Pyle PMX648 Handleiding
Pyle
Platenspeler
PMX648
Lees hieronder de 📖 handleiding in het Nederlandse voor Pyle PMX648 (9 pagina's) in de categorie Platenspeler. Deze handleiding was nuttig voor 38 personen en werd door 2 gebruikers gemiddeld met 4.5 sterren beoordeeld
Pagina 1/9
Questions? Issues?
We are here to help!
Phone: (1) 718-535-1800
Email: support@pyleusa.com
www.PyleUSA.com2www.PyleUSA.com 3
For the best results and the satisfaction from your new unit, please read
this manualthoroughly, and retain it for future reference.
Balanced, Unbalanced-What's the Dierence?
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 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
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 -30 dBu
twittering of a bird might be lower than -50dBu
while a solid bass drum beat might produce a
level as high as 0 dBu
www.PyleUSA.com4www.PyleUSA.com 5
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 instruments 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 instru-
ments-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 instruments. 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.
Product specificaties
| Merk: | Pyle |
| Categorie: | Platenspeler |
| Model: | PMX648 |
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