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Mackie Profx12v2 Manual de Propietario
Mackie Profx12v2 Manual de Propietario
LINE
HI-Z
48V
WARNING — To reduce the risk of fire or electric Apparaten skall anslutas till jordat uttag.
shock, do not expose this apparatus to rain or moisture.
Correct disposal of this product: This symbol indicates that this product should not be disposed of with your household
waste, according to the WEEE directive (2012/19/EU) and your national law. This product should be handed over to
an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type
of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances
that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will
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equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
Owner’s Manual
Important Safety Instructions .................................. 2 Unmatched Sound Quality
Contents / Features ................................................ 3
• Extremely low-noise Vita™ mic preamps designed
Introduction / Getting Started ................................. 4 to add life to any input
Hookup Diagrams.................................................... 5 • All-new ReadyFX™ effects engine with 16 great-
1. Power Connection / 2. Power Switch............. 7 sounding effects like reverbs, delays and choruses
• Single-knob channel compression for smooth,
3. USB Input / Output....................................... 7
even dynamic control 1
13. Hi EQ / 14. Mid EQ / 15. Freq .................. 12 • Aux output(s) perfect for driving a monitor mix,
16. Mid EQ / 17. Low EQ / 18. Aux Mon ........ 12 fill speakers and more
19. Aux FX / 20. Pan / Bal / 21. OL LED ........ 13 • Additional stereo channels
• Extra stereo/aux return for external effects
22. Mute Switch / 23. Assign Switches ........... 13
or stereo playback devices 2
24. PFL Solo Switch / 25. Channel Fader.......... 14 • High-headroom line level inputs
26. Compressor .............................................. 14 • Individual channel mutes and overload indication 2
27. USB Switch ............................................... 15 • Channel inserts for connecting outboard processing 2
• EQ on all channels
28. Mon Send / 29. FX Send ........................... 16
• 60mm faders 2
30. FX Footswitch ........................................... 16 • Directly connect guitar, bass and other instruments
31. Stereo (Aux) Return L/R ........................... 16 via Hi-Z input 3
32. Main Out L/R / 33. CR Out L/R ............... 17 • 100Hz low-cut filter and 48V phantom power
on all mic channels
34. Sub Out 1-4 / 35. Phones ......................... 17
• Stereo RCA tape I/O with input level control
36. Tape Inputs / Outputs ............................... 17 • Headphone output with separate level control 3
37. 48V Phantom Power Switch ...................... 18 • Control room / headphone outs with level control 1
38. Power LED / 39. Stereo Graphic EQ ........... 18 • Balanced XLR and/or balanced/unbalanced
¼-inch main outputs
40. Main Mix / Mon 1 Switch ......................... 18
• FX mute with remote control via footswitch 4
41. EQ In / Bypass Switch / 42. Main Meters . 18 • Break switch mutes all channels for music playback
43. Rude Solo LED........................................... 19 between sets 2
44. Aux Masters / 45. Stereo (Aux) Returns ... 20 No-Hassle USB Recording/Playback 2
52. USB Input Level / 53. USB Thru ................. 22 o Separate USB input level control to mains 2
54. USB Out Switch ........................................ 22 o USB routable to full-featured channel strip 1
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Owner’s Manual 3
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Introduction Getting Started
Our ProFXv2 Series mixers provide a comprehensive The following steps will help you set up the ProFXv2
live sound solution, with models from 4- to 30-channels, mixer quickly.
covering a huge range of applications.
1. Turn down all knobs except the channel EQ and
Delivering unmatched sound quality, ProFXv2 pan knobs, and set all the faders fully down.
features all-new Vita™ preamps, which are virtually 2. Set all channel EQ knobs, pan knobs, and the
noiseless and designed specifically for the highly- graphic EQ sliders at their center detent.
dynamic world of live sound.
3. Set all buttons to the “out” position.
ProFXv2 also includes the immensely powerful new 4. Plug signal sources into the mixer, such as:
ReadyFX™ effect engine, harnessing floating-point DSP
to deliver 16 rich effects that elevate any performance. • Microphones plugged into the mic inputs.
Engage phantom power if your mics need
The ProFXv2 no-compromise live sound toolkit it. Check the mic's user manual to be sure.
includes a room-shaping GEQ, flexible I/O and a built-in • Line-level sources such as keyboards, drum
USB interface for hassle-free recording/playback. machines, or CD players plugged into the
With a rugged steel chassis and unmatched sonic line-level inputs.
performance, ProFXv2 is truly the life of your live mix. 5. Connect cords from the main outs to your
powered speakers or amplifier.
6. Plug in the mixer’s power cord to a live AC
outlet and turn on the mixer.
How to Use This Manual:
7. If you have powered speakers, turn them on.
Otherwise, hook up your passive speakers to
After this introduction, a getting started guide will
your amp with speaker cables, and turn it on.
help you get things set up fast. The hookup diagrams
Adjust your powered speaker or amplifier level
show some typical setups, while the remaining sections
controls to however the manufacturer
provide details of the ProFXv2 Series mixers.
recommends.
8. Plug something into an input. This could be an
This icon marks information that is critically instrument, you singing or speaking, or a line
important or unique to ProFXv2. For your own level source such as a keyboard or CD player.
good, read and remember them.
9. Engage the channel's PFL Solo switch
This icon leads you to in-depth explanations [ProFX16v2, ProFX22v2, ProFX30v2] to
of features and practical tips. They usually view the input level via the main meters.
have some valuable nuggets of information. 10. Be sure that the volume of the input is the
This icon draws attention to certain same as it would be during normal use, or
features and functions relating to the usage you may have to readjust the gain in the middle
of ProFXv2. of a set. You can listen with headphones if you
carefully turn up the channel fader and
headphones level a little.
11. The mono channel gain affects the mic and the
Things to Remember: line inputs. The stereo channel gain adjusts the
stereo line inputs. Adjust as desired, and make
• Never listen to loud music for prolonged periods. sure that the OL LED does not come on during
Please see the Safety Instructions on page 2 for the loudest passages.
information on hearing protection.
There are hybrid channels that have both mono
• Save the shipping box and packing materials! mic and stereo line inputs. In these channels,
You may need them someday. Besides, the cats the gain control affects only the mic gain.
will love playing in them and jumping out at you
12. To get sound out of the speakers and into a
unexpectedly. Remember to pretend like you are
waiting world, engage a channel's L-R assign
surprised!
switch [ProFX16v2, ProFX22v2, ProFX30v2]
• Save your sales receipt in a safe place. turn up that channel’s fader to the “U” (unity
gain) position, and slowly bring up the main
fader to a comfortable listening level.
13. Repeat steps 8 to 12 for the other channels.
Owner’s Manual
This diagram shows a mic'd up drum kit utilizing the first five channels of the mixer. Microphones
are connected to the next five channels for lead and background vocals. A bass and guitar are attached
to the next two channels' line-level inputs, each via a mono effects processor. An iPod docking station
is attached to the stereo tape inputs.
SRM450v3 powered speakers are connected to the left and right main output. Two of these speakers
are also set up as stage monitors and connect to the mixer's monitor output via a graphic EQ. The aux
mon controls of each channel allow you to create a stage monitor mix as desired. Headphones are used
for monitoring and a footswitch allows you to mute/unmute the internal effects as desired.
A laptop connects to the USB port on the rear panel of the mixer and allows the 2-channel main mix
of the performance to be recorded to a DAW. Two channels of audio can also play from your computer
to the main mix.
Owner’s Manual 5
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2
POWER
USB
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
SERIAL NUMBER REVISION
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND
ICES-003, FOR CANADA. 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.
This diagram shows a bass and effects processor attached to the channel 5 line-level input,
microphones attached to channels 6, 7 and 8, a guitar amplifier modeler connected to the line-level
inputs of channel 9/10, a keyboard connected to channel 13/14 and an electronic drum kit attached
to channel 15/16.
MR8mk3 powered reference monitors are connected to the left and right control room outputs
for careful and accurate monitoring of the performance. Headphones connected to mon send 1
via a headphone amp are available for the talent to utilize when tracking.
A desktop computer connects to the USB port to record the 2-channel main mix to the DAW,
as well as play back two channels from the DAW.
Owner’s Manual
1 2 4 3
Owner’s Manual 7
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 ProFXv2 Front
USB output FROM the mixer – recording, etc:
In the USB out section [ProFX16v2, ProFX22v2,
ProFX30v2] you may select either the main mix
(disengaged) or subgroups 1-2 (engaged) from
the conveniently titled USB out switch. The USB tap
Panel Features
points for the subgroups are pre-fader and signals
will show up on the DAW dependent upon how they Connections and Channel Strip
are panned on the channels. The vertical channel strips look very
In other words, if subgroups 1 and 2 are used to similar, and have only a few differences
between them. Each channel works
submix drums and those drums have a stereo image
(e.g. overheads and toms channels are panned accord- 5 independently, and just controls the
ing to desire), this stereo image is retained in the DAW signals plugged into the inputs directly
above them.
inputs. Any adjustments made to the subgroup drum
levels during the show only pertain to the live show
6
itself; recording levels are not adjusted in the 7 5. Mic Inputs
DAW unless they are adjusted on the channels. ProFXv2 mixers use 3-pin female
XLR connectors on all microphone
Likewise, it is possible to record the main mix to
take home a copy of the live show. These levels are
9 inputs, with pin 1 wired to the
also pre-main fader. Therefore, levels may be mixed grounded (earthed) shield,
up or down in the DAW later depending on the needs 11 pin 2 wired to the high (hot
or positive polarity) side of
of the recording versus the live show. The end result
is that fade-ins and/or fade-outs made during the
10 the audio signal and pin 3 wired
to the low (cold or negative
show do not affect recorded levels.
12 polarity) side of the signal.
4. Main L/R XLR Outputs ProFX8v2 These female XLR connectors
The male XLR connectors provide a balanced ProFX12v2 accept balanced mics or line level
line-level signal that represents the end of the mixer inputs from almost any type of source.
chain, where the fully mixed stereo signal enters the The Vita mic preamps feature higher fidelity and
real world. Connect these to the left and right inputs headroom rivaling any standalone mic preamp on
of your main power amplifiers, powered speakers, the market today.
or serial effects processor (like a graphic equalizer We use phantom-powered, balanced inputs just like
or compressor/limiter). the big mega-consoles, for exactly the same reason: This
They are wired as follows, according to standards kind of circuit is excellent at rejecting hum and noise.
specified by the AES (Audio Engineering Society): Professional ribbon, dynamic, and condenser
XLR Balanced Wiring: mics all sound excellent through these inputs.
Pin 1 = Shield (ground) The mic/line inputs will handle any kind of level
Pin 2 = Positive (+ or hot) you can toss at them, without overloading.
Pin 3 = Negative (– or cold) Microphone-level signals are passed through
the mixer's splendid microphone preamplifiers
SHIELD 1
to become line-level signals.
