NUMARK M-4 Mixer 3 channel Black

• Three-channel tabletop mixer
• Inputs: two phono/line switchable (RCA), four line (RCA), mic (1/4“)
• Outputs: Master (RCA), Record (RCA), headphone (1/4" stereo)
• Steep three-band EQ/rotary kills on each channel
• Microphone input with EQ
• Six-segment LED display for monitoring signal strength
• Toggle for master and PFL metering
• Replaceable crossfader with reverse and slope controls

• Line: 10K ohm input impedance; 80mV RMS sensitivity for 0dB output
• Mic: 600 ohm input impedance unbalanced; 1.5mV RMS sensitivity for 0dB output; 400mV RMS max input
• Phono: 47k ohm input impedance; 1.3mV RMS sensitivity @ 1kHz for 0dB output

• Line: 7V RMS max
• Headphone: 0.5W into 47ohm

• Line: Better than 100dB
• Mic: Better than 95dB
• Phono: Better than 85dB

• Line: 20 – 20,000 Hz ±0.5dB
• Mic: 20 – 15,000 Hz ±0.5dB
• Phono: ±1dB; -3dB attenuation at 20 Hz to reduce rumble and feedback

• Bass: +12 / -35dB at 20 Hz
• Mid: +12 / -25dB at 1.3 kHz
• Treble: +12 / -20dB at 15 kHz

• 32-bit digital DJ mixer with beat-synchronized sampler, 4 multi-FX sections, 2 patented* BPM counters, digital crossfader and MIDI
• 4 Phono/Line stereo channels allowing max. 8 signal sources to be connected simultaneously
• 2 Microphone inputs with Gain, EQ, Talk function and FX
• 4 stereo channels with Gain, programmable parametric 3-band EQ with Kill function, fader curve control and flexible crossfader assignment
• Sophisticated sampler with beat-controlled loop function, real-time pitch control, sampler FX and crossfader start option
• 2 freely assignable and BPM-synchronized, high-quality FX engines (Bitcrusher, Resonator, Reverb, Flanger, etc.)
• Ultra-fast, accurate and patented* BPM counters for automatic BPM synchronization of sampler, FX, crossfader and external drum machines, etc. via MIDI
• Digital crossfader with flexible curve adjustment, reverse button and automatic, BPM-synchronized crossfading
• Dual-mode crossfader with innovative frequency-selective crossfading
• Dedicated Headphone section includes PFL Mix/Split and Bass/Snare boost functions
• Recall your last mixer setting at the push of a button
• Digital S/PDIF output for direct recording of your performance
• Rack mount brackets included for ultimate flexibility
• High-quality components and exceptionally rugged construction ensure long life
• Conceived and designed by BEHRINGER Germany
• * U.S. Patent No.: 6812394 / German Patent No.: 102 23 735

• 6 input channels
• MIC (XLR3) inputs on channels 1 and 2
• MIC (JACK ¼”) / stereo LINE (RCA) in channels 3 and 4. Input signal pushbutton selector (MIC/LINE) on back panel
• Stereo LINE (RCA) on channels 5 and 6
• Input signal gain level control (accessible only with screwdriver)
• Each channel features signal present (SP) and CLIP indicators
• General phantom power switch located on back panel. Independent internal phantom power assignment to any MIC input
• Triple tone control (accessible only with screwdriver)
• 2 main stereo OUTPUTS (XLR3) with independent volume control
• 3 LED OUTPUT level meter
• Input channels can be routed to any main output (A,B) or both
• 2 additional stereo REC outputs (REC1, REC2)
• Mono mode selector in outputs A and B
• Headphones monitoring of selected output (A or B)
• Integrated, internally configurable talkover. Affects OUT A and REC A
• Remote MUTE function (PHOENIX) allows linking to external fire detection centrals
• TALKOVER function fully configurable to –20dB or –30dB that affects boths outputs A and REC A

• Universal 1 RU, 19” installation mixers
• Excellent frequency response
• Balanced MIC and stereo LINE inputs and main outputs
• Reliable proprietary power supply
• Ideal for any application requiring a trouble free mixer

