Source: https://www.scribd.com/document/159751722/BEHRINGER-DX1000-manual
Timestamp: 2019-04-20 20:46:18+00:00

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clubs or at home. because it is the culmination of many months of hard work delivered by our engineering team to reach a very ambitious goal: presenting an outstanding mixer for flexible use in studios. Isn’t it only fair to pass this benefit back to you? Because we know that your success is our success. Everybody has made very personal contributions. etc. too! I would like to thank all people whose help on “Project DX1000“ has made it all possible. It is our philosophy to share our joy with you. because you are the most important member of the BEHRINGER family. In return. We are often asked how we can make it to produce such high-grade devices at such unbelievably low prices. Welcome to the team of PRO MIXER users and thank you very much for expressing your confidence in BEHRINGER products by purchasing this unit. starting from the designers of the unit via the many staff members in our company to you. My friends. Uli Behringer 3 .PRO MIXER DX1000 FOREWORD Dear Customer. we guarantee you uncompromising quality (manufactured under ISO9000 certified management system) as well as excellent technical and audio properties at an extremely favorable price. All of this will enable you to fully unfold your creativity without being hampered by budget constraints. the user of BEHRINGER products. too. our customers! Many satisfied customers means large sales volumes enabling us to get better conditions of purchase for components. The answer is quite simple: it’s you. It is one of my most pleasant tasks to write this letter to you. The task to develop our new PRO MIXER series certainly meant a great deal of responsibility. But it was fun. it’s been worth the trouble! Thank you very much. Developing a product usually brings a lot of people together. and what a great feeling it is when everybody who participated in such a project can be proud of what we’ve achieved. It also meant a lot of work and night shifts to accomplish this goal. the discerning user and musician. With your highly competent suggestions for new products you’ve greatly contributed to shaping our company and making it successful. which we assumed by focusing on you.
PRO MIXER DX1000 BLOCK DIAGRAM 4 .
1/4" TRS and RCA connectors s Additional adjustable zone output allows you to control the level of a second area or room s Subwoofer output with adjustable x-over frequency and level control for separate bass amplification s Remote-start buttons to start your turntables and CD players etc. intuitive X-Y routing with status control LEDs on each channel s Large X-Y punch and cut buttons at the crossfader for super effects such creative mixing! s Main mute (-20 dB) and main boost buttons (+4 dB) for unlimited creativity s Balanced main outputs on gold-plated XLR.PRO MIXER DX1000 PRO MIXER s Two professional high-class microphone channels with peak indicator and effects send facility s High-precision phono preamps for bass power and crystal clean sound s Ultra-musical 3-band EQ with independent defeat switch on all channels s Kill switch attenuates the bass for more creativity s Ultra low-noise design comparable to studio-grade consoles s Replaceable and high-quality crossfader s Fully adjustable talkover function automatically attenuates the main output s PFL switches on all channels with two different PFL modes Professional DJ mixer with a total of 10 stereo sources on 5 dual-input channels s Balance control allows you to blend between main and PFL on the phones section s Extremely flexible. s Separate tape outputs with and without microphone signal s BNC socket with dimmer control for 12 V gooseneck lamp (not included) s High-quality 100-mm channel faders like those foun in professional recording consoles s Super-rugged construction ensures long life. even under the most demanding conditions s Manufactured under the ISO9000 certified management system DX1000 5 .
Power amps should always be turned on last of all in order to minimize switch-on thumps. 2. Check that there is no signal going through the DX1000 when the amps are switched on in order to avoid any sudden volume surges. CD and tape players are of the order of magnitude of a volt. (Unplugging leads frequently can help to keep contacts clean by mechanical abrasion). The mic channels may be routed to the main mix directly. if you haven’t already! It is true that with a modicum of knowledge about audio equipment you could get up and running successfully. in dance clubs. Together these precisely define and describe all the functions of your DX1000. make sure it is always on hand for future reference. and that you are probably impatient to get started with your new DX1000 mixer. This info is included for the benefit of sound engineers. on the other hand. as these are best at resisting corrosion. This means we pay a little more in printing and publishing costs. Also moisture in a humid nightclub greatly accelerates the build-up of oxide (e. but chances are you will not be able to exploit the full potential of your DX1000 (or yourself) until you have some of its more advanced features explained. Good quality plugs are extremely important. called X and Y. For the complete wiring scheme for all inputs and outputs please refer to chapter 10 “CONNECTIONS”. but it does mean that each section is self-contained and therefore easier for you to read. rust) on metal contacts. For reasons of clarity you might find certain text or subject matter appears more than once in the manual. Otherwise you’ll never know what possibilities you might be missing out on! + The following operational manual will introduce you to the BEHRINGER PRO MIXER DX1000 and its various functions. tape recorder etc. It is best to turn down all output faders and rotary controls first. + + Never patch line level devices into your highly sensitive phono inputs. A super-smooth user-definable VCA crossfader ultimately controls the blend of X and Y being sent to the main mix. PRO MIXER OVERVIEW The DX1000 is a multi-functional stereo mixer designed for all applications where pre-recorded music is mixed and played.PRO MIXER DX1000 1. 1. Music channels. all the more so where connections are left untouched for long periods. It is equally at home. which can easily damage loudspeakers. Phono cartridge output is measured in millivolts. Don’t worry—you don’t need to know what the figures mean in order to have success with your DX1000. THE MANUAL 7 . must be assigned to one of two stereo submixes. power amplifiers. Run any mics on balanced lines to minimize unwanted interference. THE MANUAL We know that reading manuals can be a bore. Try to read it from cover to cover at least once.g. + You’ll get nowhere with your DX1000 unless it is properly connected to your music sources. not DJ’s! The manual is also crammed full of creative ideas on how to play your DX1000 to full advantage. Please. Sometimes technical information is provided in brackets. 1.1 Nomenclature This manual is a combination of figures and text. please at least read through all the text in this section. personal DJ setups and broadcast studios. It has two mono mic channels and five stereo music channels. and check those mains plugs for loose cable clamps or electrical contacts frequently. After reading the manual carefully. which contains important safety tips to help preserve you and your valuable equipment. We strongly advise that you never use cheap connecting plugs for audio—use only gold-plated ones. With line levels you are looking at signals 100 times more powerful than a phono pre-amplifier is designed to handle! Please always ensure that the mixer power supply is securely connected to the mixer before you turn on the mains supply.
