ENGLISH
www.prolight.co.uk
Order Code: MIXE07
USER MANUAL
WARNING
FOR YOUR OWN SAFETY, PLEASE READ THIS USER MANUAL CAREFULLY
BEFORE YOUR INITIAL START-UP!
CAUTION!
Keep this equipment away from rain,
moisture and liquids.
SAFETY INSTRUCTIONS
Every person involved with the installation, operation & maintenance of this
equipment should:
- Be competent
- Follow the instructions of this manual
CAUTION! TAKE CARE USING THIS EQUIPMENT!
HIGH VOLTAGE-RISK OF ELECTRIC SHOCK!!
Before your initial start-up, please make sure that there is no damage caused during
transportation. Should there be any, consult your dealer and do not use the
equipment.
To maintain the equipment in good working condition and to ensure safe operation, it is necessary
for the user to follow the safety instructions and warning notes written in this manual.
Please note that damages caused by user modications to this equipment are not
subject to warranty.
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IMPORTANT:
The manufacturer will not accept liability for any resulting damages caused
by the non-observance of this manual or any unauthorised modication to the
equipment.
• Never let the power-cable come into contact with other cables. Handle the power-cable
and all mains voltage connections with particular caution!
• Never remove warning or informative labels from the equipment.
• Do not open the equipment and do not modify the equipment.
• Do not switch the equipment on and off in short intervals, as this will reduce the
system’s life.
• Only use the equipment indoors.
• Do not expose to ammable sources, liquids or gases.
• Do not carry the unit with only one handle. Always carry using both handles.
• Always disconnect the power from the mains when equipment is not in use or before
cleaning! Only handle the power-cable by the plug. Never pull out the plug by pulling the
power-cable.
• Make sure that the available voltage is between 220v/240v.
• Make sure that the power-cable is never crimped or damaged. Check the equipment and
the power-cable periodically.
• If the equipment is dropped or damaged, disconnect the mains power supply immediately.
Have a qualied engineer inspect the equipment before operating again.
• If the equipment has been exposed to drastic temperature uctuation (e.g. after
transportation), do not switch it on immediately. The arising condensation might damage
the equipment. Leave the equipment switched off until it has reached room temperature.
• If your product fails to function correctly, discontinue use immediately. Pack the unit
securely (preferably in the original packing material), and return it to your Prolight dealer
for service.
• Only use fuses of same type and rating.
• Repairs, servicing and power connection must only be carried out by a qualied
technician. THIS UNIT CONTAINS NO USER SERVICEABLE PARTS.
• WARRANTY; One year from date of purchase.
OPERATING DETERMINATIONS
If this equipment is operated in any other way, than those described in this manual,
the product may suffer damage and the warranty becomes void.
Incorrect operation may lead to danger e.g.: short-circuit, burns and electric shocks etc.
Do not endanger your own safety and the safety of others!
Incorrect installation or use can cause serious damage to people and property.
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General
When using the built-in amplication it is important not to block the air intake vents on the front and
side panels. These are essential for the dual speed fan to keep the unit cool during operation. Avoid
exposing the unit to rain or excessive levels of humidity during operation.
1) IEC power input - use this standard IEC connector to connect the DIGIMIX to the mains.
This socket supplies power to both the Mixer and the Amplier Sections of the unit and also has a
built-in fuse holder.
2) Power Switch - Use this switch to turn ON & OFF the mains power supply to the DIGIMIX.
3) Phantom Power Switch - The DIGIMIX mic inputs feature a 48V Phantom Power System to fa-
cilitate the use of Condenser Microphones that require an external power supply. To use; move the
switch marked ‘Phantom’ (found on the rear panel) to the ON position and phantom power will be
delivered to all six XLR mic input connectors. There should be no adverse affect using a
mixture of powered Condenser mic’s and standard dynamic mic’s simultaneously. The Dynamic
mic’s should not be affected by the phantom power supply. When the Phantom power system is
active you should see the +48V red status LED in the Main Level Meter LED area illuminated.
The ‘Channel Strips’ (see diagrams) on pages 4 - 12
4) XLR Input (mic channels 1 to 6 only) - Use this mic level XLR input to connect your microphones.
You can use dynamic or condenser microphones with the DIGIMIX. You cannot use this XLR
connection for line level audio signals.
