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1.4 Rack mounting the DX2000USB

Your DX2000USB is shipped with optional rack ears. If you want to make your DX2000USB a desktop mixer, loosen the screws from the side panels and remove the rack ears (note that there is a left and a right one).

1.5 Warranty

Please register your mixer on our website at behringer.com to become eligible for our extended warranty. The serial number [7 1 ] can be found on the rear panel.

1.6 Packing

Your BEHRINGER PRO MIXER DX2000USB was carefully packed in the factory and the packaging was designed to protect the unit from rough handling. Nevertheless, we recommend that you carefully examine the packaging and its contents for any signs of physical damage, which may have occurred in transit.

◊If the unit is damaged, please do not return it to us, but notify your dealer and the shipping company immediately, otherwise claims for damage or replacement may not be granted. Shipping claims must be made by the consignee.

2. Mono Input Channel

Plug a mic or line source (tape, CD player etc.) into the appropriate MIC [5 2 ] or LINE [5 1 ] input. Speak or play music at typical volume to check out and set up the channel.

◊Mic and line inputs are on balanced XLR and ¼" jacks respectively. Balanced operation gives best noise performance. Unbalanced microphones need to have XLR pins 1 and 3 shorted. Any Line source will work perfectly well if a mono jack is used, or the ring and barrel of a TRS jack are shorted (see chapter 10“CONNECTIONS”).

2.1 Input selection

Inputs are on the back panel. Your input source is selectable between MIC and LINE by a switch [1 ]. A pair of associated LEDs [2 ] lets you know which input is selected.

2.2 Gain setting

◊Gain is dependent on EQ. Set up your EQ before fine-tuning gain. If you re-EQ, also re-check gain.

2.2.1 Quick way

Channel input level is continuously monitored by a pair of LEDs [3 ]. As long as the SIG. LED is flickering and the CLIP is not, the gain is reasonable. Mic channel input level can be continuously adjusted by the GAIN knob [4 ] (from +10 to

+60 dB; Mic signals are low, therefore they need to be heavily pre-amplified).

CLIP lets you know if you overload the channel (it lights at +18 dB).

Pro Mixer DX2000USB User Manual

◊SIG. lets you know if a signal is present (it only responds to bass frequencies). That’s why you can use it to keep an eye on the beats.

◊If you are using a mono line source in a mic channel, the gain structure is comparable to that on a stereo music channel, albeit 20 dB more sensitive. (from - 10 to + 40 dB ; = 20 dB pad on mic input)

2.2.2 Gain setting by using PFL

Pre-Fader-Listen is the professional way to set gain. Hit the PFL button [1 3 ] to temporarily send the channel signal to the PFL bargraph meter [3 9 ]. Adjust the GAIN control until the bargraph meters are in the yellow (0 dB) but not the red (Clip). Once gain has been set for a channel, release its PFL button.

◊You will usually want to PFL only one channel at a time, otherwise the PFL meter reading will be meaningless.

2.3 Insert point

Situated on the rear of the console, mic channels have insert points [5 0 ] on TRS jacks. (These are post-gain and pre-EQ). You can use these combined input/output sockets to put a compressor, gate or any other signal processor(s) in line with your microphone (see chapter 10“CONNECTIONS”).

◊Compressors can help even out voice volume, adding loads of energy, but they can also cause feedback problems if over-used. Noise gates shut off mics automatically when not in use—useful for keeping out music spillage which can muddy the sound of your mix. Often a compressor/gate combination is best. Check out the excellent BEHRINGER range of interactive dynamics products.

2.4 Equalizer

The mic channel EQ section comprises three control knobs and one switch. Depressing the LOW CUT switch [5 ] rolls off the bass end (-18 dB/oct @ 75 Hz). We recommend using this feature with microphones to eliminate“popping”and handling noise. Where loud music is playing, LOW CUT also helps to avoid bass feedback. Separate controls cut and boost HIGH [6 ], MID [7 ] and LOW [8 ] frequencies respectively. Use EQ creatively to sweeten the sound of your microphone, or defensively to help cut feedback (see below for

EQ specifications).

 

EQ

Frequency
Range
Centre

High

Shelving EQ

10 kHz

+/– 12 dB

OFF

Mid

 

 

 

 

Peaking EQ

750Hz

+/- 8 dB

OFF

Low

 

 

 

 

Sheiving EQ

50Hz

+/– 12 dB

OFF

 

 

 

 

 

Tab. 2.4: Equalizer of the mono input channels

◊If you are serious about your mic channel, and want to really kill feedback, you can patch our FEEDBACK DESTROYER PRO DSP1124P across the channel insert point at the rear of the console. It is ideal for this purpose.