the DJ.5 Warranty Please take time to have the warranty card filled out completely by your specialized dealer and return it within 14 days after the date of purchase.) 2. 2. Learn to play it well. so as to be entitled to benefit from our extended warranty. Not so with the PRO MIXER DX1000. Or use our online registration option available on the Internet at www. otherwise claims for damage or replacement may not be granted. Connect switched-off desk and PSU first before you connect the PSU to the mains supply. that there is a left and a right one). Shipping claims must be made by the consignee. In addition many special features have been included to enhance the flexibility and ease of operation of your mix. while the EQ KILL switches might never be used in a hospital radio installation.com. all channels have PFL (Pre-Fader-Listen) . Please connect the PSU with the PRO MIXER DX1000 PSU connector on the rear panel of your mixer. many desks begin to show signs of stress due to power supply limitations.6 Packing Your BEHRINGER PRO MIXER DX1000 was carefully packed in the factory and the packaging was designed to protect the unit from rough handling. You will also see virtually every switch on your DX1000 has an associated status LED. which ever way you use it.behringer. This means that you can see (on a separate PFL bargraph meter) and hear (on your headphones and/or monitors) the music you are about to play without disturbing the mix—essential if you want to come in at the same level and in time with the music currently playing.2 How will you use your DX1000? Your DX1000 is a creative instrument. or slowly cross fading between them. thanks to our generous 50 W external power supply unit. often overlapping two tracks. loosen the screws from the side panels and remove the fixed rack ears (note. Every mixer has numerous line level operational amplifiers (op-amps) inside. (These and other DJ mixing tricks will be explained elsewhere in this manual. If you want to make your DX1000 a desktop mixer. + Do not connect the PSU to the PRO MIXER while the PSU is connected to the mains supply. When being driven hard. In addition all channels have signal present and overload LEDs constantly monitoring input levels.PRO MIXER DX1000 2.3 PSU (Power Supply Unit) Any amplifier circuit is limited in its transient response by the available current. we recommend that you carefully examine the packaging and its contents for any signs of physical damage. 2. experiment with it “off-line”—before you use it in earnest in a club or studio. which may have occurred in transit. with its ultra DJ-friendly control surface. All professional DJ’s strive to do this. but notify your dealer and the shipping company immediately. It is true that not all the features of the DX1000 are relevant to every application. For example the REMOTE (machine control) buttons may be extraneous to the needs of the vinyl DJ.4 Rack mounting the DX1000 Your DX1000 is shipped with fixed rack ears. Nevertheless. 2. In addition. The sound will always stay clean and crisp right up to the operating limits of the op-amps themselves. It offers you many creative music mixing possibilities. Just another way in which we try to make life easier for you. 2. the adjustable TALK OVER feature can automatically and temporarily reduce the music level while you are speaking.1 Highly accurate main and PFL peak—reading bargraph meters The main output level is constantly monitored by a pair of highly accurate main bargraph meters . Nonetheless the superior quality of all of the features of your DX1000 means you will never find it wanting. + 8 If the unit is damaged. We have given particular attention to metering your music with PFL offered on every channel. 2. For example. You will find the serial number of your DX1000 on the rear panel. to let you know when it is engaged. PRO MIXER OVERVIEW . please do not return it to us. If possible.