5) Line Input - (mic channels 1 to 6 only) - Use these 1/4” jack sockets to attach any line level audio
source (keyboard, CD Player etc). This socket is electronically balanced so accepts either a
balanced or unbalanced audio signal and automatically self adjusts accordingly.
6) Channel Insert connections ( Channels 1 to 6 only) - The microphone channels feature an
‘insert’ system. These are commonly used to connect automatic gain control devices such as
Compressors and Noise Gates. The Insert system follows industry standard protocol. To use it you
will need a specially congured ‘Y Insert Cable’. These cables have a single stereo 1/4” jack
connector at one end and a pair of standard mono 1/4” jack connectors at the other. To use the
system you connect the single stereo jack connector to the appropriate ‘Channel Insert’ connection
found on the rear panel of the unit.
7) L (MONO) & R Line inputs (Channels 7 to 10 only) - Use these unbalanced 1/4” jack sockets to
connect any line level audio source. Use the L input when you wish to attach a mono source as this
socket is automatically split and sent to both L & R channels of the main mix when there is no
connection to the R input. Use both connections when connecting a stereo source
(e.g. a CD Player).
Rear Panel Rear Panel
ON
Phantom
Power
Channel Inserts
123456
1 2
6
3
5
8) Lo Cut Switch (mic channels 1 to 6 only) - This button applies an 18dB per octave high pass
lter that completely removes all frequencies below 75Hz. We highly recommend using this lter
for hand held vocal microphones because it reduces handling noise. It is also worth while using it
for any microphone or instrument that is not intended to produce bass because it also reduces the
chances of low frequency feed back and can deliver
an overall mix with greater clarity.
9) Gain - Use this control in conjunction with the PFL
system & the level meters to adjust the input signal level
so that it peaks around the 0dB mark on the level meter.
You will notice two different sets of calibration around the
control. This is because the gain circuit applies a
different amount of gain to the microphone and line
inputs. The +4 marking corresponds to the ‘Unity’ setting
for a signal at the standardised professional line level of
+4dBu. The -10 marking corresponds to the ‘Unity’
position for a standard domestic line level -10dBu
signal. These two markings are there to show you where
to position the gain control so that the gain circuit is
neither increasing nor decreasing the signal level for
each different line level signal type.
10) EQ - The mic channels (1-6) and line channels
(7-10) feature different types of EQ system.
The mic channels - Feature 3 band EQ with a swept
mid control. The Hi control applies +/-15dB of cut and
boost to frequencies centred on 12kHz. The low
control applies +/-15dB of cut or boost to frequencies
centred on 80Hz. The mid section has two controls; the
upper control sets whether you cut or boost by +/-15dB.
The lower control lets you choose which mid range
frequency you cut/boost. As with all mid range EQ
systems you are effectively adjusting a ‘notch’ or ‘band’
of frequencies above and below the selected ‘centre’
frequency.
The Line Channels - feature 4 band EQ. The Hi
control applies +/-12dB of cut and boost to
frequencies centred on 12kHz. The Hi Mid control
applies +/-15dB of cut or boost to frequencies centred
on 3kHz. The Lo Mid control applies +/-15dB of cut or
boost to a ‘band’ of frequencies centred on 500Hz. The
Lo control applies +/-12dB of cut or boost to frequencies
centred on 80Hz
11) Aux 1 ‘AUX’ - Use this control to set the amount of
signal sent to the line level audio output marked ‘Aux
Send’ in the master connections section. How to set up
the Aux Send & return system is explained under Master
Connections.
dB
7/8
5
7
9
10
11
12
13
14
15
17
16
18
19
4
8
12) Pre Button - This button relates to the Aux control. When the button is ‘down’ the signal from
this channel is sent to the Aux output connection before it reaches the channel level fader - so
adjusting the channel level fader has no impact on the Aux Send Level. When the button is in the
‘UP’ position the signal from the channel is routed to the Aux Send connection after it has passed
through the channel level fader - so when the button is ‘UP’ turning down the level fader also turns
down the signal sent to the Aux Send. This is useful when using the Aux Send System to set up an
on stage monitor mix as it enables creation of a separate mix with levels that differ from those of
the main mix.
13) Aux 2 ‘FX’ - Use this control to adjust the signal level sent to the on board effects processor.