COLD 3
They are wired as follows, according to standards
2
HOT specified by the AES (Audio Engineering Society).
1 SHIELD
Owner’s Manual
Most modern professional condenser mics require
48V phantom power, which lets the mixer send
low-current DC voltage to the mic’s electronics 5
through the same wires that carry audio. (Semi-pro
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. 7
The ProFX mixer’s phantom power is 8
globally controlled by the phantom power 9 26
switch (meaning that phantom power for
all mic inputs is turned on and off together.)
Never plug single-ended (unbalanced) 10
microphones or ribbon microphones into
the mic input jacks if phantom power is on. 12 27
Do not plug instrument outputs into the mic input jacks
with phantom power on unless you know for certain it 13
is safe to do so.
14
16
15
6. Line / Hi-Z Switch [ProFX8v2 / ProFX12v2]
17
To connect a guitar directly to the mixer without
using a DI Box, press this switch in first; then connect
the output from the guitar to channel 1's 1⁄4" TRS
input. The input impedance is optimized for direct
connection and high-frequency fidelity is assured.
18
In the out position, channel 1's 1⁄4" TRS input
becomes a line input just like the other mono line
inputs. 19
To use guitars or other instruments on other
channels, you will need to use an external DI box
20
first. Without the DI box – or if this switch is not
pressed in – guitars may sound dull and muddy.
21 22
23
25
7. Line Inputs 23
Hi-Z Input (Channel 1 Only) [ProFX8v2 / ProFX12v2]
In addition to accepting balanced mic or line-level
23
signals using an XLR connector, ProFXv2 Series mixers
may also accept 1/4" line-level signals driven by 24
balanced or unbalanced sources. These 1/4" jacks
share circuitry (but not phantom power) with the Mono Channels Stereo Channels
mic preamps.
To connect balanced lines to these inputs, use
a 1/4" Tip-Ring-Sleeve (TRS) plug. “TRS” stands for Channels 1-2 on ProFX8v2 Channels 3-8 on ProFX8v2
Tip-Ring-Sleeve, the three connection points available Channels 1-4 on ProFX12v2 Channels 5-12 on ProFX12v2
on a stereo 1/4" or balanced phone jack or plug. Channels 1-8 on ProFX16v2 Channels 9-16 on ProFX16v2
Channels 1-14 on ProFX22v2 Channels 15-22 on ProFX22v2
Channels 1-22 on ProFX30v2 Channels 23-30 on ProFX30v2
Owner’s Manual 9
9. Insert
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2
TRS jacks and plugs are used for balanced signals and
stereo headphones and are wired as follows according
These unbalanced 1/4" jacks are for connecting
to standards specified by the AES (Audio Engineering
serial effects processors such as compressors,
Society):
equalizers, de-essers, or filters.
1/4" TRS Balanced Mono Wiring:
The insert point is after the gain control and low
Sleeve = Shield (ground)
cut filter, but before the channel’s EQ and level.
Tip = Positive (+ or hot)
The channel signal can go out of the insert jack
Ring = Negative (– or cold)
to an external device, be processed and come back
in on the same insert jack.
RING SLEEVE SLEEVE RING TIP
Owner’s Manual
For stereo channels (no mic input)
the gain control affects the line-level
ProFXv2 Series mixers have a “U” symbol on almost
inputs, with 20 dB of gain, and 20 dB
every level control. It stands for “unity gain,” meaning
of attenuation.
no change in signal level. The labels on the controls
are measured in decibels (dB), so you’ll know what
you’re doing level-wise if you choose to change a
control’s settings. Stereo Channels:
• ProFX8v2 – Channels 7/8
• ProFX12v2 – Channels 9/10 and 11/12
• ProFX16v2 – Channels 13/14 and 15/16
• ProFX22v2 – Channels 19/20 and 21/22
10. Gain
• ProFX30v2 – Channels 27/28 and 29/30
If you haven’t already, please read the "Getting
Started" section on page 4. Setting the gain correctly
will ensure that the preamplifier’s gain is not too high,
where distortion could occur, and not too low, where 11. Level Set LED [ProFX8v2 / ProFX12v2]
the quieter, exquisitely-delicate passages might be lost
in background noise. These LEDs are used with the gain control to set the
channel preamplifier gain just right for each source.
The gain knobs adjust the input sensitivity of the mic
and line inputs. This allows signals from the outside If one or more channels are distorting, check the level
world to be adjusted to run through each channel at set LEDs. If they are on continuously, turn down the
optimal internal operating levels. gain.
Owner’s Manual 11
Channel Equalization (EQ) 14. Mid EQ
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 All ProFXv2 mono channels – except for the 15. Freq
ProFX4v2, which is covered in its own owner's manual [ProFX16v2, ProFX22v2, ProFX30v2]
– have 3-band EQ with shelving hi, peaking mid with The mono channels employ +15
+5
ProFX30v2] and shelving low. The stereo channels EQ. The gain (up to 15 dB 0
have a peaking mid EQ control in addition to the of boost or cut) is set via the –5
shelving hi and shelving low EQ controls. mid EQ, and then “aimed” at –10
Shelving means that the circuitry boosts or cuts all 20Hz 100Hz 1kHz 10kHz 20kHz
EQ on every channel, you’ll get mix mush. Equalize 20Hz 100Hz 1kHz 10kHz 20kHz
+5
80 Hz. The circuit is flat at 0
the center detent position.
13 This frequency represents the
–5
–10
12 kHz, and it is also flat +5 The overall output level may be adjusted with the aux
(no boost or cut) at the
0
master mon controls and monitor 1's EQ tweaked with
–5
Owner’s Manual
These knobs tap a portion of each channel's signal to Mute switches do just what they sound like they do.
set up a nice FX mix feeding the internal FX processor, They turn off the signal by “routing” it into oblivion.
and to feed external processors via the FX send. Engaging a channel's mute switch (almost) provides
the same results as turning the fader all the way down
The controls are off when fully turned down, deliver
(a pre-aux send is not affected by the channel fader, but
unity gain at the center detent, and can provide up to
it is by the mute switch in the ProFX16v2, ProFX22v2
15 dB of gain turned fully up.
and ProFX30v2).
The mute, channel fader and other channel controls
Any channel assignments [ProFX16v2, ProFX22v2
affect the FX output, but pan does not. The aux FX is
and ProFX30v2] to main mix, subgroup 1-2, or subgroup
post-fader.
3-4 will be interrupted and all of the aux sends will be
The FX signal reaching the internal FX processor silenced (both pre- and post-fader).
and the FX send output jack is the sum (mix) of all
In the ProFX8v2 and ProFX12v2, the aux mon signal
the channels whose aux FX control is set to more than
is unaffected by the mute switch. The channel insert
minimum.
will continue to provide a signal when a channel is
The overall output level may be adjusted with the muted. The OL LED will illuminate when a channel's
aux master FX knob. FX are added to the main mix by mute switch is engaged [ProFX16v2, ProFX22v2 and
increasing the level of the internal FX to main L/R knob. ProFX30v2].
Internal FX may also be added to the monitor mix by
increasing the level of the internal FX to mon knobs.
27
26. Compressor
[ProFX16v2, ProFX22v2, ProFX30v2]
23 Each of the last four mono channels of the ProFXv2
25 mixer has an in-line compressor circuit with a variable
23 threshold. This is very useful for compression of vocals,
and snare drums, for example, so you might consider
connecting your vocal and drum mics to these channels,
23 rather than one of the other channels.
When the incoming signal exceeds the threshold level
set by this knob, the signal level is automatically
compressed. This reduces the dynamic range and
24 reduces the chance of distortion due to overloading the
input signals.
Dynamic range is the difference in level
between the quietest and loudest parts of a
24. PFL Solo Switch song. A compressor “squeezes” the dynamic
[ProFX16v2, ProFX22v2, ProFX30v2] range, resulting in an overall steadier, more constant
When a channel's solo switch is engaged, any existing volume level for the signal. It helps sources, such as
selection is replaced by the solo signal, appearing at the vocals, “sit” properly in the mix; it is very useful for live
control room outputs, phones and at the left meter. The sound.
audible solo levels are then controlled by the CR/phones The compression ratio is fixed at around 6:1, with a
knob. The solo levels appearing on the meters are not soft knee response. The threshold can be adjusted
controlled by the CR/phones knob – you would not want clockwise from off (no compression) to 0 dBu (max).
that, anyway. What you do want to see is the actual
channel level on the meters regardless of how loud the +20 COMP
OFF MAX
control room and phones output levels might be.
PFL means Pre-Fader Listen (post-EQ). With the PFL +15
COMP
OFF MAX
SLOPE 6:1
way below “U” (unity gain), solo will not know
EE
that and will send a unity gain signal to the CR outs, +0
SO
FT
KN
Owner’s Manual 15
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Additional Inputs and Outputs 29. FX Send
This 1/4" TRS line-level output may be used to feed
an external effects processor (FX), such as a nice
sound effect, or delay unit. The output from this jack
36 is an exact copy of what goes into the internal FX
processor, being the careful mix of all channels whose
aux FX control is turned to more than minimum.
(The processed output of the internal FX does not
28 30 come out of this output, but is added internally to the
31 32 main mix or monitor mix.)
29 35 The overall output level may be adjusted with the
aux master FX knob. (This knob also affects the level
ProFX8v2 • ProFX12v2 going into the internal FX.)
The output is “post-fader,” so any changes to the
28. Mon Send channel faders will also affect the level going to the
Stage monitors allow the talented musicians in the external processor.
band to hear themselves clearly on stage. This can be a The processed output from the effects processor
good thing! The monitor mix may be carefully adjusted is usually returned to the aux/stereo returns or a
in level using the aux mon controls. These tap a portion spare channel, and you may carefully mix the original
of each channel's signal to provide a 1/4" TRS output unprocessed channel (dry) and the processed channel
here to feed external stage monitors. These could (wet). Altering the original channel fader increases
either be passive stage monitors powered by an both the wet and dry signals and keeps them at the
external amplifier, or powered stage monitors with same delicate ratio. For example, the reverb remains
their own built-in amplifier. at the same level relative to the original.
The monitor signal is the sum (mix) of all the
channels whose aux mon control is set to more 30. FX Footswitch
than minimum. If they want “more me and less Brian,” [ProFX8v2, ProFX12v2, ProFX16v2, ProFX22v2]
you may turn up their channel's aux mon control, This 1/4" TRS connector is where to connect your
and turn down Brian's. favorite footswitch. This allows you to easily mute or
The overall output level may be adjusted with the un-mute the internal effects at will. Any one-button
aux master mon knob and mon 1 may have its EQ on/off footswitch will work.
tweaked with the graphic EQ if the main mix/mon 1 If the internal FX have already been muted with the
switch is engaged. Alternatively, you could add an internal FX mute switch, then the footswitch has no
external graphic EQ between this output and your effect.
powered monitors. This will allow you to adjust
the EQ, and minimize the chance of feedback from The ProFX30v2 has an additional mon send
nearby microphones. jack in place of an FX footswitch jack.
