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The DX2000USB is a multi-functional stereo mixer designed for all applications where pre-recorded music is mixed and played. It is equally useful at home, in dance clubs, personal DJ setups and broadcast studios. It has two mono mic channels and five stereo music channels, plus USB input/output. The mic channels may be routed to the main mix directly. Music channels, on the other hand, must be assigned to one of two stereo submixes, called X and Y. A super-smooth user-definable VCA crossfader ultimately controls the blend of X and Y being sent to the main mix.
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Terminals marked with this symbol carry electrical current of suffi cient magnitude to constitute risk of electric shock.
Use only high-quality professional speaker cables with ¼" TS or twist-locking plugs pre-installed. All other installation or modifi cation should be performed only by qualifi ed personnel.
This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be suffi cient to constitute a risk of shock.
This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual.
To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside. Refer servicing to qualified personnel.
To reduce the risk of fi re or electric shock, do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects fi lled with liquids, such as vases, shall be placed on the apparatus.
These service instructions are for use by qualifi ed service personnel only. To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualifi ed service personnel.
TECHNICAL SPECIFICATIONS AND APPEARANCES ARE SUBJECT TO CHANGE WITHOUT NOTICE AND ACCURACY IS NOT GUARANTEED. BEHRINGER, KLARK TEKNIK, MIDAS, BUGERA, AND TURBOSOUND ARE PART OF THE MUSIC GROUP (MUSIC-GROUP.COM).
ALL TRADEMARKS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NO LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED BY ANY PERSON WHO RELIES EITHER WHOLLY OR IN PART UPON ANY DESCRIPTION, PHOTOGRAPH OR STATEMENT CONTAINED HEREIN. COLORS AND SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT. MUSIC GROUP PRODUCTS ARE SOLD THROUGH AUTHORIZED FULLFILLERS AND RESELLERS ONLY.
FULLFILLERS AND RESELLERS ARE NOT AGENTS OF MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED UNDERTAKING OR REPRESENTATION. THIS MANUAL IS COPYRIGHTED. NO PART OF THIS MANUAL MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, ELECTRONIC OR MECHANICAL, INCLUDING PHOTOCOPYING AND RECORDING OF ANY KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS WRITTEN PERMISSION OF MUSIC GROUP IP LTD.
The main output level is constantly monitored by a pair of highly accurate main bargraph meters (38). In addition, all channels have PFL (Pre-Fader-Listen) (13). This means that you can see (on a separate PFL bargraph meter (39)) 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. All professional DJ's strive to do this, often overlapping two tracks, or slowly crossfading between them. (These and other DJ mixing tricks will be explained elsewhere in this manual.)
Your DX2000USB is a creative instrument. Learn to play it well. If possible, experiment with it "off-line"—before you use it in earnest in a club or studio. It offers you many creative music mixing possibilities, with its ultra DJ-friendly control surface. In addition, many special features have been included to enhance the flexibility and ease of operation of your mix. For example, the adjustable TALK OVER feature can automatically and temporarily reduce the music level while you are speaking. We have given particular attention to metering your music with PFL offered on every channel. In addition, all channels have signal present and clip LEDs constantly monitoring input levels. You will also see virtually every switch on your DX2000USB has an associated status LED to let you know when it is engaged. Just another way in which we try to make life easier for you, the DJ.
It is true that not all the features of the DX2000USB are relevant to every application. For example, the TRACK START (20) buttons buttons may be extraneous to the needs of the vinyl DJ. Nonetheless, the superior quality of all of the features of your DX2000USB means you will be well equipped for any situation.
Please connect the IEC cable to the power socket (72) on the back panel of your mixer.
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).
Please register your mixer on our website at behringer.com to become eligible for our extended warranty. The serial number (71) can be found on the rear panel.
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.
Plug a mic or line source (tape, CD player etc.) into the appropriate MIC (52) or LINE (51) input. Speak or play music at typical volume to check out and set up the channel.
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.
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).
Pre-Fader-Listen is the professional way to set gain. Hit the PFL button (13) to temporarily send the channel signal to the PFL bargraph meter (39). 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.
Situated on the rear of the console, mic channels have insert points (50) 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 "CONNECTIONS").
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).
Tab. 2.4: Equalizer of the mono input channels
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 |
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 (14), while stereo position is set by the PAN control (10). The channel signal is sent to the mix by depressing the CHANNEL ON switch (12). 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).
You can patch a mono or stereo outboard effects processor into your DX2000USB via the SEND (53) and RETURN (54) 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 (42) to the right of the bargraph meters.
Plug a phono (turntable) or line source (CD player etc.) into the appropriate PHONO/LINE (59) or CD (58) 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.
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:
Tab. 3.1: Stereo channel configuration
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 |
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).
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 (13) to temporarily send the channel signal to the PFL meter (39). 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.
The channel EQ section comprises three control knobs and two switches.
The EQ ON (16) switch activates the tone controls which enable cut and boost of HIGH (6), MID (7) and LOW (8) frequencies respect ively (see below for specs.) EQ can sweeten or effect a track, with the fading out and in of frequency bands being very popular.
