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Sida 1/9

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 Dierence?

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 conned 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 amplied to an alarming

degree in the mixer's high-gain head amplier.

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 dierence between the softest and loudest sounds that can be

heard is 120 dB. This is a non-linear scale, and a dierence of 3 dB actually results in a

doubling or halving of the loudness.

You might encounter a number of dierent 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 specied 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 amplied 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 ampliers, 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 denition. 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 dierence, however, in the way the mix sounds more spacious," and instru-

ments in the lower ranges will have better denition. Surprisingly enough, piano also

has an incredibly powerful low end that can benet from a bit of low-frequency roll

-o to let other instruments-notably drums and bass-do their jobs more eectively.

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 dierent 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 eects, 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.

Produktspecifikationer

Varumärke:	Pyle
Kategori:	Skivspelare
Modell:	PMXU88BT
Typ av operation:	Knoppen
Färg på produkten:	Pink, White
Vikt:	81 g
Bredd:	106 mm
Djup:	139 mm
Höjd:	29 mm
Snäll:	Rekenmachine met display
Husmaterial:	Kunststof
Kraftkälla:	Batterij/Zonne-energie
Vormfaktor:	Desktop
Certifiering:	CE
Omslag:	Nee
Tal:	10 cijfers
Skärmens lutning:	Ja
Textregler:	1 regels
Harmoniserad systemkod (HS):	84701000
Bakgrundsbelyst display:	Nee