Behringer DX2000USB 7. Sub Bass, 9. Connections, 6.1 Monitoring, 6.2Headphones—read carefully—thisis tricky, 6.3Permanent PFL—usingPFL as a listening subgroup, 8.3 Sound-to-light

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Connect a USB type B plug into the USB jack on the mixer, and the other end into a free USB port on your computer. There are no required drivers, but we recommend that PC users install the included ASIO driver. The driver can also be downloaded from behringer.com.

6. Headphones, Monitors & Pfl

6.1 Monitoring

A separate stereo MONITOR output [6 8 ] is provided. Level is controlled by a single 60 mm MONITOR stereo fader [3 2 ]. The monitor signal is taken directly from the main mix. Engaging PFL anywhere on the board changes the monitor source to PFL.

◊ Main fader adjustments will not affect the level of

Pro Mixer DX2000USB User Manual

6.2Headphones—read carefully—this is tricky!

The PHONES section lies to the far right hand side of the DX2000USB, below the headphones stereo jack socket [4 3 ]. PHONES LEVEL [4 5 ] controls headphones level. Right, that’s the easy bit explained. Now pay attention.

OPTION 1:

The PHONES output can have as its source either PFL or Main mix selected by the MAIN/PFL switch [4 4 ]. When this switch is down, headphones follow the same logic as monitor, i.e. main mix unless any channel has PFL engaged. When it is up, headphones audition PFL only, i.e. if no channel’s PFL is engaged, the heaphones will fall silent. (NOTE: SPLIT switch is UP here)

OPTION 2:

Pro Mixer DX2000USB User Manual	9
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the monitor output—unlike on standard recording

consoles where monitor follows the main faders.

6.1.1 PFL in the studio

In a studio setup, the monitor output is normally sent to an amplifier driving a pair of speakers facing the operator. (The main output might feed a tape recorder (recording studio) or transmission line (broadcast studio)). In the studio environment, PFL (Pre-Fader-Listen) is the preferred way to set up an individual channel. Depressing a channel’s PFL button cancels the mix from the monitor output and replaces it with that channel’s signal. Now the DJ or engineer can hear in isolation what’s going on in one (or more) channel(s), via headphones or the monitor speakers. During PFL, channel level is sent to the PFL meter to enable accurate

Depressing the SPLIT switch [4 7 ] disables the PFL/MAIN switch, activating instead the BALANCE control [4 6 ]. The headphones mix is now in mono instead of stereo as previously, and BALANCE controls the blend of the PFL and MAIN mix signals. This gives you the interesting possibility of hearing both the outgoing (MAIN) and incoming (PFL) tracks simultaneously through a single output, via your headphones. The same signal can be heard at the monitor output so long as the PHONES TO MONITOR button [3 1 ], sited above the MONITOR fader, is depressed. (PHONES TO MONITOR forces the monitor output to follow the headphones.)

6.3Permanent PFL—using PFL as a listening subgroup

7. Sub Bass

The sub bass output [6 3 ] on the back panel comes with two rotary controls, one for output LEVEL [6 2 ] (max. +22 dBu) and another for adjusting the crossover frequency of the low pass filter, CROSSOVER FREQUENCY. [6 1 ] (low pass filter variable from 30 Hz to 200 Hz). This can be used to drive a very low frequency sound system in a studio or club to provide added bottom end.

◊Sub bass units are often useful in small studios where there is no room for large extended-range monitors in front of the mixer.

channel immediately above it. Otherwise things could get very confusing! Please refer to the specifications of the equipment you want to connect.

8.3 Sound-to-light

A mono audio output [6 0 ] is provided for connection to lighting controllers with a sound-to-light facility. Connection is via a standard ¼" jack on the back panel. Sensitivity is conveniently adjustable from the DX2000USB by the LIGHT LEVEL knob [4 0 ] to the left of the bargraph meters. Too high, and the lights will stay on, too low and they won’t flash at all. Adjust LIGHT LEVEL until lights flash in time with the music.

gain setting.