The monitor output is not affected by the main
mix fader or the channel faders. This allows you to set
up the monitor mix and level just right, and not have 31. Stereo (Aux) Return L/R
it change when a channel fader or the main mix fader
The stereo (aux) returns are designed for 1/4" TRS
is adjusted. This is known as “pre-fader.”
balanced or 1/4" TS unbalanced signals, from -20 dB to
There is one mon send jack on each ProFX8v2 +20 dB. They allow the stereo processed output from
and ProFX12v2, two mon send jacks on each external effects processors or other devices to be added
ProFX16v2 and ProFX22v2 and three mon to the main mix.
send jacks on each ProFX30v2.
Level adjustment of the incoming signals is made with
the aux return controls.
You may also use these inputs to add any stereo
line-level signals to your main mix, so it could be
another line-level source, not just an effects processor.
If you are connecting a mono source, use the left
(mono) stereo return input, and the mono signals will
appear on both sides of the main mix.
16 ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2
32. Main Out L/R 35. Phones
Owner’s Manual
The 1/4" TRS output connectors provide balanced or This 1/4" TRS connector supplies the output to stereo
unbalanced line-level signals. Connect these to the next headphones. It is the same signal that is routed to the
device in the signal chain like an external processor control room outputs.
(compressor/limiter), or directly to the inputs of the
The phones volume is controlled with...
main amplifier. These are the same signal that appears
• ...the phones knob right above the mon fader
at the XLR main outputs, but 6 dB lower than the XLR
[ProFX8v2, ProFX12v2].
outputs. When the meters read “0”, these TRS outputs
• ...the cr/phones knob right above the main
are at 0 dBu.
mix fader [ProFX16v2, ProFX22v2, ProFX30v2].
The male XLR connectors provide a balanced
Whenever a solo switch is engaged, you will only hear
line-level signal that represents the end of the mixer
the soloed channel(s) in the headphones. This gives
chain, where your fully mixed stereo signal enters the
you the opportunity to audition the channels before
real world. Connect these to the left and right inputs
they are added to the main mix. (Solo signals reaching
of your main power amplifiers, powered speakers,
the headphones are not affected by the channel level or
or serial effects processor (like a graphic equalizer
main level, therefore turn down the phones level first, as
or compressor/limiter). The XLR outputs are 6 dB
soloed channels may be loud.)
hotter than the TRS outputs.
The phones output follows standard conventions:
The XLR output jacks on the ProFX8v2
Tip = Left channel
and ProFX12v2 are located on the rear panel.
Ring = Right channel
Sleeve = Common ground
WARNING: The headphone amp is loud and
can cause permanent hearing damage. Even
30 intermediate levels may be painfully loud
with some headphones. BE CAREFUL! Always turn the
28 36 phones level control all the way down before connecting
headphones or pressing a solo switch, or doing anything
32 new that may affect the headphone volume. Then turn it
35 up slowly as you listen carefully.
29
31 33 34
36. Tape Inputs / Outputs
The stereo unbalanced RCA inputs allow you to
ProFX16v2 • ProFX22v2 • ProFX30v2 play a CD player, MP3 player, or other line-level source.
The tape in jacks accept an unbalanced signal using
standard hi-fi hookup cables.
The stereo unbalanced RCA outputs allow you to
33. CR Out L/R
record the main stereo mix onto a hard disk recorder
[ProFX16v2, ProFX22v2, ProFX30v2]
or automatic CD burner, for example. This lets you
These 1/4" jacks are usually patched to the inputs make a recording for posterity/archive/legal purposes
of a control room amplifier or a headphone distribution whenever the band gets back together again.
amplifier.
The tape output is the stereo main mix, and it is not
affected by the main mix fader. The output could also be
used as an extra set of main outputs for feeding another
zone.
34. Sub Out 1-4
[ProFX16v2, ProFX22v2, ProFX30v2] SLEEVE TIP SLEEVE TIP
Owner’s Manual 17
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Stereo Graphic EQ, Main Meters and more!
39. Stereo Graphic EQ
This 7-band graphic equalizer adjusts the main
37 38 mix output. It affects the line-level outputs, but
not the headphones, tape outputs, or the USB output.
In the ProFX16v2, ProFX22v2 and ProFX30v2, the
control room and phones are post-EQ and post-main
fader. In the ProFX8v2 and ProFX12v2, the phones
39 are pre-EQ and pre-main fader.
42 This EQ may be used for a monitor mix instead of
the main mix if the main mix/mon 1 switch is engaged.
It may also be quickly bypassed using the EQ in/bypass
40 41 switch.
Each slider allows you to adjust the level of its
43 frequency band, with up to 15 dB of boost or cut,
and no change in level at the center (0 dB) position.
37. 48V Phantom Power Switch The frequency bands are: 125 Hz, 250 Hz, 500 Hz,
1 kHz, 2 kHz, 4 kHz and 8 kHz.
Most modern professional condenser mics require
48V phantom power, which lets the mixer send low- The EQ section comes before the main mix fader
current DC voltage to the mic’s electronics through the and meters. As with the channel EQ, just take it easy.
same wires that carry audio. (Semi-pro condenser mics There is a large amount of adjustment, and if you
often have batteries to accomplish the same thing.) are not careful, you can upset the delicate balance
“Phantom” owes its name to an ability to be “unseen” of nature. Although it may not seem cool to actually
by dynamic mics (Shure SM57/SM58, for instance), turn down controls, with EQ it is often the best option.
which don’t need external power and aren’t affected by Turn down the offending frequency range rather than
it anyway. boosting the desired range. You may use it to reduce the
level of some frequency bands where feedback occurs.
Press this switch in if your microphone requires
phantom power. (Always check the position of
this switch before connecting microphones.)
The accompanying LED will illuminate red to indicate
40. Main Mix / Mon 1 Switch
that phantom power is active. This is a global switch
that affects all mic channels' XLR jacks at once. This switch allows you to choose if the stereo
graphic EQ is used for the stereo left and right main
Never plug single-ended (unbalanced) mix or if it is used for monitors. For example, there
microphones, or ribbon mics into the may be times when the graphic EQ may be used wisely
mic input jacks if phantom power is on. in the monitor mix to reduce feedback in the monitors
Do not plug instrument outputs into the mic XLR from nearby microphones. This only affects the monitor
input jacks with phantom power on, unless you know 1 output.
for certain it is safe to do so. Be sure the main mix
fader is turned down when connecting microphones
to the mic inputs when phantom power is turned on,
to prevent pops from getting through to the speakers.
41. EQ In / Bypass Switch
38. Power LED This switch allows you to quickly engage or
disengage the stereo graphic EQ. This may be used
This LED will illuminate green when the mixer is for quick checks of your EQ settings, or to shorten
turned on, as a reminder of how on it really is. If it is the signal path if you do not need to use the EQ.
not on, then it is off, and the mixer becomes a rather
nice weight for keeping your morning newspaper from
blowing away in the wind.
If it does not turn on, make sure the power cord is
correctly inserted at both ends, the local AC mains
supply is active, and the power switch is on.
Owner’s Manual
These peak meters are made up of two columns [ProFX16v2, ProFX22v2, ProFX30v2]
of twelve LEDs, with three colors to indicate different This large LED flashes red when one or more solo
ranges of signal level, traffic light style. They range from switches are engaged. This acts as a reminder that
–30 at the bottom, to 0 in the middle, to +20 (OL) what you hear in the control room and headphones
at the top. is the soloed channel(s). If you forget that you are
in solo mode, you can easily be tricked into thinking
When a channel is soloed [ProFX16v2, ProFX22v2,
that something is wrong with your mixer. Hence,
ProFX30v2], the right meter shows no reading, and
the rude solo light. Please forgive its rudeness,
the left meter shows the level of that channel’s signal
it is only trying to help, and wants to be your friend.
level, pre-fader.
The left meter's 0 dB LED is labeled “level set” to
show where the level should be when adjusting a
channel’s gain in the solo mode.
When 0 dBu (0.775 V) is at the main left and right
TRS outputs, it shows as 0 dB on the meters.
You can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the meters. Most amplifiers
clip at about +10 dBu, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+6.” Remember, audio
meters are just tools to help assure you that your levels
are “in the ballpark.” You don’t have to stare at them
(unless you want to).
Owner’s Manual 19
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Aux Masters, Aux Returns and Internal FX
44. Aux Masters 48. Preset Display
These provide overall control over the aux mon and This display shows the number of the currently
aux FX levels just before they are delivered to the aux selected effects preset, as shown in the list of presets
mon and aux FX outputs, as well as internal FX in the above. Rotate the preset selector knob right or left to
case of the FX master. change a preset.
Auxiliary is usually the control you turn up when the A new preset will be loaded approximately 1/4 of
lead singer glares at you, points at his stage monitor, a second after you stop turning the knob, and it will be
and sticks his thumb up in the air. (It would follow that stored into the FX memory after about one second.
if the singer stuck his thumb down, you’d turn the knob When the mixer is turned on, the FX section will load
down, but that never happens.) up the last-used preset.
The aux master mon 1 knob on the
ProFX16v2, ProFX22v2 and ProFX30v2 is the
44 45 46
mon fader on the ProFX8v2 and ProFX12v2.
48
45. Stereo (Aux) Returns
These controls set the overall level of line signals 49 47
received from the stereo (aux) return L/R jacks.
Signals passing through these controls go directly 50
to the main mix and monitor mix where they are com-
bined with signals from the channels.
ProFX16v2 • ProFX22v2 • ProFX30v2
46. Internal FX
49. SIG / OL LED
These knobs route the effects output to the mon
and mains independently. Use the mon controls This bi-colored LED illuminates green when the signal
to provide effects to monitors. Slowly add effects level going into the effects processor is within a good
to the monitors by turning the mon knobs clockwise. operating range (sig). It illuminates red if the effects
Use the aux master to monitor the amount sent. processor is overloaded with too strong of a signal (ol).
The FX output to the mains will be heard directly Turn down the FX send master level and check the
from the PA. channel sends if these light red regularly.
The signals going into the processor are affected by
47. Preset Selector the channel gain, EQ, and channel faders, as well as the
Rotate this endless control to select one of the 16 channel FX sends and the FX send master.
preset effects. When the rotation stops, that preset
This LED only illuminates green (sig) on
will be loaded and become operational. The current
the ProFX16v2, ProFX22v2 and ProFX30v2.
preset number is shown in the display. The different
presets are shown in the table below and on the mixer's
silkscreen near the stereo graphic EQ. Further details of
each preset are explained in Appendix C on page 38. 50. Int FX Mute Switch and LED
Only one preset may be selected at a time.
