ProFX Features

Front Panel - Connections and Channel Strip

The vertical channel strips look very similar, and have only a few differences between them. Each channel works independently, and just controls the signals plugged into the inputs directly above them.

5. MIC INPUTS

This is a female XLR connector that accepts a balanced mic or line level input from almost any type of source. The mic preamps feature our XDR2 design, with higher fidelity and headroom rivaling any standalone mic preamp on the market today.

The XLR inputs are wired as follows: Pin 1 = Shield or ground Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)

We use phantom-powered, balanced ­inputs just like

the big mega-consoles, for exactly­ the same reason: This kind of circuit is­excellent­ at rejecting hum and noise.

Professional ribbon, dynamic, and condenser mics all sound excellent through these inputs. The mic/line inputs will handle any kind of level you can toss at them, without overloading.

Microphone-level signals are passed through the

5

 

 

 

 

 

 

 

 

 

 

 

 

 

MIC

 

MIC

 

 

MIC

 

 

 

 

XX

 

 

 

XX

XX/ XX

BAL /UNBAL

BAL /UNBAL

 

BAL /UNBAL

 

6

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 

 

7

(MONO)

 

LINE IN

LINE IN

 

 

8

 

LINE IN XX

 

 

 

 

 

 

25

 

 

 

R

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

OFF

 

MAX

 

 

 

 

 

 

INSERT

COMP

 

LINE IN XX

 

 

 

U

 

 

U

 

 

 

G

 

 

 

 

G

 

IC

G

 

 

IC

 

 

 

IC

AI

AI

 

AI

 

9

M

 

N

M

 

N

 

M

 

N

 

U

 

+50

U

 

+50

 

U

 

+50

 

-20dB

 

+30dB

-20dB

 

+30dB

GAIN

 

10

GAIN

GAIN

 

 

LOW CUT

LOW CUT

 

LOW CUT

 

 

100Hz

100Hz

 

100Hz

 

11

 

U

EQ

 

U

 

EQ

U

 

EQ

 

 

HI

 

 

 

HI

 

 

 

HI

 

 

 

12kHz

 

 

 

12kHz

 

 

 

12kHz

 

-15

+15

-15

+15

 

-15

+15

 

12

 

U

 

 

U

 

 

 

 

 

 

 

 

MID

 

 

 

MID

U

 

 

 

 

 

 

 

 

 

 

 

 

 

-15

+15

-15

+15

14

 

 

MID

 

 

600

600

 

 

 

 

2.5kHz

150

 

 

1.5k

150

 

1.5k

-15

+15

 

 

 

 

 

 

 

 

13

 

 

FREQ

 

 

 

FREQ

 

 

 

 

 

100

U

8k

100

U

8k

 

U

 

 

15

 

 

 

 

 

 

 

 

 

LOW

 

 

 

LOW

 

 

 

LOW

 

 

 

80Hz

 

 

 

80Hz

 

 

 

80Hz

 

-15

+15

-15

+15

 

-15

+15

 

 

 

U

AUX

 

U

 

AUX

U

 

AUX

 

 

 

MON

 

 

 

MON

 

 

 

MON

16

 

 

1

 

 

 

1

 

 

 

1

 

+15

 

+15

 

 

+15

 

OO

OO

 

OO

 

 

 

U

 

 

U

 

 

U

 

 

BAL /UNBAL

1

BAL /UNBAL

2

MON SEND

XX/ XX

BAL /UNBAL

L

(MONO)

LINE IN XX

R

LINE IN XX

U

-20 +20

GAIN

UEQ

HI

12kHz

-15 +15

U

MID

2.5kHz

-15 +15

U

LOW 80Hz

-15 +15

UAUX

 

MON

 

1

OO

+15

 

U

FOOTSWITCH

BAL /UNBAL

FX SEND

XX/ XX

BAL /UNBAL

 

L

 

(MONO)

LINE IN XX

 

 

R

LINE IN XX

 

U

 

-20 +20

 

GAIN SOURCE

LINE

24

USB

 

UEQ

HI

12kHz

-15 +15

U

MID

2.5kHz

-15 +15

U

LOW 80Hz

-15 +15

UAUX

 

MON

 

1

OO

+15

 

U

mixer's splendid microphone preamplifiers to become line-level signals.

See Appendix B (page 26) for further details and some rather lovely drawings of the connectors you can

 

MON

 

MON

 

2

 

2

OO

+15

OO

+15

 

U

 

U

17 FX FX

OO

+15

OO

+15

 

MON

 

2

OO

+15

 

U

 

FX

OO

+15

 

MON

 

2

OO

+15

 

U

 

FX

OO

+15

 

MON

 

2

OO

+15

 

U

 

FX

OO

+15

use with your mixer.

18

PAN PAN

PAN

PAN

PAN

PHANTOM POWER

Most modern professional condenser mics require 48V phantom power, which lets the mixer send

 

L R

 

L R

19

OL

OL

 

 

MUTE 20

MUTE

 

 

XX

XX

dB

 

dB

 

10

 

10

 

L R

OL

MUTE

XX/ XX

dB 10

L R

L R

OL

OL

MUTE

MUTE

XX/ XX

XX/ XX

dB

dB

10

10

low-current DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro

5

 

5

 

U

1-2

21

1-2

 

U

 

23

 

 

 

5

U

1-2

5

5

1-2

1-2

U

U

condenser mics often have batteries to accomplish the same thing.) “Phantom” owes its name to an ability to be “unseen” by dynamic mics (Shure SM57/SM58, for instance), which don’t need ­external power and aren’t affected by it anyway.

5

5

 

3-4

21

3-4

1010

20210

 

L-R

 

L-R

30

 

30

 

 

PFL

 

PFL

40

SOLO

40

SOLO

50

 

22

 

 

50

 

60

 

60

 

OO

 

OO

 

5

3-4

10

20

L-R

30

PFL

40 SOLO

50

60

OO

5

 

5

 

10

3-4

10

3-4

 

 

20

 

20

 

 

L-R

 

L-R

30

 

30

 

 

PFL

 

PFL

40

SOLO

40

SOLO

50

 

50

 

60

 

60

 

OO

 

OO

 

Mono Channels

Stereo Channels

Channels 1-8 on ProFX16

Channels 9-16 on ProFX16

Channels 1-14 on ProFX22

Channels 15-22 on ProFX22

Owner's Manual 11