lets you know if a signal is present (it only responds to bass frequencies).1 Input selection Inputs are on the back panel. Balanced operation gives best noise performance. Mic signals are low. Mic channel input level can be continuously adjusted by the GAIN knob (from +10 to +60 dB. . albeit 20 dB more sensitive. Any Line source will work perfectly well if a mono jack is used. 3. but they can also cause feedback problems if over-used. clear and noiseless performance. 3. Your input source is selectable between MIC and LINE by a switch of associated LEDs lets you know which input is selected. also re-check gain. Set up your EQ before fine-tuning gain. release its PFL button.) into the appropriate MIC music at typical volume to check out and set up the channel. Hit the PFL button to temporarily send the channel signal to the PFL bargraph meter . Noise gates shut off mics automatically when not in use— useful for keeping out music spillage which can muddy the sound of your mix.2. Once gain has been set for a channel. or the ring and barrel of a TRS jack are shorted (see chapter 10 “CONNECTIONS”). MONO INPUT CHANNEL Plug a mic or line source (tape. adding loads of energy. the gain structure is comparable to that on a stereo music channel. Check out the excellent BEHRINGER range of interactive dynamics products. If you re-EQ. A pair 3. therefore they need to be heavily pre-amplified). MONO INPUT CHANNEL 9 . As long as the SIG. 3.2 Gain setting + Gain is dependent on EQ. Adjust the GAIN control until the bargraph meters are in the yellow (0 dB) but not the red (Clip). CD player etc. PEAK lets you know if you overload the channel (it lights at +18 dB).10 to + 40 dB . That’s why you can use it to keep an eye on the beats.2 Gain setting by using PFL Pre-Fader-Listen is the professional way to set gain. LED is flickering and Channel input level is continuously monitored by a pair of LEDs the PEAK one isn’t the gain is reasonable.3 Insert point Situated on the rear of the console. Mic and line inputs are on balanced XLR and 1/4" jacks respectively. + + SIG. otherwise the PFL meter reading will be meaningless.2. These give an incredibly warm. = 20 dB pad on mic input) 3.1 Quick way . (These are post-gain and pre-EQ). + You will usually want to PFL only one channel at a time. 3. (from . gate or any other signal processor(s) in line with your microphone (see chapter 10 “CONNECTIONS”).PRO MIXER DX1000 3. or LINE input. Unbalanced microphones need to have XLR pins 1 and 3 shorted. If you are using a mono line source in a mic channel. Often a compressor/gate combination is best. mic channels have insert points on TRS jacks. Speak or play + The mic pre-amps are of the same quality as those in our award-winning EURODESK studio consoles. You can use these combined input/output sockets to put a compressor. + Compressors can help even out voice volume.
The mixer is set up as follows: 10 4.4 Equalizer The mic channel EQ section comprises three control knobs and one switch.12 dB Centre OFF OFF OFF Tab. too high and you’ll get distortion. and want to really kill feedback. Your input source is selectable between a pair of stereo inputs by the switch at the top of the channel strip. (Channel on is the inverse of the more traditional channel mute found on standard recording consoles). An associated pair of LEDs lets you know which input is selected. on a par with those used in very expensive studio consoles.12 dB +/. Play 4.5 Output Mic channel output is fed directly into the main mix. The choice of inputs depends on which of channels 3 . + 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. STEREO INPUT CHANNEL . We recommend using this feature with microphones to eliminate “popping” and handling noise. Use EQ creatively to sweeten the sound of your microphone.) into the appropriate PHONO music at a typical volume to check out and set up the channel. 3. LOW CUT also helps to avoid bass feedback. Level is controlled by a precision 100 mm fader . 4. Depressing the LOW CUT switch rolls off the bass end (-18 dB/oct @ 75 Hz). Adjust the desired amount of effect (from -oo to +30 dB) by the EFFECT RETURN knob to the right of the bargraph meters.PRO MIXER DX1000 3. Separate controls cut and boost TREBLE . The channel signal is sent to the mix by depressing the CHANNEL ON switch . or CD input. 3. you can patch our FEEDBACK DESTROYER PRO DSP1124P across the channel insert point at the rear of the console. The effect send level is dependent on the fader setting. while stereo position is set by the PAN control . STEREO INPUT CHANNEL Plug a phono (turntable) or line source (CD player etc. A LED indicator illuminates when the channel is on. EQ Treble Mid Bass Shelving EQ Peaking EQ Shelving EQ Frequency 10 kHz 750 Hz 50 Hz Range +/.7 you are looking at. Where loud music is playing. not via the X and Y subgroup channels. MID and BASS frequencies respectively. These give ultra-smooth operation even at low levels. Too low a level will mean too much hiss on your effects return. It is ideal for this purpose. The faders used are special high-quality true-log faders.6 Effects You can patch a mono or stereo outboard effects processor into your DX1000 via the effect send and return jacks on the back panel. or defensively to help cut feedback (see below for EQ specifications). + + The mic channels are routed to the tape outputs on the rear panel of the DX1000. but not to the tape outs situated to the left of the main meters.1: Equalizer of the mono input channels + If you are serious about your mic channel.9 dB +/. marked “WITHOUT VOICE”. Now you can effect your voice instantly simply by punching the illuminated EFFECT button . 3.1 Input selection Inputs are on the DX1000’s back panel.
you should patch it into a line level input. 4. STEREO INPUT CHANNEL 11 .1 Quick way Channel input level is continuously monitored by a pair of LEDs . With line levels you are looking at a signal up to 100 times more powerful than the phono pre-amplifier is designed to handle! If for some reason your turntable has a built-in RIAA pre-amp. + If you are in the habit of slamming the channel faders all the way up (+6 dB).2.2. LED only responds to bass frequencies and is perfectly suited to keep an eye on the beats. A mix could include three turntables (channels 3 . This might not be true if you are layering tracks. Remember—distortion is not volume. 4. and any distortion introduced before the power amplifiers and speakers will worsen your sound and cause amps and speakers to clip sooner. PEAK lets you know if you’re about to overload the channel (it lights at +18 dB). As long as the signal LED is flashing on the beat (and the peak one isn’t) you can be sure the gain is reasonable. Once gain has been set for a channel. or four CD/cart players plus a stereo tape recorder for a broadcast studio.2 Gain setting + Gain is dependent on EQ. + Normally you will want to PFL only one channel at a time. At this level PFL and MAIN meters should show the same level (check this by engaging PFL on the channel currently playing). Also note that the mono PFL meter is a sum of L and R channel signals. being matched exactly to your cartridge response. and/or using “Permanent PFL”—see the chapter 7 “HEADPHONES.2 Gain setting by using PFL Pre-Fader-Listen is the professional way to set gain.5) and two samplers for creative DJ work.PRO MIXER DX1000 Channel 3 4 5 6 7 Input 1 PHONO 1 PHONO 2 PHONO 3 LINE 1 LINE 2 Input 2 CD 1 CD 2 CD 3 CD 4 TAPE* Tab. Keep an eye on the output meters—red spells trouble. MONITORS & PFL”. Only the phono inputs are device-specific. Phono cartridge output is measured in millivolts. release its PFL button. Channel gain can be continuously adjusted by the GAIN knob (from -20 to +20 dB). try to keep your MAIN faders at a compensatory -6 dB to make sure you don’t risk distortion. + + + Never patch line level devices into your highly sensitive phono inputs. 4. Do this for all music channels. allowing easy comparison between outgoing (playing) and incoming (cueing) tracks. so channel 7 could return an extra CD player. for example. Line level signals are of the order of magnitude of a volt. 4. 4. Set up your EQ before fine-tuning gain. In fact any line level signal could be patched into any line-level input. Hit the PFL button to temporarily send the channel signal to the PFL meter . The SIG.1: Stereo channel configuration * Channel 7’s TAPE input is parallel-wired to the TAPE IN on the top panel. Adjust GAIN until the PFL meter is hitting the yellow (up to +10 dB) but not the red (clip). and we always recommend you do it if you have the time.
