Pyle PMX648 Bruksanvisning

Pyle Skivspelare PMX648

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Sida 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.

Produktspecifikationer

Varumärke:	Pyle
Kategori:	Skivspelare
Modell:	PMX648
Färg på produkten:	Zwart
Justerbar i höjdled:	Ja
Skärm diagonal:	37 "
Upplösning:	3840 x 1600 Pixels
Pekskärm:	Nee
Original bildförhållande:	21:9
Videolägen som stöds:	1600p
Betraktningsvinkel, horisontell:	178 °
Betraktningsvinkel, vertikal:	178 °
Skärmform:	Gebogen
Typiskt kontrastförhållande:	1000:1
Frekvensområde horisontellt:	30 - 130 kHz
Frekvensområde vertikalt:	30 - 75 Hz
Antal HDMI-portar:	1
DVI-port:	Nee
Inbyggda högtalare:	Ja
Genomsnittlig effekt:	14 W
Strömförbrukning (i standby):	0.5 W
Antal högtalare:	2
Certifiering:	MPR II
Display, antal färger:	1.073 biljoen kleuren
Strömförbrukning (när avstängd):	0.5 W
Maximal uppdateringshastighet:	75 Hz
HD typ:	UltraWide Quad HD+
HDMI:	Ja
Displayteknik:	LED
Respons tid:	4 ms
Grafikupplösningar som stöds:	3840 x 1600
VESA montering:	Ja
Panelmonteringsgränssnitt:	100 x 100 mm
Ljusstyrka (typiskt):	300 cd/m²
Bildförhållande:	21:9
Kontrastförhållande (dynamisk):	100000000:1
Djup (utan bas):	123.6 mm
Höjd (utan bas):	401.2 mm
Bredd (utan bas):	896.9 mm
Vikt (utan bas):	7810 g
Antal DisplayPorts:	1
Enhetsbredd (med stativ):	896.9 mm
Djupenhet (med stativ):	309 mm
Enhetshöjd (med stativ):	587.7 mm
Vikt (med stativ):	12300 g
AMD FreeSync:	Ja
Version USB-hubb:	3.2 Gen 1 (3.1 Gen 1)
Strömförbrukning (PowerSave):	58 W
Typ av bakgrundsbelysning:	LED
Mobile High-Definition Link (MHL):	Ja
Typ av panel:	IPS
Roterbar:	Ja
Horisontellt vridbar:	-45 - 45 °
Inbyggd USB-hubb:	Ja
sRGB-täckning (genomsnitt):	100 procent
Stöd för VESA Adaptive Sync:	Ja
Strömförbrukning (typiskt):	61 W
Tiltvinkelområde:	-5 - 20 °
lutningsjusteringar:	Ja