To aid in versatility the DIGIMIX II also provides a line level output marked ‘EFX Send’ in the
master connections section. This output can be used to connect an external effects processor
instead of the on board processor. The ‘EFX Send’ is wired ‘Post Fade’ so adjusting the channel
fader also adjusts the EFX Send level (to both the on board effects processor and the external
EFX Send connection).
14) Pan - When this control is in the central position equal proportions of the channel signal is sent
to the Left and Right channels of the main mix. Turn the control left and more signal will be sent to
the Left channel of the main mix. Turn the control to the right and more signal will be sent to the
Right channel of the main mix.
15) PFL/Solo - This sends the channel audio signal to the PFL/Solo system (described in the PFL/
Solo section of this manual). This signal is sent ‘Pre Fade’ and pre EQ so the measured signal
is not changed by the position of the channel level fader or EQ controls... but the signal is taken
immediately after the channel Gain control (and thus the Insert Sockets), so you are essentially
measuring the input signal level after you have adjusted it with the input Gain control.
16) Peak LED - This LED illuminates when the channel signal level is approaching a level at which
it may distort. It is there to act as a warning to you so that you can reduce the particular channel
level faders to avoid distortion.
17) Mute/Alt 3 & 4 - This button performs two tasks at once when pressed.
1. It mutes (silences) the channel from the main mix.
2. It routes the signal to the ‘Alt 3 & 4’ system
(as described in the ‘Alt 3 & 4’ section of this manual).
18) Alt 3&4 LED - When the Alt 3 & 4 button is engaged this amber LED illuminates to remind you
that you have routed this particular channel into the Alt 3 & 4 system
19) Channel Fader - Use this 60mm fader to adjust the relative level of the channel in the
main mix
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The Aux & Effects Systems
Using an Aux System
The idea of an Auxiliary Send & return systems is that it enables you to send a signal out of the
mixer, to an external processor (usually it is an effects unit), through the external processor, then
back to the mixer.. and back into the main mix. The on board effects processor on the DIGIMIX is
accessed exactly as though it were an external processor. When you wish to send sound to it you
use the ‘Aux 2 EFX’ send and return system. Aux 2 EFX also features Send and Return
connections so can be used with an external Effects processor should the need arise. The
descriptions of all connections etc below apply therefore to both ‘Aux1’ and ‘Aux 2 EFX’.
20) Aux Send connections - Use a cable to connect from this mono line level 1/4” jack socket to
the input of your external processor.
21) Master Aux Send Level controls - Use these to set the master Send Level for the Aux Send
system. These controls set the overall level of all of the signals sent to the Aux Send & Return
systems via the Aux Send controls in the channel strips.
22) Aux Send PFL buttons - Press these buttons to route either Aux Master signal to the main
Level Meter (and solo it) so that you can measure it (and hear it isolated). Many External Effects
processors do not have input level meters so it is wise periodically to measure the Send Level
signal to ensure that the signal is neither too large nor too small.
23) Aux Return Connections - Use a pair of cables to connect these line level 1/4” jack input
sockets from the output of your external processor to your mixer.
24) Aux Return input level switches - Use these buttons to determine whether each Aux Return
connection operates at either the professional Line Level Standard of +4dBu or the Domestic line
level standard of -10dBV.
25) Aux Return Level faders - Use these faders to set the relative level of the Return signal
(from your external processor) and the internal effects processor to the main mix.
On Board Effects
The DIGIMIX on board Effects System provides a carefully selected range of 99 high quality
Effect Programmes with variable time parameters. They are designed to be as versatile as
possible and to meet your requirements for a wide range of uses. Operation is also
extremely simple.
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FRONT PANEL INPUTS
45
40
34
29
FOOT
SWITCH
PHONES
26) Programme LED - This large two digit LED display shows the currently selected programme.
27) Up & Down buttons - Use these increment buttons to select the Effect programme you wish
to use from the list. Press either button once to move up or down through the list. When you have
selected the desired programme you may then alter the timing of the delay/reverb by using the
UP/DOWN buttons. To alter the timing of the selected effect press the enter button and the arrow
displayed at the side of the selected effect will move down the display and will point to the letter T.
You can then alter the delay/reverb time by using the UP/DOWN buttons.
28) Enter button - Use this button to select between effect and delay/reverb time.