These are the master talk over adjustments you will want to make. This sends the channel signal to either of two stereo submixes. The trick is to cut the bass from all but one track playing.12 dB +/. 4. (Attenuation is at MAX to enable you to hear this adjustment as clearly as possible.9 dB +/. and a pair of LEDs clearly show you which of X or Y is currently selected per channel. on a par with those used in the most expensive studio consoles. You wont hear anything in the main mix unless the channel is switched on by depressing the CROSSFADER switch . EQ Treble Mid Bass Shelving EQ Peaking EQ Shelving EQ Frequency 10 kHz 750 Hz 50 Hz Range +/. which we call X and Y.4 Output Channel level is controlled by a precision stereo 100-mm fader . You would almost certainly want to attenuate the music while you speak. The X and Y mixes are then routed to opposite ends of the main crossfader . as frequencies often clash. TALK OVER . TALK OVER Let’s say you are talking over a music intro. Low frequencies in particular can phase and cancel. The DX1000 talk over system does this for you—automatically. You can roll off the bass by turning BASS fully anti-clockwise. The EQ ON switch activates the tone controls which enable cut and boost of TREBLE . 5. Depressing the TALK OVER button on a mic channel engages the talk over system. When you press the KILL switch the bass EQ is set to maximum attenuation independent of the setting of the bass EQ control. How do you do this? If you look to the left of the main bargraph meters you will see three rotary controls and two LEDs. first turn DAMPING full on (MAX). TIME controls the rate at which music volume recovers after a mic channel signal has activated the automatic music level reduction process.) EQ can sweeten or effect a track. Now adjust SENSITIVITY until the music is always attenuated by a voice signal. 4. To set up these controls properly. Set up the gain on your mic channel using PFL. + You can immediately tell if any channel is switched on (CROSSFADER switch depressed) by looking at the master ASSIGN X and ASSIGN Y indicators situated under the crossfader. You can leave this button down all the time—it will not affect the music unless you speak into the mic. Once you have set them up for your system you will probably not have to alter them unless something else is changed. These give ultra-smooth operation even at low levels. The ASSIGN button selects between these two submixes. + The faders used are high-quality true-log faders. provided you set the system up correctly. with the fading out and in of frequency bands being very popular.) 12 5.PRO MIXER DX1000 4. causing uneven bottom-end response. SENSITIVITY sets the speech level threshold at which attenuation (also called gain reduction) kicks in once talk over is activated by a mic channel signal. MID and BASS frequencies respectively (see below for specs.3 Equalizer The channel EQ section comprises three control knobs and two switches. DAMPING allows you to adjust the depth of music attenuation triggered by the mic channel signal.2: Equalizer of the stereo channels + EQ is particularly useful if two or more music tracks are playing together.12 dB Centre OFF OFF OFF Tab.
