PROEL MQ16USB 16 Channel Analog Mixer User Manual

PROEL MQ16USB 16 Channel Analog Mixer User Manual

DISPOSAL OF OLD ELECTRICAL & ELECTRONIC EQUIPMENT

This marking shown on the product or its literature, indicates that it should not be disposed with other household wastes at the end of its working life. To prevent possible harm to the environment or human health from uncontrolled waste disposal, please separate this from other types of wastes and recycle it responsibly to promote the sustainable reuse of material resources. Household users should contact either the retailer where they purchased this product, or their local government office, for details of where and how they can take this item for environmentally safe  recycling. Business users should contact their supplier and check the terms and conditions of the purchase contract. This product should not be mixed with other commercial wastes for disposal.

GENERAL SAFETY INSTRUCTIONS

• CAUTION – Before using this product read carefully the following safety instructions. Take a look of this manual entirely and preserve it for future reference. When using any electric product, basic precautions should always be taken, including the following:
• To reduce the risk, close supervision is necessary when the product is used near children.
• Protect the apparatus from atmospheric agents and keep it away from water, rain and high humidity places.
• This product should be site away from heat sources such as radiators, lamps and any other device that generate heat.
• Care should be taken so that objects and liquids do not go inside the product.
• The product should be connected to a power supply only of the type described on the operating instructions or as marked on the product.

IN CASE OF FAULT

• In case of fault or maintenance this product should be inspected only by qualified service personnel when:
  • Liquids have spilled inside the product.
  • The product has fallen and been damaged.
  • The product does not appear to operate normally or exhibits a marked change in performance.
• Do not operate on the product, it has no user-serviceable parts inside.
• Refer servicing to an authorized maintenance center.

PACKAGING, SHIPPING AND COMPLAINT

• This unit package has been submitted to ISTA 1A integrity tests. We suggest you control the unit conditions immediately after unpacking it.
• If any damage is found, immediately advise the dealer. Keep all unit packaging parts to allow inspection.
• Proel is not responsible for any damage that occurs during shipment.
• Products are sold “delivered ex warehouse” and shipment is at charge and risk of the buyer.
• Possible damages to unit should be immediately notified to forwarder. Each complaint for manumitted package should be done within eight days from product receipt.

WARRANTY AND PRODUCTS RETURN

• Proel products have operating warranty and comply their specifications, as stated by manufacturer.
• Proel warrants all materials, workmanship and proper operation of this product for a period of two years from the original date of purchase. If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period, the owner should inform about these defects the dealer or the distributor, providing receipt or invoice of date of purchase and defect detailed description. This warranty does not extend to damage resulting from improper installation, misuse, neglect or abuse. Proel S.p.A. will verify damage on returned units, and when the unit has been properly used and warranty is still valid, then the unit will be replaced or repaired. Proel S.p.A. is not responsible for any “direct damage” or “indirect damage” caused by product defectiveness.

MAINTENANCE AND DISCLAIMER

• Clean only with dry cloth.
• Proel products have been expressly designed for audio application, with signals in audio range (20Hz to 20kHz). Proel has no liability for damages caused in case of lack of maintenance, modifications, improper use or improper installation non-applying safety instructions.
• Proel S.p.A. reserves the right to change these specifications at any time without notice.
• Proel S.p.A. declines any liability for damages to objects or persons caused by lack of maintenance, improper use, installation not performed with safety precautions and at the state of the art.

POWER SUPPLY

• This apparatus should only be connected to power source type specified in this owner’s manual or on the unit.
• If the supplied AC power cable plug is different from the wall socket, please contact an electrician to change the AC power plug.
• Hold the plug and the wall outlet while disconnecting the unit from AC power.
• If the unit will not be used for a long period of time, please unplug the power cord from AC power outlet.
• To avoid unit power cord damage, please do not strain the AC power cable and do not bundle it, do not step on it or pinch it by heavy objects.
• The mains plug is used as disconnect device, the disconnect device shall remain readily operable.

CONFORMITY

• The product is in compliance with CE Directive LVD 2014 / 35 / CE as stated in EN 60065 standard.
• The product is in compliance with CE Directive EMC 2014 / 30 / CE as stated in EN 55103-1 and EN 55103-2 standards.

FCC COMPLIANCE NOTICE

This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions:

(1) This device may not cause harmful interference, and (2) This device must accept any interference received, including interference that may cause undesired operation.

CAUTION: Changes or modifications not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment.

NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the

FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.

