14
GENERAL INFORMATION
Thank you for having chosen a PROEL product.
The new models in the
M Series
have been updated with new and improved features, repacked into a new stylish
package. While keeping the superior audio quality, the full set of features and the highest number of MIC inputs in the
category that have been the hallmarks of the previous M Series, the M models feature the
new PROEL 24bit PROFEX
DSP
, one of the
fi
nest digital e
ff
ect of its class, providing
256 studio-grade algorithms
(including
mono and stereo TAP
DELAY
) and a convenient
2 digit LED display
.
Designed and engineered in Italy by PROEL, M mixers are hosted in an ultra-rugged stylish metal case with ABS sides,
providing
extended durability for a stage-proof use
. As in the previous series, all the models include both a padded
carrying bag
and
metal brackets for 19” rack moun ng
.
The 8-in, 6-mic
M822USB
now includes a versa le
USB rou ng sec on
, for a complete control of the signals to and from
the PC and a built-in universal power supply.
OPERATING INSTRUCTIONS (FIG. 1 / 2)
1. MIC Input
This is a female XLR connector, which accepts a balanced microphone input from almost any type of microphone. The
XLR inputs are wire as follows:
Pin 1 = shield or ground
Pin 2 = + posi ve or “hot”
Pin 3 = - nega ve or “cold”
2. LINE Input
This is a ¼” (6.3mm) jack connector, which accepts a balanced or unbalanced line level input signal from almost any
source. When connec ng a balanced signal, wire them as follows:
Tip = + posi ve or “hot”
Ring = - nega ve or “cold”
Sleeve = shield or ground
When connec ng an unbalanced signal, wire them as follows:
Tip = + posi ve or “hot”
Sleeve = shield or ground
3. MONO CHANNEL GAIN Control
The gain control adjusts the input sensi vity of the mic and line inputs. This allows the signal from mics and instruments
to be adjusted to op mal internal levels. If the signals are plugged into the XLR input there is a 0 dB of gain with the
knob turned all way down, rising up to 60 dB of gain fully up. When connected to the jack input of any channels, there
is 20 dB of a enua on all way down and 40 dB of gain fully up, with a unity gain (0 dB) if centered.
4. LO CUT switch
This switch cuts bass frequencies below 75 Hz at a rate of 18 dB per octave. We recommend that you use the LO CUT
fi
lter on every microphone applica on except kick drum, bass guitar, bassy synth patches, or recordings. These aside,
there isn’t much down there that you want to hear, and
fi
ltering it out makes the low stu
ff
you do want much more
crisp and tasty. Not only that, but the LO CUT
fi
lter can help reduce the possibility of feedback in live situa ons and
it helps to conserve the ampli
fi
er power. Another way to use the LO CUT
fi
lter is in combina on with the LOW EQ on
vocals during live performances. Many mes, bass shelving EQ can really bene
fi
t voices. Trouble is, adding LOW EQ also
boosts stage rumble, mic handling clunks, and breath pops. LO CUT removes all those problems so you can add LOW
EQ without losing a woofer.
5. EQ sec on HIGH control
This control gives you up to 15dB boost or cut at 12KHz with a “SHELVING” curve shape. Use it to increase or reduce
the sound “clarity” or “brightness”.
6. EQ sec on MID control
This control gives you up to 15 dB boost or cut at 2.5 KHz with a “PEAKING” curve shape. Use it to add or reduce the
sound “presence”.
7. EQ sec on LOW control
This control gives you up to 15dB boost or cut at 80Hz with a “SHELVING” curve shape. Use it to increase or reduce the
sound “punch”.
8. AUX 1 control (pre/post)
This control sends the signal to the AUX 1 output. This signal is normally pre-fader, but it could be set post-fader pressing
the POST switch: in this case the signal level depends on the posi on of the channel FADER.