and the music volume will just keep going up and down! (You have set up an intermittent negative feedback loop. In PUNCH mode the X button introduces the X signal to the mix. + + If two mics are being used. We also allow you to tailor its response to your “feel” by means of a simple adjustment (see chapter 11 “CROSSFADER ADJUSTMENT”). but if you are looking for instantaneous transforming action. or one source and silence. which takes place alongside rather than over the music. your music is being automatically attenuated. ON lets you system is behaving. MASTER AUDIO OUTPUTS 13 . When set fully to the left. Talk over could just as easily be used for MC-ing. which controls the blend of the X and Y mixing channels. + 6. It might not however be appropriate for rapping. Twin LEDs let you know how your talk over is lit. unlike on many other DJ mixers. opening up your scope for creative mixing. Its ultra-high quality design means that you can expect a massive 200. it’s time to fine-tune the system with the other two controls again. When DAMP know that one or both mic channels have talk over engaged. We know how much you rely on this.1 Crossfader The heart of your music mix is the horizontally-mounted ULTRA-HIGH QUALITY FADER . Another DJ trick is to use the channel faders or channel on buttons to chop one music track over another. set SENSITIVITY with both mic channels switched on.2 Transforming with punch and cut Transforming is a DJ term used to describe the chopping up of sound to create dramatic effects. CUT mode enables the big buttons to be used as mutes for interesting gating effects. MASTER AUDIO OUTPUTS 6.PRO MIXER DX1000 + Take care to ensure that SENSITIVITY is not set too high. The crossfader is actually a sophisticated VCA controller. Traditionally this is done by rapidly moving a crossfader to give a stuttering or “gated” effect. This is because no audio signal actually passes through your crossfader. unless the damping effect is set to be quite subtle. We are sure you will grow to love their speed and ease of operation. there will be a time when you want to hear both tracks at full volume. A pair of LEDs lets you know whether PUNCH or CUT is active. and vice versa. The crossfader is most often used to fade one track into another during a DJ mix. according to taste. 6.) Once SENSITIVITY has been set so that talk over is only being activated by speech. And even if the fader does get something nasty poured over it by mistake (please don’t do this!) the quality of your music should be unaffected. Simply pause your crossfader in the middle position until you are ready to fade out the outgoing track. The X and Y PUNCH/CUT buttons and are ergonomically situated by the crossfader with which they are designed to work.000 smooth operations before wear & tear even becomes a factor. temporarily silencing the X or Y output. check out our ergonomic alternative—a pair of big assignable PUNCH/CUT buttons. only X is heard in the mix. otherwise spill from loudspeakers into the mic could trigger the talk over system. while the Y button brings in the Y signal. Punch and cut are two transform modes selectable by the TRANSFORM MODE button . You can immediately tell if any channel is switched on (CROSSFADER switch depressed) by looking at the master ASSIGN X and ASSIGN Y indicators situated under the crossfader. either between two music sources. This means you can add in bits and beats from X on top of Y and vice versa. + + If you are bringing in an intro over an outro. and for that reason we have not only ensured that it is incredibly durable and smooth-acting. These methods are still valid. 6.
5 Zone The ZONE stereo output is a second main mix output with its own totally independent ZONE LEVEL control . Or you could use main boost to emphasize the beats etc. Y and the two mic channels. plus the stereo effects return.3 Main/tape outputs Level to the main outputs (Max. Never connect to both sets of tape inputs/outputs (see chapter 10 “CONNECTIONS”). gain 30 dB) feeds directly into the mix. Big buttons are all non-latching. like the keys on a MIDI keyboard. As well as using the X . 6. + + The tape outputs on the top of the console are taken directly from the output of the crossfader. The main output also feeds the tape outputs on the back of the console. This can be used for feeding the mix into a separate sound system such as DJ foldback. or another room or area in a dance club. Try running a rhythm track through X (crossfader fully to the left).PRO MIXER DX1000 + This is the first time we have come across any really BIG buttons on the DX1000. 14 6. You can send more than one channel to either X. Main boost should not be applied for more than just spot effects. It could also be used to return another stereo music source such as DAT or mini disc if five stereo channels are not enough for your music needs. all covered previously in the manual. The main outputs constitute a blend of X. This input is designed to accept the output from a mono or stereo effects unit (see chapter 10 “CONNECTIONS”). This level is continuously monitored by the pair of highly accurate tri-colored bargraph meters sited immediately above the output faders. or momentary in operation. This means they stay down until you hit them again. whatever. Y or both. Now use the Y button in PUNCH transform mode to manually chop in a sustained signal like orchestral music. In practice you will usually only send one at a time. 6.Y crossfader to select / fade between X and Y you can also use it to blend X and Y together. or simply cause the limiters to come in harder. +22 dBu unbalanced) is ultimately governed by a pair of precision 60 mm main faders . MASTER AUDIO OUTPUTS . temporarily boosting (by +4 dB) and cutting (by -20 dB) volume. but if you are layering tracks you might want to send more. Also you can crossfader between channels assigned to the same side of the crossfader using the 100 mm channel faders. as you will probably stress the sound system. + + Main cut could be used for audience sing-along bits. At this point it’s worth pointing out that all the smaller switches on your DX1000 are latching. output +28 dBu balanced. as you will very quickly find as you get into using your DX1000.6 Effect return A line-level stereo effect return (Max. 6.4 Main boost and main mute MAIN BOOST and MAIN MUTE are big non-latching buttons acting on the main outputs. by simply leaving it somewhere in the middle. These are ideal for executing transformations. noise. This mix does not include the mic channels 1 and 2. This means that they are only active when your finger (or other appendage) is actually holding them down. Now you can use the big buttons in CUT mode to chop between X and Y for more creative music gating effects. + + + 6. level being adjusted by the EFFECT RETURN knob . ambient sounds.