29) EFX Processor Direct In - In addition to routing signals to the on board Effects Processor you
can use these line level 1/4” jack input connections to route external signals directly into the
Effects Processor. When you do this the signal passes through the processor and arrives in the
main mix via the EFX Return Level Fader.
The Master Section
The Master Section of the DIGIMIX is extremely versatile and highly specied for a mixer in this
class. The are various ways in which you can connect and use this product.
Main Mix
There are three sets of main Output connections which all simultaneously carry the full stereo
main mix.
30) XLR R&L - These two line level balanced XLR connectors (found on the rear panel) are your
primary outputs, they are the least prone to interference because they are of a balanced XLR type.
31) Master Insert connections - These stereo 1/4” jack sockets are Insert connection points
for the master output connections. They function in exactly the same manner as the
Channel Inserts.
There are 99 effects in the DSP as follows:
1 Reverb Hall 2.0 sec
2, Reverb Hall 2.5 sec
3, Reverb Hall 3.0 sec
4, Reverb Hall 4.0 sec
5, Reverb Hall 5.0 sec
6, Reverb Hall 6.0 sec
7, Reverb Hall 8.0 sec
8, Reverb Hall 10.0 sec
9, Reverb Room 1.0 sec
10, Reverb Room 1.5 sec
11, Reverb Room 2.0 sec
12, Reverb Room 2.5 sec
13, Reverb Room 3.0 sec
14, Reverb Room 4.0 sec
15, Reverb Plate 1.0 sec
16, Reverb Plate 1.5 sec
17, Reverb Plate 2.0 sec
18, Reverb Plate 2.5 sec
19, Reverb Plate 3.0 sec
20, Reverb Plate 4.0 sec
21, Ambient 0.5 sec
22, Ambient 0.7 sec
23, Ambient 1.0 sec
24, Ambient 1.3 sec
25, Ambient 1.6 sec
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26, Gated Reverb 75 ms
27, Gated Reverb 100 ms
28, Gated Reverb 125 ms
29, Gated Reverb 150 ms
30, Gated Reverb 200 ms
31, Gated Reverb 300 ms
32, Reverse Reverb 75 ms
33, Reverse Reverb 100 ms
34, Reverse Reverb 125 ms
35, Reverse Reverb 150 ms
36, Reverse Reverb 200 ms
37, Reverse Reverb 300 ms
38, Echo & Room .1/10 sec
39, Echo & Room .15/1.5 sec
40, Echo & Room .2/2,0 sec
41, Echo & Room .25/2/5 sec
42, Echo & Room .3/3.0 sec
43, Echo & Room .35/3.0 sec
44, Echo & Room .4/4.0 sec
45, Echo & Room .5/5.0 sec
46, Voice Doubler 60 ms
47, Voice Doubler 80 ms
48, Voice Doubler 100 ms
49, Voice Doubler 120 ms
50, Voice Doubler 140 ms
51, Single Delay 50 ms
52, Single Delay 100 ms
53, Single Delay 150 ms
54, Single Delay 200 ms
55, Single Delay 250 ms
56, Single Delay 300 ms
57, Single Delay 400 ms
58, Single Delay 500 ms
59, Echo 50% F.B. 100 ms
60, Echo 50% F.B. 125 ms
61, Echo 50% F.B. 150 ms
62, Echo 50% F.B. 200 ms
63, Echo 50% F.B. 250 ms
64, Echo 50% F.B. 300 ms
65, Echo 50% F.B. 350 ms
66, Echo 50% F.B. 400 ms
67, Echo 50% F.B. 500 ms
68, Echo 50% F.B. 650 ms
69, Echo 50% F.B. 800 ms
70, Chorus Fast
71, Chorus & Echo Fast/0.1s
72, Chorus & Room Fast/1.0s
73, Chorus Medium
74, Chorus & Echo Med/0.2s
75, Chorus & Room Med/2.0s
76, Chorus Slow
77, Chorus & Echo Slow/0,3s
78, Chorus & Room Slow/4.0s
79, Flanger Fast
80, Flanger & Echo Fast/0.1s
81, Flanger & Room Fast/1.0
82, Flanger Medium
83, Flanger & Echo Med/0.1s
84, Flanger & Room Med/1.0
85, Flanger Slow
86, Flanger & Echo Slow/0,3s
87, Flanger & Room Slow/4.0s
88, Tremolo Fast
89, Tremolo & Room Fast/1.0s
90, Tremolo Medium
91, Tremolo & Hall Med/2.0s
92, Tremolo Slow
93, Tremolo & Hall Slow/4.0s
94, Wah Wah Fast
95, Wah Wah & Room Fast/1.0s
96, Wah Wah Medium
97, Wah Wah & Hall Med/2.0s
98, Wah Wah Slow
99, Wah Wah & Hall Slow/4.0s
32) XLR Level switch - Use this switch to determine whether the main XLR Output Connectors
(30) operate at either the Professional Line Standard of +4dBu or the Domestic Line Level
Standard of -10dBV.
