Proel MI16 - Manuale (Pagina 11)

11
GENERAL INFORMATION
Thank you for having chosen a PROEL product.
The new Mi Series has been created by PROEL in order to off er very compact mixers with a high input density at a
very aff ordable price. The series includes 5 models with 5, 6, 10, 12 and 16 channels, featuring in a very compact
package a high number of inputs and a full set of intelligent features, able to sa sfy most of the sound reinforcement
applica ons.
Mi16 features 8 MIC/LINE plus 4 STEREO LINE channels that, together with 2 monitor sends and the 256 studio-grade
eff ects provided by the 24bit PROFEX DSP, allows this compact console to be used for mixing a full live band with a clean
and accurate sound.
OPERATING INSTRUCTIONS (FIG. 1 / 2 / 3 / 4)
1. MIC Input
This is a female XLR connector, which accepts a balanced microphone input from almost any type of microphone. The
XLR inputs are wire as follows:
Pin 1 = shield or ground
Pin 2 = + posi ve or "hot"
Pin 3 = - nega ve or "cold"
2. LINE Input
This is a ¼” (6.3mm) jack connector, which accepts a balanced or unbalanced line level input signal from almost any
source. When connec ng a balanced signal, wire them as follows:
Tip = + posi ve or "hot"
Ring = - nega ve or "cold"
Sleeve = shield or ground
When connec ng an unbalanced signal, wire them as follows:
Tip = + posi ve or "hot"
Sleeve = shield or ground
3. INSERT Input-output
This is where you connect serial eff ects such as compressors, equalizers, de-essers or fi lters. The send is low-impedance
(150 ohms), capable of driving any line-level device. The return is high-impedance (10k ohms) and can be driven by
almost any device. Specialty “Y” cables, developed just for these jacks, are widely available on shops. Proel suggested
type is CHLP210. See also connec on chapter on this manual.
4. GAIN Control
The gain control adjusts the input sensi vity of the mic and line inputs. This allows the signal from mics and instruments
to be adjusted to op mal internal levels. If the signals are plugged into the XLR input there is a 10 dB of gain with the
knob turned all way down, ramping up to 50 dB of gain fully up. When connected to the jack input, there is 20 dB of
a enua on all way down and 20 dB of gain fully up, with a unity gain (0 dB) if centered.
5. EQ sec on HIGH control
This control gives you up to 15dB boost or cut at 12KHz with a "SHELVING" curve shape. Use it to increase or reduce
the sound "clarity" or "brightness".
6. EQ sec on MID control
This control gives you up to 15 dB boost or cut at 2.5 KHz with a "PEAKING" curve shape. Use it to add or reduce the
sound "presence".
7. EQ sec on LOW control
This control gives you up to 15dB boost or cut at 80Hz with a "SHELVING" curve shape. Use it to increase or reduce the
sound "punch".
8. LO CUT switch
This switch cuts low frequencies below 75 Hz at a rate of 18 dB per octave. The LO CUT fi lter can help reducing the
possibility of feedback in live situa ons and to reducing stage rumble, mic handling clunks, and breath pops.
9. AUX 1 level control (pre)
This control sends the signal to the AUX 1 output. This signal is pre-fader, meaning that it doesn't depend on the posi on
of the channel's FADER.
10. AUX 2 level control (pre)
This control sends the signal to the AUX 2 output. This signal is pre-fader, meaning that it doesn't depend on the posi on
of the channel's FADER.