1. If a mono channel is PFL-ed. Depressing a channel’s PFL button cancels the mix from the monitor output and replaces it with that channel’s signal.e.2 Headphones—read carefully—this is tricky! The PHONES section lies to the far right hand side of the DX1000. cue starts etc.1 PFL in the studio In a studio setup. Level is controlled by a single 60 mm MONITOR stereo fader . i. When this switch is down. In the club environment. not switching automatically between PFL and the main mix. if no channel’s PFL is engaged. is depressed. The monitor signal is taken directly from the main mix. You can’t hear any sound in isolation. below the headphones stereo jack socket .e. (PHONES TO MONITOR forces the monitor output to follow the headphones. activating instead the BALANCE control . main mix unless any channel has PFL engaged. Now you can actually use the stereo PFL bus as a subgroup with its own stereo output (the MONITOR output). 7.1. When it is up. What you can’t do is to judge by ear exactly what level the next track will come in at. Now pay attention. however. be able to hear the PFL signal loud enough to detect the beat. LEVEL controls headphones level. + 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. because both are to some extent drowned out by the main PA system. either on a foldback system or headphones. This gives you the interesting possibility of hearing both the outgoing (MAIN) and incoming (PFL) tracks simultaneously through a single output. 7.PRO MIXER DX1000 7. that’s the easy bit explained. headphones audition PFL only. During PFL channel level is sent to the PFL meter to enable accurate gain setting. and BALANCE controls the blend of the PFL and MAIN mix signals. via headphones or the monitor speakers.3 Permanent PFL—using PFL as a listening subgroup We have seen that with both the PHONES TO MONITOR and PFL/MAIN switches depressed your monitor output is always looking at PFL.2 PFL in the club In a club the main output would normally drive the house PA. via your headphones. You should. This is a professional feature and called “Solo-In-Place” in big recording consoles. Now the DJ or engineer can hear in isolation what’s going on in one (or more) channel(s).) 7. OPTION 1: The PHONES output can have as its source either PFL or Main mix selected by the MAIN/PFL switch . headphones follow the same logic as monitor. + Main fader adjustments will not affect the level of the monitor output—unlike on standard recording consoles where monitor follows the main faders. Engaging PFL anywhere on the board changes the monitor source to PFL. MONITORS & PFL 7. the monitor output is normally sent to an amplifier driving a pair of speakers facing the operator. i. while the monitor output could offer foldback into the DJ area.1 Monitoring A separate stereo MONITOR output is provided. HEADPHONES. In the studio environment PFL (Pre-Fader-Listen) is the preferred way to set up an individual channel. (The main output might feed a tape recorder (recording studio) or transmission line (broadcast studio)). the heaphones will fall silent. 7. usually via a separate amp and speaker(s). The headphones mix is now in mono instead of stereo as previously. For that you must use your eyes and the highly-accurate bargraph meters. HEADPHONES. things get messy. sited above the MONITOR fader. 7. Right. MONITORS & PFL 15 . (NOTE: SPLIT switch is UP here) OPTION 2: Depressing the SPLIT switch disables the PFL/MAIN switch. The same signal can be heard at the monitor output so long as the PHONES TO MONITOR button . you will hear it according to the position of the channel PAN.
3 Sound-to-light A mono audio output is provided for connection to lighting controllers with a sound-to-light facility. too low and they won’t flash at all. Connection is via a standard 1/4" jack on the back panel. 16 8. These have nothing to do with the audio side of your desk. Please ensure that your equipment’s remote control output does not exceed 30 V DC/50 mA (This is unlikely!). It’s that simple. If your channel fader is always brought up to +6 dB (i.. 9. You should only use 5 watts lights.e. 8.2 Remote control of audio devices We have not yet mentioned the big non-latching buttons immediately below the faders on channels 3 to 7. which have remote jacks built into them. depending on how much mystery you want to create in the DJ box! 9. Adjust LIGHT LEVEL until lights flash in time with the music. + Sub bass units are often useful in small studios where there is no room for large extendedrange monitors in front of the mixer. (low pass filter variable from 30 Hz to 200 Hz). They are REMOTE CONTROL buttons for interfacing with certain audio sources such as CD players. and the lights will stay on. Please refer to the manufacturer’s specifications to see if your equipment conforms to this protocol. SUB BASS .PRO MIXER DX1000 + Another way to keep the monitors fixed on PFL is to make sure a PFL button is always left engaged somewhere on the desk. one for output LEVEL (max. SUB BASS The sub bass output on the back panel comes with two rotary controls. full-on as per usual with you DJ types) then comparing PFL values will give a true indication of relative mix volume between tracks. +22 dBu) and another for adjusting the crossover frequency of the low pass filter. For clarity of function it is best to associate each REMOTE button on the DX1000 with the device supplying audio to the stereo channel immediately above it. Too high. X-OVER FREQ. connection to the DX1000 is by simple jack leads on the rear panel. 9. The intensity of this light may be turned down using a DIMMER control ..1 Desk lamp A connector for an optional standard 12 V working light is offered. Sensitivity is conveniently adjustable from the DX1000 by the LIGHT LEVEL knob to the left of the bargraph meters. Otherwise things could get very confusing! Please refer to the specifications of the equipment you want to connect. CONTROLLING EXTERNAL DEVICES 9. You could simply leave a PFL button depressed on an unused. jingle or music CD in on cue. Try it . If it does. 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. This can be used to drive a very low frequency sound system in a studio or club to provide added bottom end. immediately above the bargraph meters. unassigned channel. The advantages of REMOTE CONTROL are purely ergonomic—you don’t have to stretch over the desk to bring in an audio file. CART machines etc.