Tab. 3.2: Equalizer of the stereo channels
EQ | Frequency | Range | Centre | |
High | Shelving EQ | 15 kHz | +6/-18 dB | OFF |
Mid | Peaking EQ | 1.4 kHz | +6/-25 dB | OFF |
Low | Sheiving EQ | 50Hz | +6/-25 dB | OFF |
Channel level is controlled by a precision stereo 100-mm fader (14).
Press the CROSSFADER switch (17) to send the channel signal to either of the two stereo submixes, which we call X and Y. The ASSIGN button (18) selects between these two submixes, and a pair of LEDs (19) clearly show you which of X or Y is currently selected per channel. The X and Y mixes are then routed to opposite ends of the main crossfader (33).
Let's say you are talking over a music intro. You would almost certainly want to attenuate the music while you speak. The DX2000USB talk over system does this for you—automatically. Depressing the TALK OVER button (11) on a mic channel engages the talk over system. You can leave this button down all the time— it will not affect the music unless you speak into the mic, provided you set the system up correctly. 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. These are the master talk over adjustments you will want to make. Once you have set them up for your system you will probably not have to alter them unless something else is changed.
SENSITIVITY (23) sets the speech level threshold at which attenuation (also called gain reduction) kicks in once talk over is activated by a mic channel signal.
TIME (24) controls the rate at which music volume recovers after a mic channel signal has activated the automatic music level reduction process.
DAMPING (25) allows you to adjust the depth of music attenuation triggered by the mic channel signal.
To set up these controls properly, first turn DAMPING full on (MAX). Set up the gain on your mic channel using PFL. Now adjust SENSITIVITY until the music is always attenuated by a voice signal. (Attenuation is at MAX to enable you to hear this adjustment as clearly as possible.)
Once SENSITIVITY has been set so that talk over is only being activated by speech, it's time to fine-tune the system with the other two controls again, according to taste. Twin LEDs let you know how your talk over system is behaving. When DAMP (27) is lit, your music is being automatically attenuated. ON (26) lets you know that one or both mic channels have talk over engaged.
The heart of your music mix is the horizontally-mounted infinium optical crossfader (33), which controls the blend of the X and Y mixing channels. When set fully to the left, only X is heard in the mix, and vice versa. We know how much you rely on this, and for that reason we have not only ensured that it is incredibly durable and smooth-acting. We also allow you to tailor its response to your "feel" by means of a simple adjustment (see chapter 11 "CROSSFADER ADJUSTMENT"). The crossfader is most often used to fade one track into another during a DJ mix.
Transforming is a DJ term used to describe the chopping up of sound to create dramatic effects. Traditionally this is done by rapidly moving a crossfader to give a stuttering or "gated" effect, either between two music sources, or one source and silence. Another DJ trick is to use the channel faders or channel on buttons to chop one music track over another. These methods are still valid, but if you are looking for instantaneous transforming action, check out our ergonomic alternative—a pair of big assignable PUNCH/CUT buttons. We are sure you will grow to love their speed and ease of operation.
Punch and cut are two transform modes selectable by the TRANSFORM MODE button (48). A pair of LEDs (49) lets you know whether PUNCH or CUT is active. The X and Y PUNCH/CUT buttons (34) and (35) are ergonomically situated by the crossfader with which they are designed to work. CUT mode enables the big buttons to be used as mutes for interesting gating effects, temporarily silencing the X or Y output. In PUNCH mode the X button (34) introduces the X signal to the mix, while the Y button (35) brings in the Y signal. This means you can add in bits and beats from X on top of Y and vice versa, opening up your scope for creative mixing.
Level to the main outputs (Max. output +28 dBu balanced, +22 dBu unbalanced) is ultimately governed by a pair of precision 60 mm main faders (30). This level is continuously monitored by the pair of highly accurate tri-colored bargraph meters (38) sited immediately above the output faders. The main outputs constitute a blend of X and Y, as well as channels not assigned to the crossfader, and the two mic channels, all covered previously in the manual, plus the stereo effects return. The main output also feeds the RECORD OUT jacks on the back of the console.
MAIN BOOST (28) and MAIN DIM (29) are big non-latching buttons acting on the main outputs, temporarily boosting (by +4 dB) and cutting (by -20 dB) volume.
The ZONE stereo output (69) is a second main mix output with its own totally independent ZONE LEVEL control (41). 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.
A line-level stereo effect RETURN (54) (Max. gain 30 dB) feeds directly into the mix, level being adjusted by the FX RETURN knob (42). This input is designed to accept the output from a mono or stereo effects unit (see "CONNECTIONS"). 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.
The DX2000USB has built-in USB connectivity, allowing stereo signals to be sent to and from the mixer and a computer. The audio sent from the mixer to a computer is identical to the RECORD OUT signal. Audio being sent from a computer to the DX2000USB can be selected with the Channel 3 INPUT button.
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.
A separate stereo MONITOR output (68) is provided. Level is controlled by a single 60 mm MONITOR stereo fader (32). The monitor signal is taken directly from the main mix. Engaging PFL anywhere on the board changes the monitor source to PFL.