INTRODUCTION

Thank you for choosing this PROEL product and for your trust in our brand, synonymous of professionalism, accuracy, high quality and reliability. All our products are CE approved and designed for continuous use in professional applications.

DESCRIPTION

MQ is a series of mixers created by PROEL to offer in a very compact and stylish package a high input density, a full set of features and a superior audio quality, at a very convenient price point. The MQ series includes 5 models with 6, 10, 12 and 16 inputs, able to satisfy most of the sound reinforcement applications. Carefully designed and engineered in Italy by PROEL R&D, MQ mixers are hosted in ultra-rugged cases, providing extended durability for a stage-proof use.

The smallest models of the series, MQ6 and MQ6FX, offer in an ultra-compact format the performance of professional consoles, delivering a clean and accurate sound. The MQ6FX, despite its small size, includes a high-quality 24-bit DSP able to provide musicians and performers with studio-grade effects.

MQ10FX, together with 3-band EQ and one-knob intelligent COMPRESSORS, offers also 100 DSP presets with a convenient LED display for the selection.

MQ12USB additional features include an USB audio I/O interface and extended mixing capability with MONITOR send, STEREO GROUP bus and 45mm control faders.

The top-of-the-line MQ16USB feature 16 inputs and 12 microphone channels together with sweep mids and one-knob intelligent COMPRESSORS on mono channels, 4 AUX sends, STEREO GROUP bus and 60mm control faders.

Optional padded carrying bags and metal brackets for 19” rack mounting are available for selected models.

INSTRUCTIONS

MIC-XLR / LINE-JACK combo input (ch. 1 ÷ 8)
This is a female MIC-XLR / LINE-JACK combo connector that accepts a balanced microphone XLR input from
almost any type of microphone, or a balanced or unbalanced line level JACK input signal from almost any line source.
The MIC-XLR input is wired as follows:
Pin 1 = shield or ground
Pin 2 = + positive or “hot”
Pin 3 = – negative or “cold”
The LINE-JACK input is wired as follows:
Tip = + positive or “hot”
Ring = – negative or “cold”
Sleeve = shield or ground
When connecting an unbalanced signal, wire them as follows:
Pin2 / Tip = + positive or “hot”
Pin 1-3 / Sleeve = shield or ground.

LO CUT switch (ch. 1 ÷ 8)
This switch cuts bass frequencies below 75 Hz at a rate of 18 dB per octave. We recommend that you use the LO CUT filter on every microphone application except kick drum, bass guitar, bassy synth patches or recordings. These aside, there isn’t much down there that you want to hear and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but the LO CUT filter can help reduce the possibility of feedbacks in live situations and it helps to conserve the amplifier power. Another way to use the LO CUT filter is in combination with the LOW EQ on vocals during live performances. Many times, bass shelving EQ can really benefit voices. Trouble is, adding LOW EQ also boosts stage rumble, mic handling clunks, and breath pops.

CHANNEL GAIN control (ch. 1 ÷ 8 / 9 ÷ 16)
The gain control adjusts the input sensitivity of the mic and line inputs. This allows the signal from mics and instruments to be adjusted to optimal 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 attenuation all way down and 20 dB of gain fully up.

COMP compressor control (ch. 1 ÷ 8)
Each mono channel features a single-control compressor, able to adjust the overall dynamic range of the signal and to increase its loudness. When rotating the control to the right, the loudest signals are reduced in order to avoid clipping, while the quietest parts are boosted, producing a smooth, unified sound with no excessive peaks or distortion. NOTE: avoid setting the compression too high, as the higher average output level that results may lead to feedback.

COMP indicator (ch. 1 ÷ 8)
The COMP LED lights when the signal compression effect is engaged (it depends on the position of the control and on the audio signal level).

EQ section HIGH control (ch. 1 ÷ 8 / 9 ÷ 16)
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”.

EQ section MID LEVEL control (ch. 1 ÷ 8)
This control gives you up to 15 dB boost or cut at the frequency determined by the FREQ knob (see FREQ next) with a “PEAKING” curve shape. Use it to add or reduce the sound “presence”.

EQ section FREQ control (ch. 1 ÷ 8)
This knob ranges from 100 Hz to 8 kHz and determines the center frequency for the MID EQ. This allows you to select the precise narrow band of frequencies you want to be affected by the MID EQ.

EQ section LOW control (ch. 1 ÷ 8 / 9 ÷ 16)
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”.