10. Main outputs. Unbalanced. wired tip = left signal. wired tip = hot (+ve). pin 2 = hot (+ve) and pin 3 = cold (-ve). Unbalanced 1/4" jack socket. 1/4" jack socket. pin 2 = hot (+ve) and pin 3 = cold (-ve). Tape inputs. Balanced XLR. CD inputs. Phono inputs. Balanced 1/4" jack sockets. Unbalanced. Balanced XLR. Unbalanced 1/4" jack. For connecting the mixer to the Power Supply Unit (PSU). Mic input. Monitor outputs. Main outputs. wired pin 1 = ground/screen. wired tip = signal and sleeve = ground/screen. Zone outputs. pre-EQ and pre-fader. wired tip = signal and sleeve = ground/screen. wired pin 1 = ground/screen.1 PRO MIXER DX1000 connections Follow us on a walk along the rear panel of your PRO MIXER. For inserting into the channel signal. Electrostatic charges might affect the operation of the PRO MIXER DX1000! 10. send and return of one channel on a single 1/4" jack socket. ring = return (in) and sleeve = ground/screen. Light out. wired pin 1 = ground/screen. Subbass out. Unbalanced 1/4" jack. RCA sockets. 2 = hot (+ve) and 3 = cold (-ve). ring = right signal and sleeve = ground/screen.PRO MIXER DX1000 10. Line input. Tape out (without voice). send and return on a single 1/4" jack socket. wired tip = signal and sleeve = ground/screen. Remote control. For inserting into the main mix signal. RCA sockets. RCA sockets. Tape out (with voice). Always connect the mixer and PSU before you connect the PSU to the mains supply. + Please ensure that only qualified persons install and operate the PRO MIXER DX1000. Main inserts. starting left: Channel inserts. Balanced 1/4" jack socket. Balanced XLR. wired tip = signal and sleeve = ground/screen. wired tip = hot (+ve). wired tip = signal and sleeve = ground/screen. 1/4" jack socket. Effect return. ring = cold (-ve) and sleeve = ground/ screen. And on the front panel: Tape in. RCA sockets. Balanced XLR. wired tip = send (out). AC power in. Aux send. Monitor outputs.CONNECTIONS 17 .2 Plug soldering guide You will need a lot of cables for different purposes—see the following figures to make sure you have got the right ones. RCA sockets. During installation and operation the user must have sufficient electrical contact to earth. Unbalanced 1/4" jack sockets. Phones. wired pin 1 = ground/screen. Line Input (Input 7). wired tip = signal and sleeve = gound/screen. wired tip = send (out). RCA sockets. ring = cold (-ve) and sleeve = ground/ screen. ring = return (in) and sleeve = ground/srceen. Unbalanced 1/4" jack sockets. CONNECTIONS 10. Use custom-made RCA cables for all connections which use RCA sockets (centre post = signal (+ve) and sleeve = ground/screen). Unbalanced 1/4" jack socket. pin 2 = hot (+ve) and pin 3 = cold (-ve).
10. Balanced use with XLR connectors 2 1 3 1 = Ground / Shield 2 = hot (+ve) 3 = cold (-ve) 1 2 3 Output Input For unbalanced use pin 1 and pin 3 have to be bridged Fig.1: Un-/balanced jack plugs and balanced XLR connectors Fig.PRO MIXER DX1000 Unbalanced use of mono 1/4" jack plugs Tip = Signal Balanced use of stereo 1/4" jack plugs Tip = hot (+ve) Ring = cold (-ve) Sleeve = Ground / Shield Sleeve = Ground / Shield Tip Sleeve Strain relief clamp Tip Ring Sleeve Strain relief clamp For connection of balanced and unbalanced plugs.2: Headphones connector 18 10.CONNECTIONS . ring and sleeve have to be bridged at the stereo plug. 10.
11. Sorry. if you make much of your warranty privileges.1 Overlap With the OVERLAP potentiometer (VR43) you can adjust the increase or decrease in dB. + Please be aware that the BEHRINGER warranty becomes discretionary when you start disassembling your DX1000! Don’t even think of it. This guarantees a constant volume across the entire fader path. Ex works this value is adjusted at -3 dB and should not be modified.3: Insert send/return plug 11.CROSSFADER ADJUSTMENT 19 . which you can adjust with a little screwdriver. You can unscrew the bottom of your mixer to reach the main motherboard. 11. CROSSFADER ADJUSTMENT On the main motherboard you can find two potentiometers. which is conducted when the crossfader is located in the middle position.2 Slope With the SLOPE potentiometer (VR44) you can adjust the fade over process of the both channels. Dependent on the setting of the SLOPE potentiometer there are the following volume curves: 11. but we have to mention this. These potentiometers are identified as OVERLAP and SLOPE. 10.PRO MIXER DX1000 Fig.
SPECIFICATIONS .PRO MIXER DX1000 Fig. @ 0 dBu.03 % typ. discrete input configuration +10 to +60 dB 10 Hz to 100 kHz.2: Volume curve II (SLOPE potentiometer completely right) 12. 1 kHz > 80 dB.06 % typ. +/-3 dB 0. unweighted 20 12.1: Volume curve I (SLOPE potentiometer completely left) Fig. +/-3 dB 0. 11. 11. 1 kHz -10 dB to +40 dB 10 Hz to 100 kHz. @ -30 dBu. SPECIFICATIONS MONO INPUT CHANNELS Mic input Gain Frequency response THD Line input Gain Frequency response THD S/N ratio Electronically balanced.