33) Rear Panel Main Outputs - These line level 1/4” jack connectors carry the stereo main mix
and can be used for a variety of purposes.
34) Top Panel main Outputs - These line level 1/4” jack connectors carry the stereo main mix
and can be used for a variety of purposes.
35) Main Mix L&R Level faders - Each of these two faders control the Level of one side of the
stereo main mix as sent to all of the various connectors that carry the main mix.
Graphic Equaliser - The 7 band Graphic Equaliser is only applied to the main mix
36) EQ In - This button switches the Graphic Equaliser ON and OFF
37) EQ Frequency faders - Five of these faders (the ones marked 160Hz, 410Hz,1.1Hz, 2.3Hz
and 6.2Hz) relate to a narrow band of frequencies. When placed at the calibrated ‘zero’ position
they have no effect, but when pushed up or pulled down they cut or boost the relevant band of
frequencies by +/-10dB. The faders at either end are a little different, they are ‘shelving lters’;
the lower one cuts and boosts all frequencies below 60Hz (I.E. bass) and the upper one cuts and
boosts all frequencies above 15.6kHz (I.E. high treble & hiss).
The main Level Meter (38)
This ‘enclosed bar type’, 3 colour, stereo level meter provides an accurate audio signal level
measuring tool. It can be used to measure a broad range of signals. When the PFL & Solo
status indicators remain un-illuminated the meter will be measuring the stereo signal of the main
mix. When either the PFL or Solo status LED’s are illuminated the meter will be measuring a signal
source you have selected by pressing one of the many PFL/Solo buttons found on the mixer.
An optimum signal level is one where the meter peaks regularly at around the ‘zero’ dB calibrated
segment (at the top of the green coloured section). It is perfectly acceptable for the meter to be
peaking in the amber sections of the meter, but when they are coloured amber, they are there to
warn you that you are approaching the red segment. If the meter is peaking at the red segment
your sound is probably ‘clipping’ and sounding distorted and should be turned down.
PFL/Solo
39) PFL/Solo button - This button switches the PFL Solo system between it’s two different
operating modes.
When in the ‘UP’ or ‘PFL’ position; the DIGIMIX routes any selected signals to the Main Level
Meter (39) so that they can be measured. The amber PFL status LED in main Level Meter area
also illuminates.
When in ‘Down’ or ‘Solo’ position’ in addition to routing the signal to the Main Level Meter, the mixer mutes all of the channels and inputs to the DIGIMIX so that you only hear the individual channel
(s) selected via PFL/Solo buttons. The Solo LED in the master section also illuminates.
You can actually press the PFL/Solo buttons for several channels/sources at once... meaning that
you can listen to how several channels/sources sound together isolated from the rest of the mix..
and/or measure their signal levels in isolation.
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Control Room
The DIGIMIX features a ‘Control Room’ system. In a recording studio this is often used for
connection of the Mixing Console to the monitor system (speakers) used by the recording
engineer. It’s main purpose is to provide a convenient routing and level control system for the engi-
neer to use.
40) Control Room Connections - Use an appropriate audio cable to connect these line level 1/4”
jack connectors to the audio input for whichever speakers are to be used by the mix engineer.
41) Control Room Level control - Use this rotary control (conveniently located on the front panel
near the main Mix Level Faders) to adjust the signal level sent via the control Control Room
System outputs.
Located around the Control Room Level control you will nd three buttons; each of these
buttons routes a different audio source to the Control Room output connections. The three options
for routing to the Control Room system are (42) Main Mix (which is the main stereo mix), (43) 2
Track ( which is the signal from the 2 Track input) and (44) Alt 3 & 4 (which is the signal from the
Alt 3 & 4 system)
2-Track
The 2-Track system is designed for recording, particularly recording at a gig.
