Page 1
PMXU46BT PMXU67BT
PMXU88BT PMXU128BT
PMXU46BT - PMXU67BT - PMXU88BT - PMXU128BT
Wireless BT Streaming Studio Mixer
DJ Controller Audio Mixing Console System
Page 2
Balanced, Unbalanced- What's the Dierence?
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 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
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 -30 dBu, but the twittering of a
bird might be lower than -50dBu while a solid bass
Microphones
Short Line - Level runs
Long Line - Level runs
www.PyleUSA.com www.PyleUSA.com
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
1 2
drum beat might produce a level as high as 0 dBu
Page 3
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 instruments 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 instruments. 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
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 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.
3 4
www.PyleUSA.com www.PyleUSA.com
Page 4
Ambience
Your mixes can be further rened by adding ambi• ence eecls such as reverb or
delay.The internal eects can be used to add reverb or delay to individualchannels in
the same way as exlernal eects processors.(Refer to page 15).
Chorus is most often used to thicken the sound of an instrument, while anging is
usually used as an outright "special eect" to produce other worldly sonic swoops.
Compression
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
Dierent reverb programs will have dierent ''reverb tone" due to dierences 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 ne. 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 dierence. Any more than this normally becomes a "special
eect".
The Modulation Eects:
Phasing, Chorus, and Flanging
All of these eects 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 eects the shift is very small. The phase dierence 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.
One form of compression known as "limiting" can, when properly used, produce a
smooth, unied 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.
For chorus and anging 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 eect 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 anging effects is primarily in
the amount of delay time and feedback used--anging uses longer delay times than
chorus, whereas chorus generally uses a more complex delay structure.
5 6
www.PyleUSA.com www.PyleUSA.com
Page 5
Caution!
• To prevent re 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 qualied 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 qualied 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 ampliers) 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.
Connection Diagram
Built- in Power Amplier
Contents
Balanced, Unbalanced - What's the Dierence? .......................................................................... 1
Signal Levels and the Decibel ............................................................................................................ 2
To EQ or Not to EQ ................................................................................................................................. 3
Ambience .................................................................................................................................................. 5
Contents .................................................................................................................................................... 7
Connection Diagram ............................................................................................................................ 8
Functional Specication ................................................................................................................ 9-12
Installation .............................................................................................................................................. 13
Troubleshooting ................................................................................................................................... 14
Specications ........................................................................................................................................ 15
7 8
www.PyleUSA.com www.PyleUSA.com
Page 6
PFL PFL PFL PFL PFL
4/6/8/12/16 Input Channel Mixer,
05 REVERB+DELAY
11 860M S DELAY
FX
06 125M S DELAY
12 1000M S DELAY
07 175M S DELAY
01 HALL1
13 1400M S DELAY
08 225M S DELAY
02 HALL2
14 800M S PINGPON G DELAY
03 ROOM1
09 285M S DELAY
15 1000M S PINGPON GDELAY
04 ROOM2
10 560M S DELAY
16 1400M S PINGPON G DELAY
PHANTOM
REC
REP/
MODE
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 )
1
2
3
1. MIC Input jacks
• Sealed rotary controls to resist dust and grime
• Rugged steel chassis
These are balanced XLR-type microphone input jacks.
(1: Ground; 2: Hot; 3: Cold)
2. LINE Input Jacks (monaural channels)
4
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.
5
3. GAIN Control
Adjusts the input signal level. To get the best balance between
6
the S/N ratio and the dynamic range, adjust the gain so that the
7
PEAK indicator only occasionally and briey on the highest input
8
transients. The -60 to +10 scale is the MIC input adjustment
9
range. The 40 to +10 scale is the LINE input adjustment range.
10
4. 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 at response in the corresponding band. Turning the
knob to the right boosts the corresponding frequency band,
11
while turning to the left attenuates the band.
5. AUX Control
Used to adjust the output to AUX pin signal level.
6. FX Control
Adjusts the level of the signal sent from the channel to the FX
SEND buses.
7. PEAK LED
The PEAK-LED lights up when the input signal is driven too high. If this happens,
back o the TRIM control and if necessary, check the setting of the EQ channel.
8 . 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 exibility in recording
situations.
9. M UTE 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.
10. 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 aecting the main
output signal. The signal you hear is taken either be fore the pan control (PFL
mono) .
11. CHANNEL FADER
Adjusts the level on the channel signal. Use these faders to adjust the balance
between the various channels.
12. 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.
13. AUX/RETURN jacks
These are unbalanced phone-jack type line inputs. These jacks are typically used
to receive the signal returned from an external eect device (reverb, delay, etc.).
These pins can be connected, such as the eect of external equipment.
14. SUB Jack Bass Output Jack
15. Main IN/OUT (L,R) Jacks
These jacks delivers the mixer's stereo output. You use these jacks to connect the
power amplier to your main speakers.
16. EFFECTOR DISPLAY: Shows the kind of eector.
17. PROGRAM Control
You can select the eects preset by turning the PROGRAM control. The display
ashes with the number of the current preset. To recall the selected preset, press
ON the button; the ashing stops. You can also recall the selected preset with the
foot switch.