240 V ~.SPECIFICATIONS 21 .96 mm / 152. As a result of these efforts. RIAA 0.120 V ~. 18 dB/oct. 10 dB gain) 0 dB 0 dB 0 dB USA/Canada U. unweighted > 70 dB. Specifications and appearance may differ from those listed or illustrated. @ -30 dBu. +/-3 dB 20 Hz to 20 kHz. 50 Hz.K. modifications may be made from time to time to existing products without prior notice. 50 Hz. unweighted 50 Hz.6 mm) 6. 10 dB gain) 0 dB (max. unbalanced input +/-15 dB +/-15 dB (variable from +25 dB to +55 dB) 10 Hz to 100 kHz. PSU MXEU 1 100 . 50 . +/-12 dB 0 dB +6 dB 0 dB (max. 200 ./Australia Europe General Export Model In: Out: In: Out: 120 V ~.5 kg BEHRINGER is constantly striving to maintain the highest professional standards. +/-12 dB 700Hz.60 Hz Power supply units Model MXEU 1 Model MXUL 1 PHYSICAL Dimensions (approx. PSU MXEU 1 230 V ~. @ 0 dBu.4 mm) * 17 1/4" (440 mm) * 14" (355. 12.025 % typ.5 V ~ (1200 mA) 115 V ~ / 60 Hz (500 mA) 2 * 19.) Net weight (without PSU) 230 V ~ / 50 Hz (250 mA) 2 * 19.5 V ~ (1200 mA) 2 3/8" / 6" (60. PSU MXUL 1 240 V ~. 1 kHz 0. +/-8 dB 10 kHz.035 % typ. 60 Hz. 1 kHz > 80 dB.PRO MIXER DX1000 EQ Low Mid High Low cut STEREO INPUT CHANNELS Phono/line/CD input Gain Line/CD Phono Frequency response Line/CD Phono THD Line/CD Phono S/N ratio Line/CD Phono EQ Low Mid High CONNECTORS Master out Jack XLR Monitor out Jack Zone out Jack Insert send Insert return Effect send POWER SUPPLY Mains Voltages +/-12 dB @ 50 Hz +/-9 dB @ 750 Hz +/-12 dB @ 10 Hz 75 Hz.
2. Germany Tel. ALL RIGHTS RESERVED. 4. To obtain warranty service. 2. 36-38. electronic or mechanical. in accordance with the warranty regulations described below.D. Under the terms of this warranty. BEHRINGER will then issue a return authorization number. +49 (0) 21 54 / 92 06-0. This also applies to defects caused by normal wear and tear. If the buyer fails to submit a written repair order within 6 weeks after notification.de). Warranty claims other than those indicated above are expressly excluded.) shall be entitled to give any warranty promise on behalf of BEHRINGER. Fax +49 (0) 21 54 / 92 06-30 22 12. potentiometers. in particular. 6.PRO MIXER DX1000 13. neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals. § 4 WARRANTY REGULATIONS 1. Any product deemed eligible for repair or replacement by BEHRINGER under the terms of this warranty will be repaired or replaced within 30 days of receipt of the product at BEHRINGER. No part of this manual may be reproduced or transmitted in any form or by any means. BEHRINGER and FEEDBACK DESTROYER are registered trademarks. § 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1. 3. Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer’s invoice. in any country which is not the country for which the product was originally developed and manufactured. in accordance with the conditions stipulated in § 3. without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH. Subsequently. at its sole discretion. BEHRINGER shall. the buyer may also choose to use the online registration option via the Internet (www. the buyer (or his authorized dealer) must call BEHRINGER (see enclosed list) during normal business hours BEFORE returning the product.WARRANTY . No other person (retail dealer. the product will be returned to the user freight prepaid. This warranty does not exclude or limit the buyer’s statutory rights provided by national law. Free inspections and maintenance/repair work are expressly excluded from this warranty.O. either repair or replace the product. s damages/defects caused by force majeure or any other condition that is beyond the control of BEHRINGER. Based on the conditions herein. Damages/defects caused by the following conditions are not covered by this warranty: s misuse. the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH. in particular. Products which do not meet the terms of this warranty will be repaired exclusively at the buyer’s expense. 2. BEHRINGER shall not be held responsible for any cost resulting from such a modification/adaptation. § 6 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim (consequential) damages. with a separate invoice for freight and packing.behringer. etc. In no event shall the liability of BEHRINGER exceed the invoiced value of the product. this modification/adaptation shall not be considered a defect in materials or workmanship. for any purpose. Failure to return the card in due time (date as per postmark) will void any extended warranty claims. The information contained in this manual is subject to change without notice. BEHRINGER will inform the buyer of any such circumstance. the product must be returned in its original shipping carton. All inquiries must be accompanied by a description of the problem.behringer. The warranty does not cover any such modification/adaptation. BEHRINGER Spezielle Studiotechnik GmbH. Shipments without freight prepaid will not be accepted. 3. Such costs will also be invoiced separately when the buyer has sent in a written repair order. if caused by improper handling of the product by the user. Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the warranty. 47877 Willich-Münchheide II. § 3 RETURN AUTHORIZATION NUMBER 1. WARRANTY § 1 WARRANTY CARD/ONLINE REGISTRATION To be protected by the extended warranty. in particular. 2. 5. irrespective of whether it was carried out properly or not. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH including all BEHRINGER subsidiaries listed on the enclosed page. If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty. BEHRINGER will return the unit C.com or www. the inspection costs are payable by the customer. © 2001 BEHRINGER Spezielle Studiotechnik GmbH. § 2 WARRANTY 1. § 5 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer (customer of retail dealer) and is not transferable to anyone who may subsequently purchase this product. 3. Hanns-Martin-Schleyer-Str. keys/buttons and similar parts. any such rights against the seller that arise from a legally effective purchase contract. together with the return authorization number to the address indicated by BEHRINGER. including photocopying and recording of any kind. If the warranty claim proves to be justified. of faders. except BEHRINGER Japan) warrants the mechanical and electronic components of this product to be free of defects in material and workmanship for a period of one (1) year from the original date of purchase. If the product shows any defects within the specified warranty period that are not due to normal wear and tear and/or improper handling by the user. s connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used. 7. The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law. If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level.

References: § 4
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