Numark dxm09 dxm 09 Quick Start Owner Manual

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FRONT PANEL FEATURES To turn the microphone on, move the MIC switch to the ON position. Output Levels: The master level output is controlled by the MASTER knob. The booth output level is controlled by the BOOTH knob. Beat Synced Effects: The mixer has a highly customizable beat-synced effect system which is described in further detail in the Effects Section in this manual. Microphone Input: This 1/4" input is for the microphone controlled by the Microphone Adjustments (#5). Headphone Output: Connect your headphones to this 1/4" output. Crossfader Slope Adjustment: This knob adjusts the slope of the crossfader from a smooth fade (mixing) to a sharp cut (scratching). Cue Tone: This knob adjusts the tone of the headphone output without affecting any other output. This can be used to help mix while in a loud environment. Cross Fader Start: Both sides of the crossfader have a FADER START switch which can be used to trigger external devices which have a fader start input.

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AUDIO CHANNEL SELECTION 1. Input Selector: Selects the desired input source. 2. GAIN Knob: Adjusts the channel audio level pre-fader and pre-EQ. 3. EQ Knobs: Adjusts the treble, mid and bass frequencies. The level of each frequency can be set all the way down to zero (killed). 4. PFL Cue: Sends the prefader level of the audio to the cue section for headphone monitoring. 5. Crossfader Assign: Routes the audio in the channel to one side of the crossfader. The OFF position bypasses the crossfader. 6. Channel Line Fader: Controls the level of the output signal post EQ into the crossfader (if assigned) or MASTER.

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Crossfader: This replaceable crossfader fades between channels assigned to CFA and CFB. The fader can be replaced by a Numark "D-Type" or "CP-Pro" fader. Call Numark customer service for information. EQ Kills: Eliminates High, Mid, or Low frequencies for a unique effect. Each set of three switches will only affect audio routed through the crossfader. 3 Audio Channels: The mixer contains three audio channels which are described in detail in the Audio Channel section in this manual. Headphone Monitoring: This section contains the CUE GAIN knob to adjust the headphone volume, and the CUE BLEND knob to mix between the master and the channels selected by the PFL buttons on each channel. Pressing the CUE BLEND button activates a split cue mode. Push the knob to engage a split cuing mode which sends all audio channels with the CUE Assign button engaged to the left side of the headphones and the MASTER output to the right side of the headphones. This mode is an excellent way to mix when booth monitoring is not avail
able. Microphone Adjustments: The MIC GAIN knob controls the level of the microphone input on the front panel. There are also a MIC BASS knob and a MIC TREBLE knob to control the sound of the microphone input.

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To Properly Adjust Each Audio Channel: 1. 2. 3. 4. 5. Toggle the Input Selection Switch to the desired input source. Press "PLAY" on your source audio device (CD Player, Turntable, MP3 Player, etc.) Set all EQ Knobs to the 12 o'clock position. Adjust the GAIN knob such that the audio level is reading around 0dB as shown in the PFL meter. Move the Channel Line Fader to about 70% of maximum. EFFECT DIAGRAM

1. FX ASSIGN: This knob selects the audio source to modify with the effects processor. Channels 1, 2, and 3 can be independently selected. CFA and CFB represent side A and B of the crossfader. Switching to master will provide effects on the final mix before going to the output. Note: to use the effects on a microphone only, attach the microphone into MIC2 on Channel 2. Select FX ASSIGN to Channel 2. 2. FX ON: This button turns the effects on. 3. INTENSITY MIX FADER: This fader controls the mix of the effect. With this fader is down, no effect sound will be audible through the assigned sound source (1). With the fader all the way up, only the processed sound will be sent to the assigned sound source (1). 4. FX PFL: This button sends the effect sound to the headphone cue regardless if FX ON is turned on (2). To preview effects, set the FX ASSIGN (1) to the desired channel, make sure that FX ON (2) is off (the light will not be on), and turn on the FX PFL button (4). The button will illuminate indicating that t
he FX PFL is on. Make sure that the headphone CUE BLEND is adjusted such that the PFL cue can be heard. Adjust all of the settings for the effect. Turn on the FX ON button (2) to activate the effect over the main outputs. 5. RATE FREQUENCY: This knob sets the rate of beat-synced effects. 6. TAP: In order to align the effects with the beat, tap the beat sync to the rhythm 3-4 times on the beat. If it has trouble syncing, try again. The beat sync often works best when tapping to half the tempo. For example, try tapping on just the snare drums (typically the "2" and "4" count). If the beat tap loses sync slightly, you may not need to tap again because the FX will likely still maintain sync. Otherwise, you can tap on beat once to re-sync. When in beat sync, effects below denoted with an asterisk (*) will have rates or times which are related to the tempo. Use the RATE/FREQUENCY knob to adjust the multiple of the tempo (1x,2x,4x, etc.). To disable beat sync and have continuous control over the rate/time of an eff
ect, simply press and hold the beat sync button until it remains lit. Now the RATE/FREQUENCY knob will allow you to precisely tune a rate or frequency. To re-enable beat sync, tap out the beat again. 7. Effect Shift: This switch selects between the top and bottom effect that is illuminated on the display. For example, if "FLANGER AND LP FILTER" is illuminated with the effect shift switch to the TOP FX position, FLANGER is selected. However if the BOTTOM FX position of the effect shift switch is set, the LP FILTER is selected. 8. SELECT Switch: This flip switch is used to select effects. The effect selected will illuminate as the flip switch is toggled. Use the Effect Switch (7) to determine if the top or bottom effect illuminated is selected.

