the Mute LED Indicator
illuminates.

23. Mic EQ

This two-band (Hi and Low) active equalization affects only the Mic 1
and Mic 2 signals. The Hi EQ is centered at 10 kHz and the Low at
80 Hz. Both are of the shelving type and offer between 15 dB of gain
and 15 dB of cut. Built into the EQ path is a 75 Hz 18 dB/oct low cut
filter to reduce breath pops and handling noise. This has no user
controls and canÕt be defeated.

MASTER SECTION

24. Power LED

This LED illuminates when power is supplied to the unit and the unit is
turned on.

25. Voice-over

This button lowers the level of the music 10 dB to accommodate speech
from the two mics. The cue and mic signals are not affected. Use this
feature to introduce material when using Mic 1 or Mic 2. It is also useful
for Òpunching inÓ to material for announcements. The Voice Over button is
latching. You must push it again to return to normal levels. The Voice Over
LED will illuminate when Voice Over is activated.

26. Main Level

The Main Level control is the master volume for Outputs (6), (7), and (8).
These are the main (floor) outputs of the mixer. Adjusting this control fully
clockwise will result in maximum signal level at these outputs.

27. Main Pan (L-R)

Use this control in conjunction with the Stereo Output Level Indicator (35)
to balance the Left and Right signal levels. As one side is boosted, the
other is cut.

8

20

22

21

23

34

32

33

30

31

28

26

27

24

25

29

28. Booth Level

Use this control to adjust the stereo Booth Output (9) level. Adjusting this control fully clockwise will result in
maximum signal level. This output is usually used for local monitoring when headphones are not convienient.

29. Mono Level

Use this control to adjust the Mono Out (4) level. Adjusting this control fully clockwise will result in maximum
signal level. This output is a sum of the left and right main signals (prefader), and can be used to drive a
lighting system or subwoofer crossover EQ and amp.

30. Headphone Cue Level

Use this control to set the level of the cue material present in the Headphone and Booth Outputs. With the
Headphone Select switch (33) set to Normal, adjust this control to a comfortable level and the Headphone
Pan (31) fully counterclockwise to listen to the cue signal in the headphones. The Headphone Cue Level
control should be set in conjunction with the Headphone Pan control to achieve the desired headphone mix.

31. Headphone Pan

Use this control to pan the material in the headphoneÕs between cue and mains while the Headphone Select
switch (33) is in the Normal position. Increasing one signal level will reduce the other. While the switch is in
the Split position, the Headphone Pan control will not function.

32. Headphone Level

The Headphone Level control is the master volume control for the Headphone Output (34). Adjusting this
control fully clockwise will result in maximum signal level at the output.

33. Headphone Select

This switch is used to change the headphoneÕs operational mode. When placed in the ÒNormalÓ position,
stereo monitoring of the cue and/or main material is determined by the Headphone Pan (31). As you pan
between the cue and main signals, you will hear both signals in the left and right headphone cups. When the
Headphone Select switch is in the ÒSplitÓ position, the left cup contains the cue material and the right cup
contains the main material. To adjust the level in this mode, use the Cue Level control (30) to set the
preferred balance and the Headphone Level control (32) to set the overall level.

34. Headphone Output

This 1/4" stereo output jack is used to power a set of stereo headphones. The tip is wired left, the ring is
wired right, and the sleeve is wired to ground.

35. Stereo Output Level Indicator

This calibrated pair (L and R) of 12 segment LED meters
illuminates to visually indicate program output levels. At the
top of each meter is a clip LED to notify you of extreme
levels and possible distortion caused by overdriving the
signal.

36. X-Fader

This 45 mm stereo slider delivers crossfade
capability between Channels 1 and 2. Adjusting
this slider from its maximum left position to its
maximum right position will pan the main output
from being completely Channel 1 to completely
Channel 2. The interim from left to right produces a combination of both, allowing a smooth transition from
one channel to the other. NOTE: The X-Fader is replaceable by removing the two outside mounting

screws on the top of the unit. Once the screws have been removed, the slider can be pulled out and
replaced with ease.

9

35

36

Remove these screw to

replace the X-Fader.

EFFECTS

The following section describes the two effects capabilities of the 3D Mix Pro. It is divided into two sub­sections for clarity and ease of explanation. Those sections are labeled EFFECTS LOOP CONTROLS and

SRS SPATIAL EXPANDER.