When engaged, the internal effects processor is
muted, and its output will not appear on the main mix
1 Bright Room 9 Chorus or monitor mix. The adjacent mute LED will illuminate
2 Warm Lounge 10 Chorus + Reverb as a reminder that the effects are muted. When power
3 Small Stage 11 Doubler is first applied, this LED will illuminate and the FX will
be muted for about 10 seconds while the little FX gerbils
4 Warm Theater 12 Echo inside settle down.
5 Warm Hall 13 Delay 1 (Fast)
If this switch is not engaged, then the internal effects
6 Concert Hall 14 Delay 2 (Medium) are set free and may be added as required to the main
7 Plate Reverb 15 Delay 3 (Slow) mix and/or monitor mix.
8 Cathedral 16 Pan Delay If this switch is not engaged, then the internal
effects may be muted or un-muted with a footswitch
[ProFX8v2, ProFX12v2, ProFX16v2 and ProFX22v2].
Owner’s Manual
[ProFX8v2 and ProFX12v2]
Press this switch in to mute the signals coming
into the stereo return inputs.
The adjacent LED will light if the signal coming
into the stereo return inputs is too high, and this
may cause distortion due to overloading.
The OL LED comes before the stereo return fader,
so the fader has no effect in your efforts to turn off
the OL LED.
Check external processors and other devices,
and turn down their levels until the OL LED does
not come on.
48
47
49 50
44 46
MUTE
51
45 44 44
ProFX8v2 • ProFX12v2
Owner’s Manual 21
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Main & Subs Mix, USB Out, 2-Track Return, and more!
52. USB Input Level 54. USB Out Switch
[ProFX8v2, ProFX12v2] [ProFX16v2, ProFX22v2, ProFX30v2]
This control adjusts the signal level of the two This switch allows flexibility on the recordable
channels coming in from the computer, via the signals. The default switch configuration (disengaged)
USB port, relative to the mix of the other channels. allows the main L/R mix to be recorded for convenient
Adjust it carefully to achieve the desired mix with stereo mixes of the show. Engaging the switch routes
the other channels. subgroups 1-2 over the USB connection to your favorite
DAW software for an alternate 2-track recording.
The USB input from audio software could
be individual instrument tracks, a mix of tracks,
or processed tracks. 55. 2-Track Return Tape / USB Switch
[ProFX16v2, ProFX22v2, ProFX30v2]
This determines if the 2-track return gets its
signal from the RCA “tape” inputs (switch disengaged)
52 or USB (switch engaged).
Owner’s Manual
As one might expect, this knob controls the levels [ProFX16v2, ProFX22v2, ProFX30v2]
of both the stereo control room and the headphones. As you might expect, these faders control the levels
Make sure that this knob is fully off [counter-clockwise] of the signals sent to the sub out jacks. All channels
before selecting or adding a new source. that are assigned to subs, not muted, and not turned
fully down will appear at the sub outs.
Whatever the selection, the control room outputs
may also be used for other applications. The sound The sub signal is off when its fader is fully down,
quality is just as impeccable as the main outputs. the “U” marking is unity gain, and fully up provides
It may be used as an additional main mix output 10 dB additional gain. Remember that if you are treating
and this one will have its own level control. two subs as a stereo pair, sub 1 and 2 for example,
However, be aware that if a solo switch is engaged, make sure that both sub faders “ride” together to
the mix will be interrupted: maintain the left/right balance.
When a channel's solo switch is engaged, any existing
selection is replaced by the solo signal, appearing at
the control room outputs, phones and at the left meter.
The audible solo levels are then controlled by the 54 55 56 58 59
control room knob. The solo levels appearing on
the meters are not controlled by the control room
knob – you would not want that, anyway. What you
do want to see is the actual channel level on the meters
60
regardless of how loud the control room and phones
output levels might be.
Control room is available on the ProFX16v2, 61 62
ProFX22v2 and ProFX30v2.
Owner’s Manual 23
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Appendix A: Service Information
If you think your mixer has a problem, please check
out the following troubleshooting tips and do your best
to confirm the problem. Visit the Support section of our
website (www.720trees.com) where you will find lots of
useful information such as FAQs, documentation and
any updated PC drivers etc. You may find the answer to
the problem without having to send your mixer away.
Troubleshooting
Owner’s Manual 25
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Appendix B: Technical Information
Specifications
Noise Characteristics Equalization
Equivalent Input Noise (EIN) ProFX8v2 • ProFX12v2
(150 1 Source Impedance, 20 Hz to 20 kHz) Low ±15 dB @ 80 Hz
Mic in to Insert Send out, max gain –125 dBu 1 Mid ±15 dB @ 2.5 kHz
–128 dBu2 High ±15 dB @ 12 kHz
Low Cut Filter 18 dB/octave @ 100 Hz
Residual Output Noise
All outputs, master levels off, all channel levels off –95 dBu
All outputs, master levels unity, one channel level unity ProFX16v2 • ProFX22v2 • ProFX30v2
–80 dBu1 Mono Channels
–85 dBu2 Low ±15 dB @ 80 Hz
Mid ±15 dB
100 Hz – 8 kHz
Frequency Response High ±15 dB @ 12 kHz
Mic input to any output (gain at unity, +0 dB / –1 dB ) Low Cut Filter 18 dB/octave @ 100 Hz
20 Hz to 30 kHz1 Stereo Channels
20 Hz to 40 kHz2 Low ±15 dB @ 80 Hz
Mid ±15 dB @ 2.5 kHz
High ±15 dB @ 12 kHz
Distortion (THD+N)
(22 Hz to 80 kHz bandwidth)
Mic in to Main Out (+4 dBu output) <0.03%1
Maximum Voltage Gain (EQ Flat)
<0.01%2 Mic Input Channel to
Insert Output 50 dB
Tape Output 60 dB
USB Output 50 dB1
Attenuation and Crosstalk 60 dB2
Adjacent Inputs @ 1 kHz –90 dBu 1/4" Main Output 70 dB
XLR Main Output 76 dB
Inputs to Outputs @ 1 kHz –80 dBu Monitor Send 76 dB1
Fader Off @ 1 kHz –75 dBu 81 dB2
FX Send 90 dB
Mute Switch / Break Switch Mute @ 1 kHz –90 dBu1
–100 dBu2 Mono Line Input Channel to
Insert Output 30 dB
Tape Output 40 dB
USB Output 30 dB1
Common Mode Rejection Ratio (CMRR) 40 dB2
Mic in to Main out, max gain, 1 kHz 70 dB XLR Main Output 56 dB
Monitor Send 56 dB1
61 dB2
FX Send 70 dB
Maximum Levels Stereo Line Input Channel to
All inputs +22 dBu Tape Output 30 dB
USB Output 30 dB
Main Out XLR +28 dBu
XLR Main Output 46 dB
All other outputs +22 dBu Monitor Send 46 dB1
51 dB2
FX Send 60 dB1
55 dB2
Impedances
Tape Input to
Mic in 3.8 k11 XLR Main Output 36 dB
3.3 k12
USB Input to
Channel Insert Return 10 k1 XLR Main Output 36 dB
All other inputs *20 k1 Stereo Return to
Tape out 1 k1 Mon Output 30 dB2
Phones out 25 1 XLR Main Output 26 dB
1
ProFX8v2, ProFX12v2.
2
ProFX16v2, ProFX22v2, ProFX30v2.
26 ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2
Owner’s Manual
Specifications continued...
Digital Effects ProFX16v2
I/O Mono Input, Height 3.8 in / 97 mm
Stereo Output Width 18.7 in / 475 mm
Depth 16.0 in / 407 mm
Number of Presets 16
Weight 13.0 lb / 5.9 kg
ProFX22v2
Meters Height 3.8 in / 97 mm
Main L/R Mix Width 25.1 in / 639 mm
Two columns of 12 segments each: Depth 16.0 in / 407 mm
OL (+20 dBu), +15, +10, +6, +3, 0 (0 dBu), Weight 18.0 lb / 8.2 kg
–2, –4, –7, –10, –20, –30
ProFX30v2
Height 3.8 in / 97 mm
Width 33.6 in / 853 mm
Graphic EQ Depth 16.6 in / 422 mm
Frequency Centers 125, 250, 500, 1k, 2k, 4k, 8k Weight 25.0 lb / 11.4 kg
Gain ±15 dB
Assignable to Main or Monitor, bypassable
Options
ProFX8v2
Bag P/N 0020636
USB Cover P/N 0020638
Format USB 1.1
I/O Stereo Input,
ProFX12v2
Stereo Output
Bag P/N 0020637
A/D/A 16 bit, 44.1 kHz / 48 kHz Cover P/N 0020639
Rack Ear Kit P/N 2045757-00
ProFX16v2
Phantom Power
Bag P/N 2036809-10
48 VDC to all Mic channels simultaneously Cover P/N 2036809-12
Rack Ear Kit P/N 2036168-00
ProFX22v2
AC Power Requirements Bag P/N 2036809-11
Power Consumption 20 watts (ProFX8v2) Cover P/N 2036809-13
30 watts (ProFX12v2)
40 watts (ProFX16v2)
45 watts (ProFX22v2) ProFX30v2
50 watts (ProFX30v2) Cover P/N 2036809-30
Universal AC Power Supply 100 – 240 VAC, 50 – 60 Hz
Power Connector 3 Pin IEC
Owner’s Manual 27
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 ProFX8v2 and ProFX12v2 Dimensions
3.6
[91]
Weight
7.1 lb
3.2 kg
LINE
HI-Z
14.1
[358]
11.4
[290]
3.6
[91]
Weight
9.0 lb
4.1 kg
48V
14.1
[358]
14.6
[370]
Owner’s Manual
POWER
USB
3.8
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
[97]
SERIAL NUMBER REVISION
Weight
13.0 lb
5.9 kg
16.0
[407]
18.7
[475]
Owner’s Manual 29
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 ProFX22v2 Dimensions
3.8 16.0
WEIGHT
[97] [407]
18.0 lb
8.2 kg
25.1
[639]
Owner’s Manual
3.8 16.6
[97] [422] WEIGHT
25.0 lb
11.4 kg
33.6
[853]
Owner’s Manual 31
32
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2
Global 48v
48V Switch/LED
Phantom Power Insert
FX (post)
(To All Mics)
Mon (pre)
L
R Main
OL (Flicker)
L sum Break
Phantom Power Level Set switch Main Fader
Low Cut In Left
Gain Mute
Pan
LO MID HI
+
Mic - 80 2.5K 12K
R sum to/from
Mono 7-Band
HPF GEQ
Main
Channels 100 Hz Fader
2-2 ProFX8 Line Mic: 0 ~ +50dB out
Line: -20 ~ +30dB 3-Band EQ
2-4 ProFX12 Right
FX
Phantom
Power
Mon
Main
Meters
+ Tape Input
Mic - Left
Mono Line / Mic: 0 ~ +50dB L
Hi-Z Line: -20 ~ +30dB
Channel Gain Tape
Line /
1 ProFX8 Hi-Z R Out
1 ProFX12
Level Right
Phones
OL (Flicker)
3-Band EQ Fader Phones
Level
LO MID HI Mute USB Thru
Pan USB Input
Hybrid L L
80 2.5K 12K USB
Channels
Out
3-6 ProFX8
LO MID HI R
5-8 ProFX12 R
Level Set 80 2.5K 12K
Level
FX
+
Mic - Mon
Low Cut In Main L Main L
HPF Mon Mon
100 Hz
Phantom Mic Gain: Main R Main R
Power 0 ~ +50dB
Mains EQ In
Gain Mon
7-band Stereo Bypass
Stereo GEQ
L EQ assign Bypass
Channels switch switch
7-8 ProFX8 Line Gain: Note: When not assigned to EQ, signal is sent to straight through to destination.
