PROEL M1622USB, Руководство пользователя

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channel. The solo signal is post-fader if SOLO MODE is in AFL posi on, so what you check is the signal sent from the
channel fader to the MAIN MIX.
22. FADER LEVEL control
It adjusts the level of the channel signal and sends it to the MAIN MIX and/or to the GROUPS 1-2 buses.
23. MIC MONO Input
This is a female XLR connector, which accepts a balanced microphone input from almost any type of microphone. Wiring
is the same of previous paragraphs.
24. LINE L MONO Input
This is a ¼” (6.3mm) jack connector, which accepts a balanced or unbalanced line level input signal from almost any line
source. If the LINE R jack is not inserted, this channel operates like a MONO channel with this input as a single signal
source. Wiring is the same of previous paragraphs.
25. LINE R Input
This is a ¼” (6.3mm) jack connector, which accepts a balanced or unbalanced line level input signal from almost any line
source. This is used only in presence of LINE L jack input to use the channel as STEREO.
26. STEREO 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 40 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 20 dB of gain fully up, with a unity gain (0 dB) if centered.
27. EQ sec on HI MID control
This control gives you up to 15 dB boost or cut at 3 KHz with a "PEAKING" curve shape. Use it to add or reduce the
sound "clarity".
28. EQ sec on LO MID control
This control gives you up to 15 dB boost or cut at 500 Hz with a "PEAKING" curve shape. Use it to add or reduce the
sound "presence".
29. BAL control
It adjusts the amount of channel signal sent to the le versus the right outputs if the channel is used as MONO, or it
fades the LEFT or RIGHT signal amount if the channel is used as STEREO.
30. PRESETS selector and display
The internal PROFEX digital e ff ect processor is built around a powerful DSP and 24bit AD/DA converters. It includes 16
di ff erent presets of studio-grade e ff ect algorithm, each one featuring 16 di ff erent varia ons of the internal parameters,
for a total of 256 e ff ects available.
HOW TO USE THE PROFEX EFFECT:
- rotate the SELECTOR knob to choose the type of e ff ect (preset) you want to use;
- to select a varia on of the preset, press and hold the knob un l the display fl ashes;
- rotate the knob and choose one of the 16 varia ons available;
- press and hold again the knob un l the display stops
fl ashing to con fi rm the selec on and to return back to the
preset selec on;
- send the signal to the e
ff ect with the AUX control (10) of the channel you want to add the e ff ect to;
- rotate the FX LEVEL (25) knob un l you hear the e ff ect added to the original signal;
- adjust the AUX controls (10) just before the signal input clipping indicated by the peak led (22);
- re-adjust the FX LEVEL (25) knob to combine the wet e
ff ected signal with the natural dry signal.
NOTE: the preset and the varia on selected in the PROFEX e ff ect are kept in the memory even if you turn o ff the
mixer.
PRESET DESCRIPTION:
p 1. BRIGHT HALL - This type of reverb simulates the ambience of a grand concert hall. Dense, smooth reverb with
long pre delay and a lot of high frequency re fl ec ons. Works well with vocals, electric and acous c guitars, strings.
The VARIATIONS vary the decay me and the hall size from bigger [1] to smallest [16].
p 2. DARK HALL - This type of reverb simulates the ambience of a grand concert hall. Dense, smooth reverb with long
pre delay and a few of high frequency re fl ec ons. Works well with vocals, guitars, woodwinds.
The VARIATIONS vary the decay me and the hall size from bigger [1] to smallest [16].
p 3. BRIGHT ROOM - This type of reverb reproduces the more in mate ambience of natural room acous cs. Feature
a lot of early re fl ec ons with a lot of high frequency. Works well with vocals, woodwinds, strings, drums.
The VARIATIONS vary the decay me and the room size from bigger [1] to smallest [16].