AUX 1 control (pre) (ch. 1 ÷ 8 / 9 ÷ 16)
This control sends the channel signal to the AUX 1 output. This signal is always pre-fader, i.e. it is independent by the position of the FADER LEVEL control.

AUX 2 control (pre) (ch. 1 ÷ 8 / 9 ÷ 16)
This control sends the channel signal to the AUX 2 output. This signal is always pre-fader, i.e. it is independent by the position of the FADER LEVEL control.

AUX 3 send control (pre/post) (ch. 1 ÷ 8 / 9 ÷ 16)
This control sends the signal to the AUX 3 output. This signal is normally pre-fader, but it could be set postfire pressing the POST switch: in this case the signal level depends on the position of the channel FADER.

POST switch (ch. 1 ÷ 8 / 9 ÷ 16)
Push this switch to set the AUX 3 control post-fader or release it to set the AUX 3 pre-fader. The pre-fader setting is preferable if you want to use the AUX 3 send as stage monitor, so to have your stage mix independent from MAIN MIX.

AUX4/FX send control (ch. 1 ÷ 8 / 9 ÷ 16)
This control sends the signal to the AUX 4 output and to the internal Digital Effect Processor. This signal is post-fader or, in other words, it depends on the position of the channel’s FADER.

PAN control (ch. 1 ÷ 8)
It adjusts the amount of channel signal sent to the left versus the right outputs. Use it to position the sound origin in a panoramic stereo scene.

MUTE switch/LED (ch. 1 ÷ 8 / 9 ÷ 16)
When you engage a channel’s mute switch, its signal disappears from these outputs: MAIN MIX, GROUPS 1-2, AUX 1÷3, AUX 4/FX.
NOTE : the input channel signal is not completely muted by this switch, so you can listen to it thru headphones and C.ROOM outputs acting on the PFL button.

MIX switch (ch. 1 ÷ 8 / 9 ÷ 16)
Engaging this switch you assign the channel signal to the MAIN MIX bus regulated by the MAIN MIX faders. Typically, the MIX switch will be engaged on all channels except those assigned separately to GROUPS 1-2.

1-2 switch (ch. 1 ÷ 8 / 9 ÷ 16)
Engaging this switch you assign the channel signal to the GROUPS 1-2 bus regulated by the GROUPS 1-2 faders. You can use the GROUPS 1-2 jacks as separate outputs or, engaging the switch GRP TO MIX, to create a submix for a set of channels (all the drums channels, for instance): in this case you can control the assigned GROUPS 1-2 signals together and independently from the rest of the mix.

PEAK/PFL detector (ch. 1 ÷ 8 / 9 ÷ 16)
This LED has two functions:

• If the PEAK LED lights permanently this means that you have activated the PFL switch of this channel.
• If the PEAK LED flashes this means that the input signal is near to the CLIPPING point.
  IMPORTANT: if the LED PEAK flashes reduce the level of the input signal using the GAIN control.

PFL switch (ch. 1 ÷ 8 / 9 ÷ 16)
PFL is the abbreviation of Pre-Fader Listening, so this switch allows you to hear signals through your headphones or control room outputs and to display the level on LED meters. Use the PFL in live sets to pre-listen channels before they are fed into the mix or just to check out a particular channel anytime during a session. You can PFL as many channels at a time as you like.

CHANNEL FADER level control (ch. 1 ÷ 8 / 9 ÷ 16)
It adjusts the level of the channel signal and send it to the MAIN MIX and/or to the GROUPS 1-2 buses.

MIC-XLR / LINE-JACK L MONO combo input (ch. 9 ÷ 16)
This is a female JACK/XLR combo connector that accepts a balanced microphone XLR input from almost any type of microphone or a balanced or unbalanced line level JACK 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.

LINE-JACK R Input (ch. 10 / 12 / 14 / 16)
This is a JACK connector that 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.

EQ section MID control (ch. 9 ÷ 16)
This control gives you up to 15 dB boost or cut at 2.5 KHz with a “PEAKING” curve shape. Use it to increase or reduce the sound “presence”.

BAL control (ch. 9 ÷ 16)
It adjusts the amount of channel signal sent to the left 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.

FX PRESETS selector
The internal Digital Effect Processor is built around a powerful 24bit DSP. It includes 100 different presets of studio-grade effect algorithms.

HOW TO USE THE FX:

• rotate the SELECTOR knob (26) to choose the type of effect (preset) you want to use; rotating the knob the
  number on the display scrolls and flashes. After you have chosen the effect, press the SELECTOR (26): the preset will be loaded and the number on the display will remain fixed.