9-12 ProFX12 -20 ~ +20 dB
R Mon Fader
to/from Monitor
OL (Flicker) 7-Band EQ OL
send
Fader
Mute
FX send
L FX level
Stereo Return
FX to Main L/R Fader In Preset select
R Out L
FX
Out R
active
FX Mute FX
Preset
FX to Mon Display
FX Bypass
Logic
L
footswitch
Main R
Mon (pre)
Global 48v
Switch/LED
48V
Phantom Power
(To All Mics)
To USB/Tape Out R
Insert
L
1
2
Sub 3
4
Main R
Solo
FX (post)
Mon 1 (pre)
Mon 2 (pre)
Phantom Power
bypass OL /
HPF In Mute Break
Assign L
LO MID HI L sum switch 2-Track Return L
EQ in Pan
Mono +
Mic - 80 100~8K 12K
L/R
Channels To/From
HPF Graphic EQ Main Out
1 - 4 [ProFX16] / Gain 1/2
100Hz R sum 2-Track Return R
Mic: 0 ~ +50dB Mute Level
1-10 [ProFX22] Line Line: -20 ~ +30dB bypass 3-Band EQ 3/4
HPF In w/ Swept Mid R
FX Main level
Mono Channels 5-8 [ProFX16] / Comp
11-14 [ProFX22] preamp out EQ in Mon 1
identical except compressor HPF Mon 2 Main L Main L
100Hz PFL Mon 1 Mon 1
instead of insert jack
Main R Main R
Main
OL / Sub 1-2
3-Band EQ Mute Main L
Mains EQ In Sum
LO MIDMID HI Level Assign From Sub1
+ Mon 1
7-band Stereo EQ out
USB Out
Stereo L Pan Graphic EQ
- EQ assign Bypass Main R Sum
80 2.5K 12K L/R
Channels switch switch
From Sub2
Note: When not assigned to EQ, signal is sent to straight through to destination.
9/10 & 11/12 1/2
LO MID HI
[ProFX16] and + L
R - RUDE
15/16 & 17/18 80 2.5K 12K
3/4
SOLO Tape Out
Mute LED
[ProFX22] + FX R
Mic -
bypass
Meter
HPF Mon 1 Select
100Hz HPF In CR/Phones
Phantom Mic Gain: Mon 2 PFL Level
Power 0 ~ +50dB Solo
PFL L
Control
Stereo Gain
Channel 15/16 L + PFL Solo
Room
(13/14 identical - Solo Logic Out
except for USB) To
Stereo Channel
R
[ProFX16] and R + 15/16 EQ In
21/22 (19/20 -
Line Line
identical except USB
-20 ~ +20dB
for USB) To USB/Tape Out L (Sub 1) Phones
Sub Assign To To USB/Tape Out R (Sub 2)
[ProFX22] USB In L Main Mix
USB In R L
R
+
L - Sub 1 Out
Aux Return To Main Mix (Sub 2-4 identical)
ProFX16v2 and ProFX22v2 Block Diagram
+ Sub 1 sum
R - Sub 1 level
FX Master Level
FX send
Int FX Out L
To Main Mix In Preset select
2-Track
Return Int FX Out R Out L
Tape Input To FX Return L
L To Mon 1 FX 1
To
Post-Break Out R
R Switch To Mon 2 To FX Return R
Active
FX
Level FX Mute Preset
Display
USB If either the front panel FX 1 Bypass
1
2
4
R Main
FX (post)
Mon 2 (pre)
Mon 1 (pre)
Internal FX
NOTE: Switches are shown in the default (out) position.
Owner’s Manual
33
Owner’s Manual
34
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2
Global 48v
Switch/LED
48V
Phantom Power
(To All Mics)
To USB/Tape Out R
Insert
L
1
2
Sub 3
4
Main R
Solo
FX (post)
Mon 1 (pre)
Mon 2 (pre)
Phantom Power
Mon 3 (pre)
bypass OL /
HPF In Mute Break
Assign L
LO MID HI L sum switch 2-Track Return L
EQ in Pan
Mono +
Mic - 80 100~8K 12K
L/R
Channels To/From
HPF Graphic EQ Main Out
1 - 18 Gain 1/2
100Hz R sum 2-Track Return R
Line Mic: 0 ~ +50dB Mute Level
Line: -20 ~ +30dB bypass 3-Band EQ 3/4
HPF In w/ Swept Mid R
FX Main level
Mono Channels Comp
19-22 preamp out EQ in Mon 1
identical except compressor HPF Mon 2 Main L Main L
100Hz Mon 3 Mon 1 Mon 1
instead of insert jack
Main R Main R
Main
OL / PFL Sub 1-2
3-Band EQ Mute Main L
Mains EQ In Sum
LO MIDMID HI Level Assign From Sub1
+ Mon 1
7-band Stereo EQ out
USB Out
Stereo L Pan Graphic EQ
- EQ assign Bypass Main R Sum
80 2.5K 12K L/R
Channels switch switch
From Sub2
Note: When not assigned to EQ, signal is sent to straight through to destination.
23/24 & 25/26 1/2
LO MID HI
+ L
R - RUDE
80 2.5K 12K
3/4
SOLO Tape Out
Mute LED
+ FX R
Mic -
ProFX30v2 Block Diagram
bypass
Meter
HPF Mon 1 Select
100Hz HPF In CR/Phones
Phantom Mic Gain: Mon 2 PFL Level
Power 0 ~ +50dB Mon 3 Solo
L
Control
Stereo Gain
+
PFL Room
Channel 29/30 L PFL Solo
(27/28 identical - Solo Logic Out
except for USB) To
Stereo Channel
R
R + 29/30 EQ In
-
Line Line
USB
-20 ~ +20dB
To USB/Tape Out L (Sub 1) Phones
Sub Assign To To USB/Tape Out R (Sub 2)
USB In L Main Mix
USB In R L
R
To Mon 3 Active
FX
Level FX Mute Preset
Display
USB If either the front panel FX 1 Bypass
1
2
4
R Main
FX (post)
Mon 2 (pre)
Mon 1 (pre)
Mon 3 (pre)
Internal FX
Track Sheet – Mono Channels
Owner’s Manual
Owner’s Manual 35
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Track Sheet – Comp & Stereo Channels
Owner’s Manual
Owner’s Manual 37
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Appendix C: Table of Effects Presets
No. Title Description Example of its use
01 Bright Room This room has a bright tone with lots of scattered Useful on vocals that require a brighter reverb to
reflections to simulate harder, more reflective surfaces. cut through the mix, or for giving acoustic
instruments a livelier vibe.
02 Warm Lounge This preset features a medium sized room sound, with Useful for vocals on songs that require a larger,
just enough enhancement of the lower mids to produce a more “wet” sound, or for giving dimension to
warm tone. bright horns without adding harshness.
03 Small Stage This preset simulates the sound of a small concert stage, Useful for vocals or guitars in fast paced,
with a medium reverb time and reverberant space. high-energy songs that call for a “live”
sounding reverberation.
04 Warm Theater This reverb has a warm bodied tone and medium long Perfect for vocals, drums, acoustic and electric
reverb time to simulate the live acoustics of a theater guitars, keyboards and more.
space.
05 Warm Hall This reverb simulates the sound of a spacious, yet cozy, Perfect for adding natural concert hall ambience
heavily draped and carpeted concert hall with an to close-mic’ed orchestral instruments.
especially warm tone.
06 Concert Hall This hall reverb is characterized by its large, spacious Adds life to acoustic instruments and vocals from
sound, long pre-delay, and vibrant tone. solos to full-on symphonies and choirs.
07 Plate Reverb This preset emulates vintage mechanical reverberation Perfect for thickening percussive instruments, such
that was generated with a metal plate. Its sound is as a snare drum, or tight vocal arrangements.
characterized by lots of early reflections and no
pre-delay.
08 Cathedral This reverb emulates the extremely long tails, dense Gives amazing depth to choirs, wind instruments,
diffusion and long pre-delays and reflections that would organs and soft acoustic guitars.
be found in a very large, stone walled house of worship.
09 Chorus This preset provides a soft, ethereal sweeping effect Perfect for enhancement of electric and acoustic
that is useful for thickening and for making a guitar and bass, or to add a dramatic effect to
particular sound pop out of the mix. vocals, particularly group harmonies and choirs.
10 Chorus + Reverb This preset perfectly combines the chorus effect above This effect thickens the sound with chorus while
with a large, roomy reverb. adding warmth and spaciousness thanks to the
smooth reverb.
11 Doubler This effect simulates the sound of a vocal or instrument Provides a vibe that is similar to chorus without
being recorded twice (double-tracked) on a multi-track the subtle swirl.
recorder.
12 Echo A single-repeat echo, not as fast as the Doubler. Also known as Slap Back Echo, use it to make a
This effect provides a single, relatively rapid delay vocal or guitar stand out in the mix without extra
of the original signal, with the added warmth that volume.
vintage tape-based echo units provided.
13 DLY 1 (Fast) These three presets provide delay with delay times These work best with full, up-beat music like rock
14 DLY 2 (Med) of fast, medium and slow. where the delay needs to cut through the mix.
15 DLY 3 (Slow)
16 Pan Delay This fast delay bounces signal back 'n' forth from Left to This works best in a stereo mix.
Right and back again. Overall decay time is shorter than
DLY 1-3.
