16
The VARIATIONS vary the decay me and the room size from bigger [1] to smallest [16].
p 5. VOCAL 1 (STAGE REVERB)
- Amazing reverb designed for vocals with a long tail.
The VARIATIONS vary the decay me from long tail [1] to short tail [16], alterna ng plate, spring or hall types of
reverb.
p 6. VOCAL 2 (CLUB REVERB)
- Amazing reverb designed for vocals with a dense tail.
The VARIATIONS vary the decay me from long tail [1] to short tail [16], alterna ng tape, hall or spring types of
reverb.
p 7. PLATE
- This is a simula on of metal plate reverb, as used on classic recordings from the '70s and '80s.
The VARIATIONS vary the decay me from long tail [1] to short tail [16].
p 8. STEREO DELAY
- Echo e
ff
ect with ping-pong of le and right channels.
The VARIATIONS vary from long delay mes [1] to short delay mes [16].
p 9. STEREO TAP DELAY
- Like STEREO DELAY above with me set by the user TAP bu on (22) just below.
The VARIATIONS vary from 5% [1] to 90% [16] of feedback quan ty.
p 10. MONO TAP DELAY
- Typical mono delay with me set by the user TAP bu on (22) just below.
The VARIATIONS vary from 0% [1] to 75% [16] of feedback quan ty.
p 11. CHORUS
- Typical modula on e
ff
ect, provides a so , ethereal sweeping e
ff
ect. Perfect for enhancement of
electric and acous c guitar and bass. Also adds a drama c e
ff
ect to vocals, par cularly group harmonies and choirs.
The VARIATIONS increase the modula on frequency from 0.5Hz [1] to 5Hz [16].
p 12. FLANGER
- Typical modula on e
ff
ect, creates a strong sweeping e
ff
ect, par cularly e
ff
ec ve on rock electric
guitar, lead and rhythm.
The VARIATIONS increases the modula on frequency from 0.2Hz [1] to 3Hz [16].
p 13. DELAY 1
- Typical vocal hall reverb and stereo delay combined toghether.
The VARIATIONS vary from long tail [1] to short tail [16].
p 14. DELAY 2
- Typical vocal hall reverb and mono delay combined toghether.
The VARIATIONS vary from long tail [1] to short tail [16].
p 15. TAP DELAY
- Typical vocal hall reverb and mono TAP delay combined toghether.
The mono delay me is set by the user TAP bu on (22) just below.
The VARIATIONS vary from long tail [1] to short tail [16] and from 0% to 75% of feedback quan ty [1-16].
p 16. REV+CHORUS -
Typical vocal reverb and chorus e
ff
ect combined toghether.
The VARIATIONS vary from long tail [1] to short tail [16] and increases the modula on frequency from 0.5Hz to 5Hz
[1-16].
22. TAP bu on
When “TAP DELAY” e
ff
ects (p 9, 10, 15) are selected, by pushing at least two mes this bu on, it’s possible to set the
desired delay me, according to music rhythm. The TAP LED
fl
ashes in sync with the delay me set.
23. PEAK detector
The PEAK LED
fl
ashes when the e
ff
ect input signal is near to the A/D satura on point of the PROFEX processor.
IMPORTANT: if the LED PEAK
fl
ashes reduce the e
ff
ect input level turning down the AUX2 (Mi12) / AUX1 (Mi10) controls.
24. FX LEVEL control
It adjusts the level of the internal e
ff
ect signal sent to the MAIN MIX outputs.
25. FX TO AUX1 (Mi12 only)
It adjusts the level of the internal e
ff
ect signal sent to the AUX 1 output.
26. 2TRK Inputs
Use these unbalanced RCA connectors to patch the output of a player, such as an analog tape deck, MP3 player, CD/DVD
player or a Personal Computer.
27. 2TRK Output
Use these unbalanced RCA connectors to send out the MAIN MIX signal to a recorder, such as an analog tape or an A/D
converter connected to a Personal Computer.
28. 2TRK IN LEVEL control
It adjust the level of the 2TRK INPUT.
29. TO MIX / TO PHONES switch
Use this switch to route the signal coming from 2TRK input to MAIN MIX or to C.ROOM/PHONES only.
30. MAIN MIX L & R jack output (balanced)
These JACK connectors (+4dBu) provide a balanced line level signal from the MAIN MIX stereo bus.
NOTE:
the MAIN OUT is a true balanced output that can send the signal on a balanced line with or without a phantom
power ac ve. So the Mi mixer can also be used as a combina on mixer + DI box for sending the signals to a bigger
main mixer console.