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EFFECTS DESCRIPTION WARNING: Adjust slowly while learning these effects. These effects are dangerously fun to play with. When you're playing alone, go nuts. When you play live, remember that your crowd sometimes just wants to hear the song. Be subtle! 2XCOPY*: A copy of the signal is delayed by a defined time. Pro DJs will often keep 2 copies of a record so they can do beat juggling tricks like this. Try using this effect with the beat tap sync and move the INTENSITY/MIX fader up and down to the tempo. Now try it with different multiples of the tempo using the RATE knob. You're having fun, we know... when you're done annoying everyone, read on. There's more! VOCODER: Square Wave Vocoder with Sibilance. Robot voice sound straight from the early days of electronic music. RATE/FREQUENCY controls the pitch of the vocoder. INTENSITY/MIX mixes between your voice and the vocoder sound. TAPE ECHO*: A much sought after echo sound developed in the 1960s. No reggae, jungle, house, techno, hip hop or soul DJ should be
without one. In beat synch mode, the RATE/FREQUENCY controls the tempo multiple. When beat synch is disabled, the RATE/FREQUENCY will continuously control the delay time. The INTENSITY/MIX fader controls the input into the echo. This makes it very useful for selecting a phrase, vocal word or beat to echo. Simply turn up the mix momentarily during the snippet of music you wish to emphasize and bring it back down. You'll notice how the audio which was playing during that time will now echo away. Now, try turning up the INTENSITY/MIX fader for a measure, then cutting out the music with the phono/line switch. Let it echo for a bit, then bring down the MIX fader and cut the music back in... Congratulations! you are now a remix artist. WARNING! This tape echo, like its inspirations, will saturate and have high feedback gain when the INTENSITY/MIX fader is set high. By carefully riding the INTENSITY/MIX fader you can synthesize sounds; the trick is to tame them. REVERB: Hall Reverberation Simulator. RATE/FREQUENCY
controls the decay (size of the room), INTENSITY/MIX controls the wet/dry mix of the reverb effect. REV. REVERB: This effect samples the audio and plays it in reverse while adding reverb. This is a very cool if you stab into the effect by cutting the sound immediately using the channel line fader while this effect is on. This effect can also be used to create a driving feeling with the music. ECHO*: Regular echo effect. The configuration of this echo is a little different. This time, the INTENSITY/MIX fader controls the output of echo. When the fader is up, it will echo. Push the fader further, and it will feedback heavily_ just like the tape echo. When the fader is at the bottom, the echo effect is cut out completely. This effect is very useful for juggling beats and emphasizing musical phrases. FLANGER*: Sweeping flanger effect. In beat synch mode, the RATE/FREQUENCY controls the sweep rate as a multiple of the tempo. When beat synch is disabled, the RATE/FREQUENCY will continuously control the sweep rate.
The INTENSITY/MIX controls the intensity of the flange effect. PHASER*: Sweeping phase shifter effect. It is similar to the flanger effect, except that a flanger has a more pronounced harmonic sound, reminiscent of a jet engine passing overhead. A phase shifter is enharmonic, and has a more "swooshing" sound. In beat synch mode, the RATE/FREQUENCY controls the sweep rate as a multiple of the tempo. When beat synch is disabled, the RATE/FREQUENCY will continuously control the sweep rate. The INTENSITY/MIX controls the intensity of the phase shifter effect. LP and HP FILTER: Low Pass and High Pass Filter. The RATE/FREQUENCY controls the corner frequency of the filter. The INTENSITY/MIX fader controls the resonance (Q) of the filter. Low pass will filter out any frequency above the parameter settings. High pass will filter out frequencies below the parameter settings. AUTO PAN*: This effect will automatically pan the audio when the TAP function is enabled. If the TAP function is disabled by holding down the bu
tton, the RATE/FREQUENCY can be used to manually pan from left to right. LMT+DISTORT: Band limited Distortion. Shout out your favorite crowd exciter with this effect using the MIC. The crowd will definitely get the point! RATE/FREQUENCY controls the distortion amount; INTENSITY/MIX controls the wet/dry mix of the distortion effect. (*): When in beat sync, effects denoted with an asterisk (*) will have rates or times which are related to the tempo. Use the RATE/FREQUENCY knob to adjust the multiple of the tempo (1x,2x,4x, etc.).

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