Owner’s Manual
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.720trees.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.720trees.com/support or by calling LOUD technical support at 1.800.898.3211
(toll-free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or
LOUD holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will
need it to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.720trees.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.720trees.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Owner’s Manual 39
16220 Wood-Red Road NE
Woodinville, WA 98072 • USA
Phone: 425.487.4333
Toll-free: 800.898.3211
Fax: 425.487.4337
www.720trees.com
ProFX8v2 Professional Effects Mixers with USB
ProFX30v2 48V
EN ES FR DE
ProFX8v2 • ProFX12v2 • ProFX16v2 • ProFX22v2 • ProFX30v2 Important Safety Instructions – EN
1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with the limits for
2. Keep these instructions. a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are
3. Heed all warnings. designed to provide reasonable protection against harmful interference in a
4. Follow all instructions. residential installation. This equipment generates, uses, and can radiate radio
5. Do not use this apparatus near water. frequency energy and, if not installed and used in accordance with the instructions,
6. Clean only with a dry cloth. may cause harmful interference to radio communications. However, there is no
7. Do not block any ventilation openings. Install in accordance guarantee that interference will not occur in a particular installation.
with the manufacturer’s instructions. 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
8. Do not install near any heat sources such as radiators, heat registers, stoves,
encouraged to try to correct the interference by one or more of the following
or other apparatus (including amplifiers) that produce heat.
measures:
9. Do not defeat the safety purpose of the polarized or grounding-type plug.
• Reorient or relocate the receiving antenna.
A polarized plug has two blades with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide blade or the third prong are • Increase the separation between the equipment and the receiver.
provided for your safety. If the provided plug does not fit into your outlet, consult an • Connect the equipment into an outlet on a circuit different from that to
electrician for replacement of the obsolete outlet. which the receiver is connected.
10. Protect the power cord from being walked on or pinched particularly at plugs, • Consult the dealer or an experienced radio/TV technician for help.
convenience receptacles, and the point where they exit from the apparatus. CAUTION: Changes or modifications to this device not expressly approved by LOUD
11. Only use attachments/accessories specified by the manufacturer. Technologies Inc. could void the user's authority to operate the equipment under
12. Use only with a cart, stand, tripod, bracket, or table specified FCC rules.
by the manufacturer, or sold with the apparatus. When a
PORTABLE CART
WARNING
21. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits
cart is used, use caution when moving the cart/apparatus for radio noise emissions from digital apparatus as set out in the radio interference
combination to avoid injury from tip-over. regulations of the Canadian Department of Communications.
13. Unplug this apparatus during lightning storms or when ATTENTION — Le présent appareil numérique n’émet pas de bruits
unused for long periods of time. radioélectriques dépassant las limites applicables aux appareils numériques de
14. Refer all servicing to qualified service personnel. Servicing is class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage
required when the apparatus has been damaged in any way, such as power-supply radioélectrique édicté par les ministere des communications du Canada.
cord or plug is damaged, liquid has been spilled or objects have fallen into the 22. Exposure to extremely high noise levels may cause permanent hearing loss.
apparatus, the apparatus has been exposed to rain or moisture, does not operate Individuals vary considerably in susceptibility to noise-induced hearing loss, but
normally, or has been dropped. nearly everyone will lose some hearing if exposed to sufficiently intense noise
15. This apparatus shall not be exposed to dripping or splashing, and no object filled with for a period of time. The U.S. Government’s Occupational Safety and Health
liquids, such as vases or beer glasses, shall be placed on the apparatus. Administration (OSHA) has specified the permissible noise level exposures shown in
the following chart.
16. Do not overload wall outlets and extension cords as this can result in a risk of fire
or electric shock. According to OSHA, any exposure in excess of these permissible limits could result
in some hearing loss. To ensure against potentially dangerous exposure to high
17. This apparatus has been designed with Class-I construction and must be
sound pressure levels, it is recommended that all persons exposed to equipment
connected to a mains socket outlet with a protective earthing connection
capable of producing high sound pressure levels use hearing protectors while the
(the third grounding prong).
equipment is in operation. Ear plugs or protectors in the ear canals or over the
18. This apparatus has been equipped with a rocker-style AC mains power switch. This
ears must be worn when operating the equipment in order to prevent permanent
switch is located on the rear panel and should remain readily accessible to the user.
hearing loss if exposure is in excess of the limits set forth here:
19. The MAINS plug or an appliance coupler is used as the disconnect device,
so the disconnect device shall remain readily operable. Duration, Sound Level dBA,
per day in Slow Response Typical Example
hours
CAUTION 8 90 Duo in small club
RISK OF ELECTRIC SHOCK! DO NOT OPEN!
6 92
4 95 Subway Train
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT 3 97
REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED PERSONNEL. 2 100 Very loud classical music
1.5 102
The lightning flash with arrowhead symbol within
an equilateral triangle is intended to alert the user 1 105 Greg screaming at Troy about deadlines
to the prescence of uninsulated “dangerous voltage” 0.5 110
within the product’s enclosure, that may be of significant 0.25 or less 115 Loudest parts at a rock concert
magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user of the prescence of important
operating and maintaining (servicing) instructions in the
literature accompanying the appliance. Laite on liitettävä suojakoskettimilla varustettuun pistorasiaan.
Correct disposal of this product: This symbol indicates that this product should not be disposed of with your household
waste, according to the WEEE directive (2012/19/EU) and your national law. This product should be handed over to
an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type
of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances
that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will
contribute to the effective usage of natural resources. For more information about where you can drop off your waste
equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
o superficie especificado por el fabricante o que se venda con $'9(57(1&,$ del usuario para operar este equipo bajo las reglas de la FCC.
el propio aparato. Cuando utilice un bastidor con ruedas, tenga 21. CUIDADO — Este aparato no sobrepasa los límites de clase A/clase B
cuidado al mover la combinación bastidor/aparato (la que corresponda) relativas a emisiones sonoras de radio de aparatos
para evitar posibles daños en caso de que vuelquen. digitales de acuerdo a las normas de interferencia de radio del Departamento de
13. Desconecte de la corriente este aparato durante las Comunicaciones Canadiense.
tormentas eléctricas o cuando no lo vaya a usar durante 22. La exposición a niveles de ruido extremadamente altos puede causar problemas de
un periodo de tiempo largo. sordera crónica. La susceptibilidad a esta pérdida de audición inducida por el ruido
14. Consulte cualquier posible avería al servicio técnico oficial. Este aparato deberá ser varía considerablemente de una persona a otra, pero casi cualquier persona tendrá
revisado cuando se haya dañado de alguna forma, como por ejemplo si el cable una cierta pérdida de audición al quedar expuestos a un ruido intenso durante
de corriente o el enchufe se ha roto, si se ha derramado cualquier líquido o se ha un determinado periodo de tiempo. El Departamento de Salud y Seguridad en el
introducido un objeto dentro de la unidad, si el aparato ha quedado expuesto a la Trabajo de Estados Unidos (OSHA, por sus siglas en inglés) ha establecido unos
lluvia o la humedad, si no funciona normalmente o si se ha caído al suelo. niveles de ruido permisibles que aparecen en la siguiente tabla.
15. No permita que este aparato quede expuesto a salpicaduras de ningún tipo. No De acuerdo a la OSHA, cualquier exposición que sobrepase estos límites permisibles
coloque objetos que contengan líquidos, como jarrones, encima de este aparato. puede dar lugar a un problema de sordera. Para garantizar su audición cuando
16. No sobrecargue las salidas de corriente o regletas dado que esto puede dar quede expuesto a niveles de presión sonora potencialmente peligrosos, es
lugar a un riesgo de incendio o descarga eléctrica. recomendable que toda persona expuesta a equipos capaces de producir altos
niveles de presión sonora utilice sistemas de protección auditiva mientras el equipo
17. Este aparato ha sido diseñado como una unidad de clase 1 y debe
esté en funcionamiento. Con el fin de prevenir un problema de sordera crónico si su
ser conectado a una salida de corriente con toma de tierra de seguridad
exposición sobrepasa los límites establecidos a continuación, lleve siempre tapones
(el tercer borne o lámina exterior).
o protectores de oído dentro de los canales auditivos u orejeras mientras el equipo
18. Este aparato está equipado con un interruptor de encendido de dos posiciones. Este
esté en funcionamiento:
interruptor se encuentra en el panel trasero y debe colocar el aparato de forma que
siempre pueda acceder a él. Duración, Nivel sonoro
diaria en en decibelios, Ejemplo típico
horas respuesta lenta
CUIDADO 8 90 Un dúo cantando
RIESGO DE CHOQUE ELÉCTRICO! NO ABRIR! 6 92
CUIDADO: PARA REDUCIR EL RIESGO DE CHOQUE ELÉCTRICO NO REMOVER LA
4 95 Subterráneo
COBERTURA (O PARTE TRASERA). NO HAY PARTES PARA QUE EL USUARIO REALICE 3 97
MANTENIMIENTO. PARA REALIZAR EL MANTENAMIENTO DIRÍJASE A PERSONAL CALIFICADO. 2 100 Música clásica muy fuerte
El símbolo de relámpago con punta de flecha dentro 1,5 102
de un triángulo equilátero tiene como fin alertar al usuario 1 105 Greg gritándoles a Troy para saber cuándo acabarán
de la presencia de “voltaje peligroso” no aislado dentro 0,5 110
del producto, lo cual puede ser de magnitud suficiente como
para constituir un riesgo de choque eléctrico a una persona. 0,25 o menos 115 Partes más fuertes de un concierto de rock
El signo de exclamación dentro de un triángulo equilátero
tiene como fin alertar al usuario de la presencia de CUIDADO — Para evitar el riesgo de incendios o descargas
instrucciones importantes de funcionamiento y mantenimiento
en la literatura que acompaña al electrodoméstico. electricas, no exponga este aparato a la lluvia o la humedad.
Forma correcta de eliminar este aparato: Este símbolo indica que este producto no puede ser eliminado junto con la
basura orgánica, de acuerdo a lo indicado en la Directiva de Residuos de Aparatos Eléctricos y Electrónicos (2012/19/EU)
y a la legislación vigente de su país. Este producto debe ser entregado en uno de los “puntos limpios” autorizados para
su reciclaje. La eliminación inadecuada de este tipo de residuos puede tener un impacto negativo en el medio ambiente
y la salud humana debido a las sustancias potencialmente peligrosas asociadas generalmente con este tipo de aparatos.
Al mismo tiempo, su cooperación a la hora de eliminar adecuadamente este producto contribuirá a un uso más eficaz de
los recursos naturales. Para más información acerca la correcta eliminación de este tipo de aparatos, póngase en contacto
con el Ayuntamiento de su ciudad, empresa local de recogida de basuras o con uno de los “puntos limpios” autorizados.
Mise au rebut appropriée de ce produit: Ce symbole indique qu’en accord avec la directive WEEE (2012/19/EU) et les lois
en vigueur dans votre pays, ce produit ne doit pas être jeté avec les déchets ménagers. Ce produit doit être déposé dans un point
de collecte agréé pour le recyclage des déchets d’équipements électriques et électroniques (EEE). Une mauvaise manipulation
de ce type de déchets pourrait avoir un impact négatif sur l’environnement et la santé à cause des substances potentiellement
dangereuses généralement associées à ces équipements. En même temps, votre coopération dans la mise au rebut de ce
produit contribuera à l’utilisation efficace des ressources naturelles. Pour plus d’informations sur l’endroit où vous pouvez déposer
vos déchets d’équipements pour le recyclage, veuillez contacter votre mairie ou votre centre local de collecte des déchets.