EFFECTS LOOP CONTROLS

37. Engage

Pushing this switch in (down) activates the Effects Loop (10) so that the main signal runs through any
external effects units connected to it. It is possible to listen to the effects in the cue by pressing the Loop
Cue button (38). The Engage LED will illuminate to indicate the Effects Loop is active.

38. Loop Cue

Pushing this button in (down) places the effects signal from the loop on the cue bus. This allows you to listen
to what your effects are doing within the headphones or booth. The Cue LED will illuminate to indicate that
the Loop Cue is active.

SPATIAL EXPANDER

The 3D Mix Pro gets its name from the three-dimensional qualities of its built-in SRS effect. The SRS Spatial
Expander creates a three-dimensional sound image from any audio source with only two conventional stereo
speakers. This effect renders greater stereo separation and disperses sound more evenly throughout a room.
Therefore, it produces a better stereo image around a larger area, making speaker placement and listener
location less critical. You will find that it broadens your listening area and actually restores live performance
ambience to your program material.

39. SRS Enable

This button activates the SRS effect when pushed in (down). The SRS enable LED will illuminate to indicate
the SRS Spatial Expander is active.

40. SRS Space

The SRS Space control is used to broaden the stereo separation between the Left and Right outputs.
Adjusting this control fully clockwise will result in maximum stereo imaging/separation.

41. SRS Collapse

Pressing this button will momentarily defeat the Space function of the SRS effect. It is called ÒCollapseÓ due
to its effect on the stereo separation. It collapses the stereo fields from a widened spatial condition to a mono
condition. The SRS Collapse switch is another great effect that can be used to create a beat or feeling in real
time. By pressing and releasing this button with the beat, a swell/collapse condition occurs that is certain to
become a highlight of your show.

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41

40

37

38

39

11

THD:

<0.05% (20 Hz - 80 KHz BW)

FREQUENCY RESPONSE:

+0 dB /-1 dB, 20 Hz - 20 kHz

HUM AND NOISE: (22 Hz - 22 kHz BW)

<-110 EIN (mic)
<-90 dBu, all controls off, any output
<-80 dBu nominal settings, gains minimum,

any output

CROSSTALK:

-60 dBu (1 kHz) left to right;

-70 dBu (1 kHz) channel to channel

STEREO CHANNEL EQ (+12 dB, -22dB):

HI: 10 kHz shelving
MID: 850 Hz peaking
LOW: 70 Hz shelving

MIC CHANNEL EQ (+15 dB, -15 dB):

HI: 10 kHz shelving
LOW: 80 Hz shelving
LOW CUT FILTER: 18 dB/oct @ 75 Hz

RUMBLE FILTER:

18 dB/oct @ 40 Hz

MIN INPUT LEVELS FOR 0 dBu OUTPUT:

(All controls at maximum gain settings)

MIC: -57 dBu (1.0 mv RMS); 2 k ohms
LINE/CD: -23 dBu (55 mv RMS); 10 k ohms
PHONO (@ 1KHz): -50 dBu (2 mv RMS); 47 k ohms

SRS CONTROLS:

Space, collapse switch, enable (with LED)

LOOP LEVEL:

0 dBu nominal

SIGNAL INDICATORS (LED):

Signal Present: Indicates the signal has

exceeded the -20 dBu level. 12 Segment
ladder indicates main output level (0 dB =
0 dBu)

PHANTOM POWER:

+15V, both mic inputs

POWER REQUIREMENTS:

15 W 115 VAC or 230 VAC (Export model)

3D MIX PRO SPECIFICATIONS

is a registered trademark of SRS Labs, Inc.Ó

3D MIX PRO

ª

BLOCK DIGRAM

12

13

CD Player

Turntable

Input

Ground

Phono

position

R In L In

L Out

¨

R Out

800s

CS

L Main

R Main

¨

¨

2G
SP

2G
SP

Tape Recorder

218

¨

SP

Subs

Hookup Diagram

ª

218

¨

SP

3D Mix Pro

800s

¨

CS

3/4

ª

XD

Low Pass

Lighting Controller

Out

In

Output

ª

RR

DeltaFex

LL

Input

Lights

L In

R In

L Out

R Out

800s

¨

CS

115m

¨

SP

115m

¨

SP

Left Booth

Right Booth

Patch Inputs: CH. A to CH. B

Phono

position

Ground

Turntable

CD Player

14

IMPORTANT SAFETY INSTRUCTIONS

WARNING: When using electric products, basic cautions should always be followed, including the following:

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water. For example, near or in a bathtub, swimming pool, sink, wet basement, etc.