Pro Mixer DX2000USB User Manual

2.5 Output

Mic channel output is fed directly into the main mix, not via the X and Y subgroup channels. Level is controlled by a precision 100 mm fader [1 4 ], while stereo position is set by the PAN control [1 0 ]. The channel signal is sent to the mix by depressing the CHANNEL ON switch [1 2 ]. A LED indicator illuminates when the channel is on. (Channel on is the inverse of the more traditional channel mute found on standard recording consoles).

◊The mic channels are routed to the RECORD OUT jacks [6 6 ] on the rear panel of the DX2000USB, but not to the LINE OUT jacks [2 2 ] situated to the left of the main meters.

◊The faders used are special high-quality true-log faders. These give ultra-smooth operation even at low levels, on par with those used in very expensive studio consoles.

2.6 Effects

You can patch a mono or stereo outboard effects processor into your DX2000USB via the SEND [5 3 ] and RETURN [5 4 ] jacks on the back panel. Now you can add effects to your voice instantly simply by punching the illuminated EFFECT button

[9 ]. The effect send level is dependent on the fader setting. Adjust the desired amount of effect (from -oo to +30 dB) by the FX RETURN knob [4 2 ] to the right of the bargraph meters.

◊Set your effects unit input level so that the input meter reading (if there is one) is healthy when you are sending a typical signal to it. Too low a level will mean too much hiss on your effects return, too high and you’ll get distortion.

3. Stereo Input Channel

Plug a phono (turntable) or line source (CD player etc.) into the appropriate PHONO/LINE [5 9 ] or CD [5 8 ] input. Play music at a typical volume to check out and set up the channel. Press the PHONO/LINE button if you would like to use the PHONO/LINE jacks for a line-level source instead of a turntable.

3.1 Input selection

Inputs are on the DX2000USB’s back panel. Your input source is selectable between a pair of stereo inputs by the INPUT switch [1 ] at the top of the channel strip. An associated pair of LEDs [2 ] lets you know which input is selected. The choice of inputs depends on which of channels 3 - 7 you are looking at. The mixer is set up as follows:

Channel
Input 1

Input 2

3

PHONO/LINE 1

CD 1 / USB

 

 

 

4

PHONO/LINE 2

CD 2

 

 

 

5

PHONO/LINE 3

CD 3

 

 

 

6

LINE 1

CD 4

 

 

 

7

LINE 2

CD 5

 

 

 

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◊Never patch line level devices into your highly sensitive phono inputs. Phono cartridge output is measured

in millivolts. Line level signals are of the order of magnitude of a volt. With line levels you are looking at a signal up to 100 times more powerful than the phono pre-amplifier is designed to handle! Press the PHONO/LINE button to allow the PHONO/LINE jacks to operate at line-level.

◊If for some reason your turntable has a built-in RIAA pre-amp, you should patch it into a line level input.

◊A mix could include three turntables (channels 3 - 5) and two samplers for creative DJ work, or four CD/cart players plus a stereo tape recorder for a broadcast studio. In fact any line level signal could be patched into any line-level input.

3.2 Gain setting

◊Gain is dependent on EQ. Set up your EQ before fine-tuning gain.
3.2.1 Quick way

Channel input level is continuously monitored by a pair of LEDs [3 ]. CLIP lets you know if you’re about to overload the channel (it lights at +18 dB). The SIG. LED only responds to bass frequencies and is perfectly suited to keep an eye on the beats. As long as the signal LED is flashing on the beat (and the CLIP LED isn’t) you can be sure the gain is reasonable. Do this for all music channels. Channel gain can be continuously adjusted by the GAIN knob [4 ] (from -20 to +20 dB).

◊If you are in the habit of slamming the channel faders all the way up (+6 dB), try to keep your MAIN faders at a compensatory -6 dB to make sure you don’t risk distortion. At this level PFL and MAIN meters should show the same level (check this by engaging PFL on the channel currently playing), allowing easy comparison between outgoing (playing) and incoming (cueing) tracks. Keep an eye on the output meters—red spells trouble. Remember—distortion is not volume, and any distortion introduced before the power amplifiers and speakers will worsen your sound and cause amps and speakers to clip sooner.

3.2.2 Gain setting by using PFL

Pre-Fader-Listen is the professional way to set gain, and we always recommend you do it if you have the time. Hit the PFL button [1 3 ] to temporarily send the channel signal to the PFL meter [3 9 ]. Adjust GAIN until the PFL meter is hitting the yellow (up to +10 dB) but not the red (clip). Once gain has been set for a channel, release its PFL button.

◊Normally you will want to PFL only one channel at a time. This might not be true if you are layering tracks, and/or using“Permanent PFL”—see the chapter 7 “HEADPHONES, MONITORS & PFL”. Also note that the mono PFL meter is a sum of L and R channel signals.

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Tab. 3.1: Stereo channel configuration