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 gain setting.
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.
The PHONES section lies to the far right hand side of the DX2000USB, below the headphones stereo jack socket (43). PHONES LEVEL (45) 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 (44). 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:
Depressing the SPLIT switch (47) disables the PFL/MAIN switch, activating instead the BALANCE control (46). 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 (31), sited above the MONITOR fader, is depressed. (PHONES TO MONITOR forces the monitor output to follow the headphones.)
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).
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...
The sub bass output (63) on the back panel comes with two rotary controls, one for output LEVEL (62) (max. +22 dBu) and another for adjusting the crossover frequency of the low pass filter, CROSSOVER FREQUENCY. (61) (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.
A connector (37) for an optional standard 12 V working light is offered, immediately above the bargraph meters. You should only use 5 Watt lights.
We have not yet mentioned the big non-latching TRACK START buttons (20) 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 (55) 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 channel immediately above it. Otherwise things could get very confusing! Please refer to the specifications of the equipment you want to connect.
A mono audio output (60) 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 (40) 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.
Follow us on a walk along the rear panel of your PRO MIXER, starting left:
And on the front panel:
You will need a lot of cables for different purposes—see the following figures to make sure you have got the right ones.
Use custom-made RCA cables for all connections which use RCA sockets (centre post = signal (+ve) and sleeve = ground/screen).
Unbalanced ¼" TS connector
Balanced ¼" TRS connector
For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.
Fig. 10.1: Un-/balanced jack plugs and balanced XLR connectors
Fig. 10.2: Headphones connector
Fig. 10.3: Insert send/return plug
Connect the insert send with the input and the insert return with the output of the e ects device.
On the main motherboard you can find two potentiometers, which you can adjust with a little screwdriver. These potentiometers are identified as OVERLAP and SLOPE. You can unscrew the bottom of your mixer to reach the main motherboard.
With the OVERLAP potentiometer (VR43) you can adjust the increase or decrease in dB, which is conducted when the crossfader is located in the middle position. Ex works this value is adjusted at -3 dB and should not be modified. This guarantees a constant volume across the entire fader path.
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:
Fig. 11.1: Volume curve I (SLOPE potentiometer completely left)
Fig. 11.2: Volume curve II (SLOPE potentiometer completely right)
Mono Input Channels
Mic Input | Electronically balanced, discrete input configuration |
Gain | +10 to +60 dB |
Frequency response | 10 Hz to 80 kHz, +/-3 dB |
THD | 0.08% typ. @ -30 dBu, 1 kHz |
Line Input | |
Gain | -10 to +40 dB |
Frequency response | 10 Hz to 80 kHz, +/-3 dB |
THD | 0.08% typ. @ -10 dBu, 1 kHz |
S/N Ratio | 85 dB, unweighted |
EQ | |
Low | +/-12 dB @ 50 Hz |
Mid | +/-8 dB @ 750 Hz |
High | +/-12 dB @ 10 kHz |
Low cut | 75 Hz, 18 dB/oct |
Stereo Input Channels
Phone/Line/CD Input | Unbalanced input |
Gain | |
Line/CD | +17/-20 dB |
Phone | +17/-20 dB |
Frequency Response | |
Line/CD | 10 Hz to 130 kHz, +/-3 dB |
Phone | 20 Hz to 20 kHz, RIAA |
THD | |
Line/CD | 0.05% typ @ 0 dBu, 1 kHz |
Phone | 0.1% typ @ -40 dB, 1 kHz |
S/N Ratio | |
Line/CD | -82 dB, unweighted |
Phone | -78 dB, unweighted |
Kill EQ | |
Low | +6/-25 dB @ 50 Hz |
Mid | +6/-25 dB @ 1.4 kHz |
High | +6/-18 dB @ 15 kHz |
Connectors
Master Out | |
Jack | 0 dB |
XLR | +6 dB |
Monitor Out | |
Jack | 0 dB (max.10 dB gain) |
Zone Out | |
Jack | 0 dB (max.10 dB gain) |
Insert send | 0 dB |
Insert retur | 0 dB |
Effect send | 0 dB |
USB
Audio | Stereo In/Out |
Connector | Type B |
Sample rate | 48 kHz |
Power Supply
Mains Voltages | 100 - 240 V ~, 50/60 Hz |
Power consumption | 40 W |
Fuse (100 - 230 V ~, 50/60 Hz) | T 1.6 A H 250 V |
Mains connector | Standard IEC receptacle |
Physical
Dimensions | 160 x 340 x 440 mm (6.29 x 13.38 x 17.32") |
Weight | 6.7 kg (14.7 lbs) |
For the applicable warranty terms and conditions and additional information regarding MUSIC Group's Limited Warranty, please see complete details online at
www.music-group.com/warranty.
ALL RIGHTS RESERVED.
© 2013 MUSIC Group IP Ltd.
Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands
Here you can download full pdf version of manual, it may contain additional safety instructions, warranty information, FCC rules, etc.
Download Behringer PRO MIXER DX2000USB - 7-Channel DJ Mixer Manual
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