Korrekte Entsorgung dieses Produkts: Diese Symbol weist darauf hin, dass das Produkt entsprechend den WEEE
Richtlinien (2012/19/EU) und den Landesgesetzen nicht im Hausmüll entsorgt werden darf. Dieses Produkt sollte einer
autorisierten Sammelstelle zum Recyceln von unbrauchbaren elektrischen und elektronischen Geräten (EEE) übergeben
werden. Unsachgemäßer Umgang mit dieser Abfallart könnte aufgrund der in EEE enthaltenen gefährlichen Substanzen negative
Auswirkungen auf die Umwelt und menschliche Gesundheit haben. Gleichzeitig tragen Sie durch Ihre Teilnahme an der korrekten
Entsorgung dieses Produkts zu einer effektiven Nutzung natürlicher Ressourcen bei. Weitere Informationen zu Annahmestellen,
die unbrauchbare Geräte recyceln, erhalten Sie bei der örtlichen Stadtverwaltung, dem Entsorgungsträger oder der Müllabfuhr.
POWER
USB
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
SERIAL NUMBER REVISION
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND
ICES-003, FOR CANADA. 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.
3 24
4
5 31 34
36 16
6 32 18
8 48V 2
9 26
10 27 28
40
30
31 33
32 29
11 32 35 20 25
MUTE 12 MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
37
13
38 31 17
POWER
USB
1 39
NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT
MAY CAUSE UNDESIRED OPERATION.
34 24
3 31
32 16
18
5
36 19 21
6 7
8 41 2
9
26 30
10 10 27 28
14
31 31 37 3532 33
32 32
11 42
12 43 44 29 20
22
13 15 23 17
14
31 32 31 32
7. Compressor Reduces the dynamic range of input signals. 32. Aux FX, FX Send & Master Feeds the internal FX or an
external processor via the FX send jack. Each channel has
8. Gain Adjusts the input sensitivity. its own level control and the FX master adjusts the overall level
sent out to the internal FX and FX outputs.
9. Low Cut Switch Cuts bass frequencies below 100 Hz at a slope
of 18 dB per octave. 33. Preset Selector and Display, Int FX Mute Switch and LED
Turn the preset selector to choose an effect. The display shows
10. Equalization Boost or cut the level at certain frequencies the number of the currently selected effects preset. Engage the
to enhance the sound. int FX mute to mute the internal effects processor and illuminate
the adjacent mute LED.
11. Pan Adjusts how much of the signal is sent to the left
and right outputs. 34. FX Footswitch Connect a footswitch to mute or un-mute
the internal effects. [ProFX16v2 & ProFX22v2]
12. Mute and OL LED Mutes the channel signal. The OL LED
illuminates when a signal is too high or if the mute switch 35. Internal FX Routing Route the effects output to the monitors
is engaged. and mains independently.
13. Channel Fader Adjusts the level to the main mix. 36. St/Aux Return Inputs Connect the stereo processed outputs
of an effects processor to these 1/4" TRS jacks.
14. PFL Solo Switch Allows you to listen to individual channels
singly or in combination with other soloed signals. The rude 37. St/Aux Return Master, OL LED, Mute Sets the overall
solo LED flashes when solo switches are engaged. level of line signals received from the st/aux return L/R jacks.
The accompanying LED illuminates if the signal coming into
15. Assign Switches Determines the destination bus(es) the stereo return inputs is too high. Engage the mute switch
of the signal. to mute the signals coming into the stereo return inputs.
16. Main Out L/R Connect to the inputs of amplifiers, powered 38. FX Return Fader Adjusts the level of the stereo output from
speakers, or a serial effects processor. the internal FX processor being added to the main mix.
17. Main Mix Adjusts the level of the signal sent to the main 39. USB I/O A 2x2 interface allowing you to stream stereo audio
and tape outputs. to and from the mixer via computer.
18. Phones Connect stereo headphones here. 40. USB Input Level and USB Thru Switch Adjusts the level
of the stereo audio coming from the computer. USB Thru allows
19. CR Out L/R Feed the inputs of a control room amplifier, you to send all mix inputs and USB playback back into the DAW.
studio monitors or a headphone distribution amplifier.
41. USB Switch Routes stereo playback via the USB connection
20. CR/Phones Controls the control room and headphones levels. into the channel (instead of the line inputs).
21. Sub Out 1-4 Feed the inputs of a multitrack deck or secondary 42. USB Out Switch Disengaging the switch allows the main
power amplifiers in a complex installation. L/R mix to be recorded for convenient stereo mixes of the show.
Engaging the switch routes subgroups 1-2 over the USB connection
22. Sub Assign Switches Assign each subgroup to the main left
to your favorite DAW software for an alternate 2-track recording.
and/or right buses.
23. Sub 1-4 Faders Control the levels of the signals sent to 43. 2-Track Return Tape / USB Switch Determines if the 2-track
return gets its signal from the RCA inputs (disengaged) or USB
the sub outs.
(engaged).
24. Tape Inputs / Outputs RCA inputs allow you to connect a line-
level source. RCA outputs allow you to record the main stereo mix.
44. 2-Track Return Level Controls the overall level to the RCA inputs
or USB.
25. Tape Level Controls the input level of a source connected
to the tape inputs.
12. Mute e interruptor OL Anula la señal del canal. El piloto 34. FX Footswitch Conecte aquí un pedal para anular o activar
OL se ilumina cuando una señal es demasiado potente o si el la unidad de efectos interna. [ProFX16v2 & ProFX22v2]
interruptor de anulación está activado. 35. Internal FX Routing Este control le permite rutar la salida
13. Fader de canal Ajusta el nivel de canal enviado a la mezcla de efectos a los monitores y las salidas principales de forma
principal. independiente.
14. Interruptor PFL Solo Le permite escuchar los canales 36. Entradas St/Aux Return Conecte las salidas stereo procedentes
individuales de forma independiente o combinados con otras de un procesador de efectos stereo a estas tomas
señales activadas como solistas. El piloto Rude Solo parpadea TRS de 6,3 mm.
cuando están activos estos interruptores. 37. St/Aux Return Master, piloto OL, Mute Este fader ajusta
15. Interruptores Assign Determinan el bus(es) de destino de la señal. el nivel global de las señales de línea recibidas de las tomas st/aux
return L/R. El piloto que está al lado se ilumina si la señal recibida
16. Main Out L/R Conecte estas salidas a la entrada en las tomas de retorno stereo es demasiado potente. Active
de amplificadores, altavoces autoamplificados o un procesador el interruptor mute si quiere anular las señales recibidas
de efectos en serie. en estos retornos.
17. Main Mix Este fader ajusta el nivel de la señal que es enviada 38. Fader FX Return Este fader ajusta el nivel de la salida stereo
a las salidas principales y de cinta. procedente del procesador de efectos interno y que es añadida
18. Phones Conecte aquí unos auriculares stereo. a la mezcla principal.
19. CR Out L/R Pasan la señal a un amplificador de sala de control, 39. E/S USB Un interface 2x2 que le permite enviar audio stereo
monitores de estudio o amplificador de distribución de altavoces. a y desde el mezclador a través de un ordenador.
20. CR/Phones Controla el nivel de los auriculares y la salida 40. USB Input Level e interruptor USB Thru Este control ajusta
de la sala de control. el nivel de la señal audio stereo procedente del ordenador. USB Thru
le permite enviar todas las entradas de mezcla y la reproducción
21. Sub Out 1-4 Pasan señal a una pletina multipistas o etapa USB de vuelta al DAW del ordenador.
de potencia secundaria en instalaciones complejas.
41. Interruptor USB Le permite rutar la reproducción stereo
22. Interruptores Sub Assign Asignan cada subgrupo a los buses a través de la conexión USB al canal (en lugar de las entradas
principales izquierdo y/o derecho. de línea).
23. Faders Sub 1-4 Controlan el nivel de las señales enviadas 42. Interruptor USB Out El desactivar este interruptor le permite
a las salidas sub. grabar la mezcla L/R principal para disponer de distintas mezclas
stereo del show. El activarlo ruta los subgrupos 1-2 a la conexión
24. Entradas / salidas Tape Entradas RCA que le permite conectar USB hacia su software DAW preferido para que disponga de una
una fuente de nivel de línea. Salidas RCA que le permiten grabar grabación de 2 pistas alternativa.
la mezcla stereo principal.
43. Interruptor 2-Track Return Tape / USB Determina si el retorno
25. Tape Level Control el nivel de entrada de una fuente conectada de 2 pistas recibe su señal de las entradas RCA (desactivado) o de la
a las entradas de cinta. toma USB (activo).
26. EQ gráfico stereo Ajusta el perfil de la señal enviada a la salida 44. 2-Track Return Level Este fader controla el nivel global de las
de mezcla principal / monitores. entradas RCA o del USB.
18. Phones Vous permet de connecter votre casque. 39. E/S USB Interface 2x2 permettant de recevoir et d'envoyer
des signaux audio stéréo entre la console et un ordinateur.
19. CR Out L/R Permet la connexion à un ampli pour écoute, à
des moniteurs de studio ou à un ampli de distribution pour casques. 40. USB Input Level et bouton USB Thru Réglage de niveau
du signal audio stéréo en provenance de l'ordinateur. Le bouton
20. CR/Phones Réglage de niveau des sorties CR Out et Phones. USB Thru permet d'envoyer les signaux des entrées et le signal
porté par USB vers l'ordinateur.
21. Sub Out 1-4 Permet la connexion à un enregistreur multipistes
ou à des amplis de puissance secondaires dans une installation 41. Bouton USB Envoie le signal porté par la connexion USB vers
complexe. la voie (à la place du signal des entrées ligne).
22. Boutons Sub Assign Permet d'assigner chaque sous-groupe 42. Bouton USB Out Si le bouton est relâché, le mixage stéréo
aux bus principaux gauche et/ou droite. principal est envoyé vers votre logiciel audio par USB. Si le bouton
est enfoncé, c'est le signal des sous-groupes 1-2 qui est envoyé à
23. Faders Sub 1-4 Réglages de niveau des signaux envoyés l'ordinateur pour enregistrement sur deux pistes.
aux sorties Sub.
43. Bouton 2-Track Return Tape / USB Permet de déterminer
24. Entrées/Sorties Tape Entrées RCA permettant de connecter des si le retour 2-Track reçoit le signal des entrées RCA (relâché)
sources niveau ligne. Sorties RCA permettant d'enregistrer ou de l'USB (enfoncé).
le mix stéréo principal.