MIC/LINE Input Channels
The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp.
The +48V phantom power for condenser microphones can be switched in groups of six.
The Line Input and Channel Insert are implemented as jack sockets.
The Gain can be controlled in the range 0-60 dB.
The switchable Lo Cut filter (80Hz, 18dB/oct.) serves to eliminate low-frequency noise. A very typical DYNACORD feature is the asymmetrical Voicing Filter by means of which, if desired, the voice can be powerfully emphasized in the mix.
Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively.
With their extended buss structures, the CMS3 mixers offer very flexible configuration options. In all, 6 AUX busses are available in each case:
2 (FX) are assiged to the two effects devices;
2 (AUX) can be configured either as monitor or effects sends by means of a switch in the Main section;
2 (MON) are designed as monitor sends, each being equipped with a sweepable anti-feedback filter in the Master section.
MUTE and PFL switches, each with its own LED, make it possible to mute each input channel individually and/or listen to its pre-fader signal.
Each channel offers a Signal Present and Peak LED for level control.
The channel faders are dust-protected and offer not only excellent crosstalk attenuation but also a practice-optimized control characteristic.
All potentiometers and faders are high-quality components from ALPS.
Stereo MIC/LINE Input Channels
The stereo input channels are equipped in much the same way, but optimized, naturally, to carry stereo signals.
Two of the four stereo inputs of each model are additionally equipped with cinch (RCA) sockets switched in parallel for CD or MP3 players.
The two other stereo inputs receive in addition the four channels of the digital audio interface USB 1-2 and USB 3-4
Separate Gain controls are provided for the Stereo Line and Mic inputs to permit them to be used in parallel if desired.
Three-band tone controls are provided, and a Balance control replaces the PAN control found in the mono channel strips.
MASTER
In the Master Section, too, the CMS3 mixers are lavishly equipped.
The 11-band stereo equalizer can be routed to the Master channels or else to either or both of the Monitor Sends according to choice.
The FX1+2 Returns as well as the AUX1+2 and MON1+2 Sends are on faders just like the Master L/R signal, which makes for comfortable and intuitive operation.
The Master B signal is available pre or post MASTER L/R fader and can be mono-summed if desired. The Master signal is also available on the REC Send cinch (RCA) output with level control.
The level meters of the CMS3 comprise two LED chains of 12 LEDs each. The display range covers 40 dB; what is shown is the level in dBu at the master outputs. When the PFL switch is activated, the left-hand LED chain shows the internal level of the master buss in dBu.
The Standby switch mutes all channels e.g. during pauses, with only the 2TRACK-to-Master input remaining active for the playback of interval music.
A 4-pin XLR socket is provided for the connection of a standard 12V/5W gooseneck lamp.
DIGITAL USB 2.0 AUDIO INTERFACE  
The USB 2.0 port serves as a digital audio interface between the CMS3 and a PC or Mac. Four channels can be transmitted in either direction simultaneously. This interface can therefore be used either for the input of audio signals (e.g. for playback or interval music) or else for live- or studio-recording applications. It is configured by selecting the relevant setting in the menu.
For the use of the CMS3 with a PC or Mac, a free Cubase LE license as well as the requisite USB drivers are included free-of-charge on the supplied DVD.
PC MIDI Interface
The CMS3 also offers a fully-featured PC MIDI interface.
The MIDI input also supports the remote switching of both internal effects units using a master keyboard or MIDI footswitch.
Professional Effects, OLED Display and Processing Menus
The CMS3 has two integrated stereo multi-effects processors that work independently of one another, each offering 100 effects algorithms optimized for live performance, the most important parameters of which are editable.
Linear 24-bit AD/DA converters and 48-bit double-precision processing guarantee the finest studio quality based on state-of-the-art technology.
The 100 program locations of each device are packed with high-quality reverbs, halls and plates that deliver professional results in live performance on stage as well as in both studio and home recording environments.
Other presets include Echo/Reverb and Chorus/Echo combinations, a variety of delay, flanger, chorus and doubling algorithms, as well as special reverb and delay programs. When a delay effect is active, the delay time can be synchronized to the beat of the music using the TAP key.
Edited effects programs can be stored in the 20 User memories offered by each device, assigned names, and later selected and used in the same way as the presets.
The large, high-contrast OLED display is easily read from a wide range of viewing angles—even in very bright surroundings. The operation of the effects units and processing menus is intuitive and made easier still through the use of soft keys and a rotary encoder.
Processing Menus
For the basic settings, configuration, use of the effects and special functions, a wide variety of editing options can be selected from the clearly arranged menus.
Innovative Solution for Protection and Transportation
Optionally available for the CMS 1000 and 1600 is a very robust plastic lid with an integrated handle—a highly innovative solution that offers optimal protection for the device as well as greater carrying comfort.
For the CMS 2200, due to its greater size, a flight-case solution is recommended (available as a further option is a dust cover: the DC-PM2200-COVER).
Accessories
For rack installation of the CMS 1000 (or table installation of the models 1600 and 2200), the mounting kit RMK 1000-3 is available.
Other accessories include the gooseneck light DC-LITLITE-4P and the DC-FS11 ON/OFF footswitch for the effects units.