• send the signal to the effect with the FX control (11) of the channel you want to add the effect to;

• raise up the FX LEVEL (30) fader until you hear the effect added to the original signal;

• adjust the FX controls (11) just before the signal input clipping indicated by the peak led (29);

• re-adjust the FX LEVEL (30) fader to combine the wet effected signal with the natural dry signal.

PRESET DESCRIPTION:

HALL – This type of reverb simulates the ambience of a concert hall varying its size from larger to smaller. Dense, smooth reverb with long pre- delay and a lot of high frequency reflections. Works well with vocals, electric and acoustic guitars, strings and woodwinds.
ROOM – This type of reverb reproduces the more intimate ambience of natural room acoustics. It features a lot of early reflections with a few of high frequency. Emulating two different type of rooms and scaling their size from bigger to smaller (10-14 and 15-19), works well with vocals, fingered guitars, drums.
PLATE – This is a simulation of classic ’70s and ’80s metal plate reverbs, starting with a longer tail scaling to shorter tail. Works well with vocals, and any instrument in order to achieve the vintage sound of many recordings.
MONO DELAY – Typical echo + feedback effect with decreasing delay times.
STEREO DELAY – Typical echo + feedback effect with ping-pong of left and right channels with decreasing delay times.
FLANGER – Creates a strong sweeping effect with decreasing times, particularly effective on rock electric guitar, lead and rhythm.
CHORUS – Provides a soft, ethereal sweeping effect with decreasing times, perfect for enhancement of electric and acoustic guitar and bass. Also adds a dramatic effect to vocals, particularly group harmonies and choirs.
DELAY+REV – Typical reverb and echo effect combined together with decreasing times.
FLANGER+REV – Typical reverb and modulation effect combined together with decreasing times.
CHORUS+REV – Typical reverb and modulation effect combined together with decreasing times.

FX DISPLAY number
This display shows the number of the currently loaded preset. When rotating the FX selector, the display scrolls the numbers and flashes until the new preset is confirmed by pressing the FX selector knob.

EFFECT MUTE button
Engage this switch if you want to mute the signal outgoing from the internal effect to the MAIN MIX.

FX MUTE pedal jack input
You can connect a footswitch (normally open) to MUTE the internal effect (suggested footswitch is PROEL model GF29).

EFFECT PEAK/MUTE detector
This LED shows 2 conditions:

• always lighted = signals that the effect is MUTED.
• flashing = signals a too high input level, near to the overload of the effect input stage that can cause audible distortion. In this case, reduce the level of the FX sends

FX FADER level control
It adjusts the level of the internal effect signal sent to the MAIN MIX outputs.

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.

USB/2TRK IN level control
It adjusts the level of the 2TRK INPUT and USB input (audio signal from PC).

MIX – CH15/16 switch
This switch routes the 2TRK IN or USB input signal directly to MAIN MIX outputs or to the channel 15/16. When routing the signal to channel 15/16, you can use all the channel’s features before sending the signal to the MAIN MIX: equalization, aux sends and the internal effect processor.

USB/2TRK OUT level control
It adjust the level of signal sent to the 2TRK OUTPUT and to the USB port. This control is picked up before the MAIN MIX fader control or before the aux1/2 level control, so is independent from the respective level output controls.

TRK OUT PEAK detector
When the peak LED flashes, that means that the signal is too high, near to the clipping of the output stage. In this case, reduce the level of the USB/2TRK OUT level control.

MIX – AUX 1-2 switch
This switch selects which signal is sent to the 2TRK OUT and to the USB port. Choosing the MAIN MIX signal you can record a whole mix session such as a live performance. Choosing AUX 1-2 you can record two different instruments in two different tracks of your DAW recording software, routing them thru AUX 1 and AUX 2 respectively and using the MAIN MIX for monitoring.

2TRK outputs
Use these unbalanced RCA connectors to send out the MAIN MIX or AUX 1/2 signals to a recorder, such as an analog tape or an A/D converter connected to a Personal Computer.

AUX 1 SEND level control
It adjusts the general level of the AUX 1 SEND output. This control ranges from off to +15 dB of gain when fully clockwise.

AUX 1 SEND jack output
This jack connector sends out the line-level signal made up of the sum of the input channel’s AUX 1 sends, usually for connecting to the inputs of an external effect devices or a stage monitor.

AUX 2 SEND level control
It adjusts the general level of the AUX 2 SEND output. This control ranges from off to +15 dB of gain when fully clockwise.