6.1.2 PFL in the club

In a club, the main output would normally drive the house PA, while the monitor output could offer foldback into the DJ area, usually via a separate amp and speaker(s). In the club environment, things get messy. You can’t hear any sound

in isolation, either on a foldback system or headphones, because both are to some extent drowned out by the main PA system. You should, however, be able to hear the PFL signal loud enough to detect the beat, cue starts etc. What you can’t do is to judge by ear exactly what level the next track will come in at. For that you must use your eyes and the highly-accurate bargraph meters.

◊PFL is in stereo: if you PFL a stereo channel you will hear it in stereo even though there is only one PFL bargraph meter. If a mono channel is PFL-ed, you will hear it according to the position of the channel PAN. This is a professional feature and called“Solo-In-Place” in big recording consoles.

We have seen that with both the PHONES TO MONITOR and PFL/MAIN switches depressed, your monitor output is always looking at PFL, not switching automatically between PFL and the main mix. Now you can actually use the stereo PFL bus as a subgroup with its own stereo output (the MONITOR output).

◊Another way to keep the monitors fixed on PFL is to make sure a PFL button is always left engaged somewhere on the desk. You could simply leave a PFL button depressed on an unused, unassigned channel.

If your channel fader is always brought up to +6 dB

(i.e. full-on as per usual with you DJ types) then comparing PFL values will give a true indication of relative mix volume between tracks. Now all you have to do in order to achieve a totally professional-sounding volume-consistent mix is to adjust each successively incoming track’s gain until the PFL meter is hitting 0 dB (or whatever level you think you can get away with) before you bring it in with the crossfader. It’s that simple. Try it ...

8. Controlling External Devices

8.1 Desk lamp

A connector [3 7 ] for an optional standard 12 V working light is offered, immediately above the bargraph meters. You should only use 5 Watt lights.

8.2 Remote control of audio devices

We have not yet mentioned the big non-latching TRACK START buttons [2 0 ] immediately below the faders on channels 3 to 7. These have nothing to do with the audio side of your desk. They are REMOTE CONTROL buttons for interfacing with certain audio sources such as CD players, CART machines etc. which have remote jacks built into them. Please refer to the manufacturer’s specifications to see if your equipment conforms to this protocol. If it does, connection to the DX2000USB is by simple jack leads [5 5 ] on the rear panel. Please ensure that your equipment’s remote control output does not exceed 30 V DC/50 mA (This is unlikely!).

The advantages of REMOTE CONTROL are purely ergonomic—you don’t have to stretch over the desk to bring in an audio file, jingle or music CD in on cue. For clarity of function it is best to associate each REMOTE button on the DX2000USB with the device supplying audio to the stereo

9. Connections

9.1 PRO MIXER DX2000USB connections

Follow us on a walk along the rear panel of your PRO MIXER, starting left:

[50]Channel inserts. For inserting into the channel signal, pre-EQ and pre-fader. Unbalanced, send and return on a single ¼" jack socket, wired tip = send (out), ring = return (in) and sleeve = ground/screen.

[51]Line input. Balanced ¼" jack socket, wired tip = hot (+ve), ring = cold (-ve) and sleeve = ground/screen.

[52]Mic input. Balanced XLR, wired pin 1 = ground/screen, 2 = hot (+ve) and 3 = cold (-ve).

[53](Aux) Send. Unbalanced ¼" jack socket, wired tip = signal and sleeve = ground/screen.

[54](Aux) Return. Unbalanced ¼" jack sockets, wired tip = signal and sleeve = ground/screen.

[55]Remote control. ¼" jack socket.

[56]Line Input (Input 7). Unbalanced ¼" jack sockets, wired tip = signal and sleeve = ground/screen.

[57]CD inputs. RCA sockets.

[58]CD inputs. RCA sockets.