44. Niveau 2-Track Return Permet de régler le niveau général
25. Tape Level Réglage de niveau des entrées Tape. des entrées RCA ou du signal USB.
4. Line/Hi-Z-Taste Aktivieren Sie diese Taste, wenn Sie 30. Main Meters Hier können Sie die auf Solo geschalteten
über Kanal 1 eine Gitarre ohne DI-Box spielen möchten. Ein- oder Ausgangssignale prüfen, um Übersteuerungen zu
verhindern.
5. Line-Eingänge Hier schließen Sie über 6,35 mm Stecker
symmetrische oder unsymmetrische Line-Pegel-Signale an. 31. Aux Mon, Mon Send & Master Über die Mon Send-Buchsen
schließen Sie Bühnenmonitore an. Jeder Kanal besitzt einen eigenen
6. Insert Hier schließen Sie über 6,35 mm Y-Kabel serielle Monitor-Regler. Der Monitor Master-Regler steuert den Gesamtpegel.
Effektprozessoren, z. B. Kompressoren oder Gates, an.
32. Aux FX, FX Send & Master Speist den internen Effektprozessor
7. Compressor Verringert den Dynamikbereich des Eingangssignals. oder einen externen Prozessor via FX Send-Buchse. Jeder Kanal
besitzt einen eigenen Pegelregler und der FX Master-Regler
8. Gain Regelt die Eingangsempfindlichkeit. steuert den Gesamtausgangspegel zum internen Effekt oder
den FX-Ausgängen.
9. Low Cut-Taste Bedämpft Bassfrequenzen unter 100 Hz mit
einer Flankensteilheit von 18 dB pro Oktave. 33. Preset-Wahlregler und Display, Int FX Mute-Taste und LED
Durch Drehen des Preset-Wahlreglers wählen Sie einen Effekt.
10. Equalizer Verstärkt oder bedämpft bestimmte Frequenzen, Dessen Nummer wird auf dem Display angezeigt. Bei aktivierter
um den Klang zu verbessern. Int FX Mute-Taste ist der interne Effektprozessor stummgeschaltet
11. Pan Steuert den Signalanteil, der zu den linken und rechten und die benachbarte Mute LED leuchtet.
Ausgängen geleitet wird. 34. FX Footswitch Hier schließen Sie einen Fußschalter an,
12. Mute und OL LED Schaltet das Kanalsignal stumm. Die OL LED um die internen Effekte stummzuschalten oder zu aktivieren.
leuchtet, wenn das Signal zu hoch oder die Mute-Taste aktiviert ist. [ProFX16v2 & ProFX22v2]
13. Kanal-Fader Steuert den Signalanteil des jeweiligen Kanals. 35. Routing der internen Effekte Hier können Sie den Effektanteil
separat für den Monitorweg oder dem Hauptmix regeln.
14. PFL Solo-Taste Zum Abhören einzelner oder mehrerer
via Solo-Taste gewählter Kanäle. Die Solo LED blinkt, wenn 36. St/Aux Return-Eingänge An diese 6,35 mm Klinken-Buchsen
Solo-Tasten aktiviert sind. schließen Sie das bearbeitete Stereo-Ausgangssignal eines
Effektprozessors an.
15. Assign-Tasten Bestimmen das Ziel des Signals.
37. St/Aux Return Master, OL LED, Mute Regelt den Gesamtpegel
16. Main Out L/R Hier schließen Sie die Eingänge von der über die St/Aux Return L/R-Buchsen empfangenen Line-Signale.
Verstärkern, Aktivboxen oder seriellen Effektprozessoren an. Wenn das über die Stereo Return-Eingänge eingehende Signal zu
hoch ist, leuchtet die zugehörige LED. Mit der Mute-Taste schalten
17. Main Mix Steuert den Pegel des Signals, das zu den Sie die eingehenden Stereo Return-Signale stumm.
Main- und Tape-Ausgängen geleitet wird.
38. FX Return Fader Regelt den Pegel des vom internen
18. Phones Hier schließen Sie Ihre Stereo-Kopfhörer an. Effektprozessors kommenden Stereo-Ausgangssignals,
das dem Main Mix beigemischt wird.
19. CR Out L/R Hier schließen Sie für den Regieraum
die Eingänge von Verstärkern, aktiven Studiomonitoren 39. USB I/O Über dieses 2x2 Interface können Sie
oder Kopfhörerverstärken an. Stereo-Audiosignale zwischen Mischpult und Computer übertragen.
20. CR/Phones Regelt die Signalpegel zum Regieraum 40. USB Input Level und USB Thru-Taste Regelt den Pegel des
und zu den Kopfhörern. vom Computer kommenden Stereo-Audiosignals. Über USB Thru
können Sie alle Mix-Eingänge und die USB-Wiedergabe zurück
21. Sub Out 1-4 Hier schließen Sie in einer komplexen zur DAW leiten.
Konfiguration die Eingänge eines Mehrspur-Tapedecks oder
einer zweiten Endstufe an. 41. USB-Taste Leitet die Stereo-Wiedergabe über den
USB-Anschluss in den Kanal (anstatt zu den Line-Eingängen).
22. Sub Assign-Tasten Hier weisen Sie die Subgruppen den
linken und/oder rechten Hauptbussen zu. 42. USB Out-Taste Bei deaktivierter Taste können Sie die
L/R-Hauptmischung der Show komfortabel in Stereo aufnehmen.
23. Sub 1-4 Fader Hier regeln Sie die Pegel der zu den Sub Bei aktivierter Taste können Sie die Subgruppen 1-2 über den
Outs geleiteten Signale. USB-Anschluss zu Ihrer DAW Software leiten und eine alternative
2-Spur Aufnahme erstellen.
24. Tape IN / OUT An die Cinch-Eingänge schließen Sie eine
Line-Pegel-Quelle an. Über die Cinch-Ausgänge können Sie die 43. 2-Track Return Tape / USB-Taste Bestimmt, ob das 2-Spur Re-
Stereo-Mischung aufzeichnen. turn-Signal von den Cinch-Eingängen (deaktiviert) oder dem
USB (aktiviert) kommt.
25. Tape Level Regelt den Eingangspegel der an die Tape-Eingänge
angeschlossenen Quelle. 44. 2-Track Return Level Regelt den Gesamtpegel der an dem
Cinch-Eingängen oder dem USB-Anschluss anliegt.
26. Stereo Graphic EQ Passt den Klang des Ausgangssignals
der Main Outs oder der Monitorwege an.
Especificaciones técnicas – ES
ProFX8v2 ProFX12v2 ProFX16v2 ProFX22v2 ProFX30v2
Entrada de micro a salida de envío de inserción, ganancia máxima
Características de ruido
–125 dBu –128 dBu
(20 Hz – 20 kHz,
150 1 impedancia de Ruido de salida residual: Todas las salidas, niveles máster y de canal en off: – 95 dBu
fuente. Ruido de entrada Todas las salidas, niveles máster a unitario, nivel de 1 canal a unitario
equivalente)
–80 dBu – 85 dBu
Entrada de micro a cualquier salida (Ganancia unitaria)
Respuesta de frecuencia
+0, –1 dB, 20 Hz – 30 kHz +0, –1 dB, 20 Hz – 40 kHz
Distorsión (THD+N), Entrada de micro a salida principal (22 Hz – 80 kHz)
Entrada de micro a salida
principal (22 Hz–80 kHz) <0.03% @ +4 dBu salida <0.01% @ +4 dBu salida
Entradas adyacentes @ 1 kHz: –90 dB
Entradas a salidas @ 1 kHz: –80 dB
Atenuación y Crosstalk
Fader off @ 1 kHz: –75 dB
o cruce de señal
(20 Hz – 20 kHz) Interruptor Mute / Break @ 1 kHz
–90 dB –100 dB
Todas las entradas: +22 dBu
Niveles máximos Mezcla principal XLR: +28 dBu
Resto de salidas: +22 dBu
Formato: USB 1.1, Entrada / Salida stereo
USB A/D/A: 16 bit, 44.1 kHz / 48 kHz
Alimentación Universal AC Power Supply, 100 VAC – 240 VAC, 50 – 60 Hz
3.58 x 11.41 x 14.05 in 3.58 x 14.6 x 14.05 in 3.8 x 18.7 x 16.0 in 3.8 x 25.1 x 16.0 in 3.8 x 33.6 x 16.6 in
Tamaño (A x L x P) 91 x 290 x 357 mm 91 x 370 x 357 mm 97 x 475 x 407 mm 97 x 639 x 407 mm 97 x 853 x 422 mm
Peso 7.1 lb / 3.2 kg 9 lb / 4.1 kg 13 lb / 5.9 kg 18 lb / 8.2 kg 25 lb / 11.4 kg
Technische Daten – DE
ProFX8v2 ProFX12v2 ProFX16v2 ProFX22v2 ProFX30v2
Mic In auf Insert Send Out, max. Gain
Gerauschkennwerte –125 dBu –128 dBu
(20 Hz – 20 kHz, Rauschspannungsabstand: Alle Ausgänge, Master-Pegel und Kanalpegel aus: 95 dBu
150 1 Quellimpedanz,
Ersatzgeräuschpegel) Alle Ausgänge, Master-Pegel auf Unity, 1 Kanalpegel auf Unity
–80 dBu – 85 dBu
Mic In auf beliebigen Ausgang (Gain auf Unity)
Frequenzgang
+0, –1 dB, 20 Hz – 30 kHz +0, –1 dB, 20 Hz – 40 kHz
Verzerrung Mic In auf Main Out (22 Hz – 80 kHz)
(Klirrfaktor+Rauschen),
Mic In auf Main Out <0,03 % @ +4 dBu Ausgang <0,01 % @ +4 dBu Ausgang
(22 Hz – 80 kHz)
Nachbareingänge @ 1 kHz: –90 dB
Eingänge auf Ausgänge @ 1 kHz: –80 dB
Bedämpfung und
Fader aus @ 1 kHz: –75 dB
Übersprechen
(20 Hz – 20 kHz) Mute-Taste / Break-Taste Mute @ 1 kHz
–90 dB –100 dB
Alle Eingänge: +22 dBu
Maximalpegel Main Mix XLR: +28 dBu
Alle anderen Ausgänge: +22 dBu
Format: USB 1.1, Stereo-Eingang / Stereo-Ausgang
USB A/D/A: 16 bit, 44.1 kHz / 48 kHz
Spannungsbedarf Universal-Netzteil, 100 VAC – 240 VAC, 50 – 60 Hz
3.58 x 11.41 x 14.05 in 3.58 x 14.6 x 14.05 in 3.8 x 18.7 x 16.0 in 3.8 x 25.1 x 16.0 in 3.8 x 33.6 x 16.6 in
Abmessungen (H x B x T) 91 x 290 x 357 mm 91 x 370 x 357 mm 97 x 475 x 407 mm 97 x 639 x 407 mm 97 x 853 x 422 mm
Gewicht 7.1 lb / 3.2 kg 9 lb / 4.1 kg 13 lb / 5.9 kg 18 lb / 8.2 kg 25 lb / 11.4 kg
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