AUX 2 SEND jack output
This jack connector sends out the line-level signal made up of the sum of the input channel’s AUX 2 sends, usually for connecting to the inputs of an external effect devices or a stage monitor.

AUX 3 SEND level control
It adjusts the general level of the AUX 3 SEND output. This control ranges from off to +15 dB of gain when fully clockwise.

AUX 3 SEND jack output
This jack connector sends out the line-level signal made up of the sum of the input channel’s AUX 3 sends, usually for connecting to the inputs of an external effect devices or a stage monitor.

AUX 4 / FX SEND level control
It adjusts the master level of AUX4 jack output and also the signal sent to internal effect. Use it to reduce the level of signal sent to the internal effect if the PEAK LED is flashing. This control ranges from off to 15 dB of extra gain (fully clockwise).

AUX 4 SEND jack output
This jack connector sends out unbalanced line-level signals made of the sum of the input channel’s AUX 4 sends, usually for connecting to the inputs of an external effect device or a stage monitor. This signal is postfire, or in other words it depends on the position of the channel’s FADER.

GROUPS 1-2 FADER level control
The GROUP 1-2 FADER control the level of the GROUP 1-2 bus to its outputs or, if “GROUP TO MIX” switch is down, to the MAIN MIX bus.

GROUPS 1-2 jack output
These JACK connectors provide a balanced line-level signal from the GROUPS 1-2 stereo bus, controlled by the GROUPS 1-2 FADER level control.

GROUP TO MIX switch
This switch assigns the GROUP 1-2 bus to the MAIN MIX bus. As explained earlier, pushing down this switch you can use the GROUP 1-2 as sub-mix groups, enabling you to control the level of several channels with one knob.

MAIN MIX to C.ROOM switch
Push this switch to send the MIX bus signal to C.ROOM and PHONES outputs.

GROUP 1-2 to C.ROOM switch
Push this switch to send the GROUP 1-2 bus signal to C.ROOM and PHONES outputs.

2TRK to C.ROOM switch
Push this switch to send the 2TRK input signal and USB input signal to C.ROOM and PHONES outputs.
NOTE : for a correct operation we suggest to choose these three switches (50) (51) or (52) one at a time.
IMPORTANT : these switches also select which signal is displayed on LED METERS when no channel has the PFL button engaged.

PHONES level control
This controls the PHONES output’s level. The signal is selected by MAIN MIX (50), GROUP 1-2 (51) or 2TRK/USB (52) switches or by the sum of PFL bus if one or more PFL buttons are engaged.

PHONES stereo jack output
STEREO JACK connector for the headphones output: only stereo headphones with a minimum impedance of 32 Ohms should be connected to this output.

C.ROOM level control
This controls the C.ROOM output’s level. The signal is selected by MAIN MIX (50), GROUP 1-2 (51) or 2TRK/USB (52) switches or by the sum of PFL bus if one or more PFL buttons are engaged.

C.ROOM L & R jack outputb
These JACK connectors provide an unbalanced line-level signal that can be used to monitor the signal sent to C.ROOM.

PFL ACTIVE LED
This LED indicates that one or more PFL switches are pressed. The PFL signal bus can be heard through the C.ROOM/PHONES outputs and visualized on the L & R LEVEL meter.

L & R LEVEL meters
The level meters are made of two columns of twelve LEDs with three colors to indicate different ranges of signal level:

• green = shows the normal operative level of the signal (from -30 to +4 dBpeak)
• yellow = shows the nominal operative level of the signal (from +7 to +10 dBpeak)
• red = shows a high signal level (near +20 dBpeak CLIP level).

NOTE: if the PFL ACTIVE LED is on, the meters show the level of the PFL bus (one or more channels), otherwise it shows the level selected between MAIN MIX, GROUP 1-2, 2TRK/USB outputs.

MAIN MIX FADER level control
The MAIN MIX controls the output level just before the MAIN MIX outputs. When the potentiometer is fully down the MAIN MIX is off, while the “0” indicates a +4dBu nominal output level. Typically, this control is set near the “0” label and left alone, but it can be used for song fadeouts or quick system-wide mutes.

MAIN MIX L & R XLR output balanced
These XLR and provide a balanced line-level signal that represents the fully mixed stereo signal controlled by the MAIN MIX. Connect these to the inputs of your power amplifier, powered speaker or other audio processors. NOTE: whenever possible, use always balanced cables. Unbalanced lines may also be used but they may result in noise over long cable runs. In any case, avoid using a balanced cable for one channel and an unbalanced one for the other.