18. DSP MUTE SWITCH: Mutes the DSP or eects.
9 10
www.PyleUSA.com www.PyleUSA.com
Page 7
12 13 14 15
05 R E V E R B +D EL AY
11 860 M S DE L AY
FX
06 1 2 5 M S D E L AY
12 100 0M S D E L AY
01 HALL 1
07 1 7 5 M S D E L AY
13 140 0M S D E L AY
02 HALL 2
08 2 2 5 M S DE LAY
14 800 M S PI N G PO N G DE L AY
03 ROOM 1
09 2 8 5 M S DELAY
15 1 00 0 M S PI N GP O N G DE L AY
04 ROOM 2
10 5 6 0 M S DELAY
16 140 0M S P I N G P ON G DE L AY
16
18
17
19
20
21
22
REC
REP/
MODE
30 31 32
3334
PHANTOM
23
24
25
26
27
28
29
36
35
37 38
19. 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 aected by the main output signal.
The signal you hear is taken after PAN control.
20. FX Control Used to adjust size eect.
21. PARAMETER Control
Used to adjust the depth of the selected eect, speed, etc.
22. ST GRAPHIC EQUALIZER
This 7-band equalizer adjusts the sound of the signal sent to the MAIN OUT jacks.
23. + 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.
24. +48 V Indicator: This indicator lights up when the +48V is turned ON.
25. POWER Indicator: This indicator lights up when the mixer is turned ON.
26. Level Meter: Shows the signals level
27. AUX Control: Used to adjust the output to the AUX pin signal level.
28. 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.
29. TAPE Control: Used to adjust the output to the TAPE pin signal level.
30. EQ IN SWITCH: Use this switch to activate the graphic equalizer.
31. PHONES Control: Controls the level of the signal output to the PHONES jack OUT
jacks.
32. PHONES Jacks: Connect a pair of headphones to this TRS phone-type output
jack.
33. MP3 Control
a. Selected Songs / Play / Pause: When playing music, rotate to change up /
down the song, press to pause / play.
b. Recording: When playing music, long press to record, short press to nish
recording and enter to playback the recorded music. When playing the
recorded music, short press to switch into playing the USB music rst track.
When playing the USB music, short press to switch into playing the recorded
music rst track
c. 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.
34. MP3 player EQ: Adjust the MP3 Player two-band equalizer level.
35. FX SEND Fader: Control eect input signal level.
36. MP3 VOL Fader: To increase or decrease the MP3 VOL.
37. SUB Fader: Adjust the SUB output level.
38. MAIN MIX Fader: High-precision quality faders to control the output
level of the main mix.
39. 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.
40. 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.
41. AMPLIFIER OUTPUT: Connect with two 4ohm speakers.
42. COOLING FAN: Cools the amplier to avoid overheat.
4039
4039 41 42
11 12
www.PyleUSA.com www.PyleUSA.com
Page 8
INSTALLATION TROUBLESHOOTING
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
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).
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.
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 POSSIBLE CAUSES SOLUTIONS
Power Supply cord is not
connected or not connected
Power can't be
turned on.
6.3: 1/4” Mono Plug
No output sound
Balanced 1/4” TRS Connector
One channel
no sound
Microphone
no sound
Insert Send/Return Stereo Plug
Distorted sound
1/4” TRS Headphones Connector
13 14
securely.
The power supply cord is
defective.
The AC power outlet has no
power.
The AC power source is from
an AC power extension cord.
Extension cord power switch
is not turned ON.
The power is turned OFF
The stereo level fader was
turned to minimum.
The main output audio cable
is missing or defective.
The gain control knob to the
channel was turned to minimum.
The level control knob to the
microphone channel was
turned to minimum.
No phantom power to the
condenser microphone
The gain control knob to the
microphone channel was
turned to minimum.
The level control knob to the
microphone channel was
turned to minimum.
The amplitude of the input
signal is over the threshold.
The amplitude of the main
output signal is over the
threshold of the connected
ampliers or active speakers.
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.
Turn on the power switch of the AC
power extension cord.
Turn ON the power
Adjust the stereo level fader to have
an optimal output level.
Connect, repair or replace the audio
cables.
Adjust the gain control knob to that
channel to have an optimal output level.
Adjust the level control knob to that
channel to have an optimal output
level.
Turn on the phantom power.
Adjust the gain control knob to that
microphone channel to have an optimal
microphone output level.
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.
www.PyleUSA.com www.PyleUSA.com
Page 9
PMXU46BT PMXU67BT PMXU88BT PMXU128BT
Bluetooth Studio Mixer - DJ Controller Audio Mixing Console System
PMXU46BT PMXU67BT PMXU88BT PMXU128BTMODEL
What’s in the Box:
• Bluetooth Studio Mixer
• Power Adapter Cable, 3-Pin
Input Mixer
Channels
Dimensions
(L x W x H)
4-Ch.
(+ FX/Headphones)
13.8’’x12.5’’x3.66’’
-inches
6-Ch.
(+ FX/Headphones)
15.2’’x12.5’’x3.66’’
-inches
8-Ch.
(+ FX/Headphones)
16.3’’x12.5’’x3.66’’
-inches
(+ FX/Headphones)
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 Conguration 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 Conguration
• 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
12-Ch.
21.4’’x12.5’’x3.66’’
-inches
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
15 16
www.PyleUSA.com www.PyleUSA.com
Loading...