6. Clean only with a damp cloth.

7. Do not block any of the ventilation openings. Install in accordance with manufacturerÕs instructions. It should not be placed flat against a wall

or placed in a built-in enclosure that will impede the flow of cooling air.

8. Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A

grounding type plug has two blades and a third grounding plug. The wide blade or third prong is provided for your safety. When the provided
plug does not fit into your inlet, consult an electrician for replacement of the obsolete outlet. Never break off the grounding. Write for our free
booklet ÒShock Hazard and GroundingÓ. Connect only to a power supply of the type marked on the unit adjacent to the power supply cord.

10. Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point they exit from the

apparatus.

11. Only use attachments/accessories provided by the manufacturer.

12. Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution

when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-

supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.

15. If this product is to be mounted in an equipment rack, rear support should be provided.

16. Exposure to extremely high noise levels may cause a permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced

hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a sufficient time. The U.S. GovernmentÕs
Occupational and Health Administration (OSHA) has specified the following permissible noise level exposures:

Duration Per Day In Hours Sound Level dBA, Slow Response

890
692
495
397
2 100

1 1/2 102

1 105

1/2 110

1/4 or less 115

According to OSHA, any exposure in excess of the above permissible limits could result in some hearing loss. Ear plugs or protectors to the ear
canals or over the ears must be worn when operating this amplification system in order to prevent a permanent hearing loss, if exposure is in excess
of the limits as set forth above. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons
exposed to equipment capable of producing high sound pressure levels such as this amplification system be protected by hearing protectors while
this unit is in operation.

SAVE THESE INSTRUCTIONS!

La 3D Mix Pro es una mezcladora de dos canales y dos entradas de micr—fono para DJs que
cuenta con circuitos SRS estŽreo enhancement para agrandar el espacio del campo estŽreo entre
el canal derecho e izquierdo. Cada canal estŽreo cuenta con ecualizaci—n de tres bandas con 22 dB
de corte y 12 dB de incremento para permitir mezclas m‡s creativas en diferentes bandas de
frecuencias. Un foco LED y un control de cue nos permiten checar la se–al.

Las entradas de micr—fonos tienen controles individuales de nivel y LEDs que indican la presencia
de se–al. Comparten un ecualizador de dos bandas, un filtro de corte de graves a 75 Hz, un control
de mute. TambiŽn tiene capacidad de generar Phantom power para micr—fonos de condensador.
Si se desea usar procesadores de efectos externos, un circuito (loop) se puede crear (encendido
por un switch y monitoreado por su propio switch de cue) que permite la inserci—n de procesadores
como delays, flangers o cualquier otro efecto en la ruta de la se–al. Dentro de este circuito
encontramos el sistema SRS que agranda la profundidad de la imagen estŽreo. Un control especial
denominado ÔcollapseÕ cambia la se–al al ancho denominado por el control espacial SRS a mono,
permitiŽndole crear efectos de espacio dram‡ticos sobre la marcha.

La 3D Mix Pro cuenta tambiŽn con un cue que te permite checar las condiciones de los canales 1 y
2, y los retornos de los circuitos (loops) antes que aparezcan en las salidas principales. La se–al se
hace presente en los aud’fonos y en las bocinas de cuarto de control. Un control de paneo para los
aud’fonos y un switch de split le dan al DJ otras maneras de comparar la se–al principal del cue.

Adem‡s de las salidas principales (TRS), la 3D Mix Pro cuenta con salidas de phono y tape
(-10 dB) desbalanceadas. TambiŽn cuenta con un filtro que corta la informaci—n abajo de los 40 Hz,
para evitar mandar esta energ’a a las bocinas. Un medidor de 12 pasos de LEDs indica el nivel de
salida principal. La 3D Mix Pro es alimentada por una fuente de poder interna.

CARACTERêSTICAS

Dos canales independientes estŽreo:
Caracter’sticas por canal:

Dos entradas estŽreo seleccionables
Una entrada seleccionable a l’nea o ÔphonoÕ (detr‡s)
Switch CD/Phono (l’nea)
Fader suave de 100 mm
Ecualizador activo de tres bandas con corte extremo de 22 dB
Control de nivel de entrada (trim)
Conectores RCA ba–ados en oro
Switch de cue con LED
LED indicador de presencia de se–al

Dos entradas de micr—fono
Caracter’sticas por entrada

entradas XLR balanceada
Control de nivel rotativo
LED indicador de presencia de se–al
Phantom power (15 V)

ESPA„OL

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