MAIN MIX L & R jack output balanced
These jack connectors are connected in parallel to the respective XLR outputs.

+48V phantom switch and LED
This switch activates (LED on) and deactivates (LED Off) the phantom power on MIC Inputs. Most professional condenser microphones require phantom power, which is a lower DC voltage delivered to the microphone on pin 2 and 3 of the XLR microphone connector. Dynamic microphones do not require phantom power, however phantom power will not harm most dynamic microphones should you plug one in while the phantom power is on. Check the manual of your microphone to find out for sure whether or not phantom power can damage it.

ON LED
Indicates when the mixer is switched on.

USB PORT socket
The USB port routes the MAIN MIX bus or the AUX1/2 buses to a PC for recording and the PC audio output to the MIX or to the channel 15-16 for playback, allowing to use the mixer as a high-quality soundcard with Windows and Macintosh computers.

VERY IMPORTANT INFORMATIONS:

• The internal USB soundcard needs a personal computer with a USB 2.0 port and a Windows (XP or later) or Mac OSX (10.3 or later) Operating Systems.

• The internal USB soundcard DOESN’T REQUIRE A DEDICATE SOFTWARE DRIVER to work with Windows or
  Mac OSX.

• For in/out signal routing inside the computer and the DAW software refer to the documentation included with the computer and DAW software.

• Typically, after you have connected the USB cable and powered on the mixer, the USB soundcard is visible from the computer and DAW software as: “USB Audio CODEC” (or with a similar name, depending on the OS version).

• For a better performance it is recommended to operate only with playback or recording at the same time.

POWER switch
Switch this one on and your mixer has power. Switch it off and it doesn’t. Make sure that all master output knobs are turned all the way down when powering your mixer up or down.

AC~ socket
Here’s where you plug in your mixer’s mains supply cord. You should always use the mains cord supplied with the mixer. Be sure your mixer is turned off before you plug the mains supply cord into an electrical outlet.

FUSE holder
Here is placed the mains protection fuse.

• CHECK THE CONDITION OF THE PROTECTION FUSE, ACCESSIBLE OUTWARD, ONLY WITH THE
  APPARATUS SWITCHED OFF AND DISCONNECTED FROM THE MAINS LINE OUTLET.

• REPLACE THE PROTECTION FUSE ONLY WITH SAME TYPE AS SHOWN ON THE PRODUCT.

• IF AFTER THE SUBSTITUTION, THE FUSE INTERRUPTS AGAIN THE APPARATUS WORKING, DO NOT TRY AGAIN THEN CONTACT THE PROEL SERVICE CENTER.

Balanced JACK
**Lo cut| impedance| 10 Kohm75Hz, 18dB/oct.±15 dB @ 12KHz±15 dB from 100Hz to 8KHz±15 dB @ 2.5KHz±15 dB @ 80Hz
EQ HIGH 1-16 EQ MID 1-8 EQ MID 9-16 EQ LOW 1-16| shelving peaking peaking shelving
Compressor 1-8 2TRK Input| **sensitivity| 1-knob0 dBu **Unbalanced RCA
| impedance| 10 Kohm|
MAIN MIX output| nom. out level| +4 dBu| Balanced JACK and XLR-M
GROUP 1-2 output| nom. out level| +4 dBu| Balanced JACK
2TRK output| nom. out level| 0 dBu| Unbalanced RCA
C. ROOM output| nom. out level| 0 dBu| Unbalanced JACK
AUX 1 / 4 output| nom. out level| 0 dBu| Unbalanced JACK
HEADPHONES output| min. impedance max. out level| 32 ohm(2x) 193 mW| Stereo JACK
Effects A/D and D/A converters DSP resolution Controls| 100 presets24 bit24 bit
2-DIGIT display, DIAL, PEAK LED, MUTEswitch, MUTE footswitch
Maximum level Crosstalk| all outputs meas. at 1 KHz| +22 dBu> 82 dB
HUM & Noise THD + Noise| unweighted at +4dB, 1kHz| < -93 dBu< 0,008 %
Dimensions (WxHxD) Weight| | 481 x 432 x 104 mm6,50 kg|
Mains Supply Voltage| 110-240 VAC (±10%) 50 / 60 Hzavailable with:Europe mains cord (Shucko plug), US mains cord (NEMA 5-15P plug),
****Consumption**| UK mains cord (BS1363 plug)35 W

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