45) 2-Track connections - Use these
unbalanced line level RCA type
connections to attach your recording
device. Connect the L&R set marked
‘Tape In’ to the Record Input sockets
of your recording device. Connect the
L&R marked ‘Tape Out’ to the Output
or playback sockets of your recording
device.
43) 2-Track to Control Room - Use
this button to route the signal from the
2-Track ‘Tape Out’ connectors to the
Control Room system output.
46) 2-Track to Main Mix - Use this
button to route the signal from the
2-Track ‘Tape Out’ connectors to the
Main Mix Level Faders and various
Main Mix output connections.
10
Master Section
37
39
50
36
43
44
49
41
42
48
35
38
Alt 3&4
The Alt 3 & 4 System is a powerful ‘routing system’ that enables you to set up a second separate
mix to the main mix that can be used for recording or setting up stage monitors or simply as a
traditional ‘Sub Mix’. The classic use for a traditional sub mix is to route all of the microphones
on a drum kit, or all the microphones for a brass section, or all the microphones used for backing
vocals to a single fader; so that you can adjust the entire group with one fader movement.
Any channel that is routed to the Alt 3 & 4 System via the Alt 3 & 4 button is removed from Main
Mix and sent instead to a set of line level 1/4” jack connections on the rear panel marked
‘Alt 3 & 4 Outputs’ (47).
Before the signal gets to those rear panel outputs it goes via the fader in the master section
marked ‘Alt 3 & 4’ (48) - you use this fader to adjust the combined level of all of the channels you
have currently selected to route to the Alt 3 & 4 system.
There is a button above the fader marked Alt 3 & 4 to Mix (49) that simultaneously routes the ‘Alt
3 & 4 Mix’ back to the main mix (post fader) so that you have the option of routing the selected
channels to this additional ‘Sub Mix’ and sending it onwards to the Alt 3 & 4 outputs but without
also losing it from the Main Mix.
There is a button marked ‘Alt 3 & 4 PFL’ (50) that routes the entire Alt 3 & 4 Mix to the PFL/Solo
System & Main Level Meter for measure etc.
There is a button beside the Control Room Level (44) that routes the combined Alt 3 & 4 Mix to
the Control Room System.
51) Alt 3&4 Insert connections - These stereo 1/4” jack sockets are Insert connection points for
the Alt 3 & 4 output connections. They function in exactly the same manner as the Channel Inserts
(6).
52) Phones - Use this standard head phone connection socket to attach a set of headphones for
monitoring purposes (minimum impedance 16 Ohms).
The Amplier
53) Input connections - Use these line level 1/4” jack sockets to connect an input audio signal to
the built-in Amplier.
54) Amplier Input Level controls - Use these L&R rotary Level controls to adjust the overall
listening level of any speakers connected to the DIGIMIX Amplier speaker outputs.
55) Speakon Type Speaker Output connections - Use appropriate cables to connect these
speakon type speaker output connectors to the input connections of your speakers. Speakon is
the industry standard connection method for connecting speakers to power ampliers; it is safe,
secure and delivers superior audio sound.
The speakon uses Pin1+ and Pin1- to connect to the loudspeaker.
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56) Binding Post Speaker Output connectors - Use appropriate cables to connect these
Binding Post speaker output connectors to the input connections of your speakers. Binding Posts
are designed to accommodate bare wire ends of speaker cables; this is a speaker connection
method which although safe and reasonably secure when handled correctly and capable of
delivering good quality audio sound... and undeniably convenient in the sense that any speaker
cable can rapidly be turned into a set of bare wires in an emergency... is not our recommended
connection method.
57) Footswitch Socket - The footswitch socket turns the selected reverb/echo setting on or off.
Note: The DIGIMIX has a rated power output that delivers the following:
2 x 300W RMS @ 8 Ohms 2 X 550W RMS @ 4 Ohms
Be sure to match the rated power handling capacity of your speakers to the DIGIMIX
power output to avoid damaging your speakers.
Rack Mounting
To rack mount the DIGIMIX remove the screws on the outside edge of each of the plastic side
cheeks.
Rear Panel
Amplier Panel
Specications
2 x 550W RMS @ 4 Ohms
10 channels/20 inputs: 6 mic/line & 14 line
Built-in 20BIT DSP Effects System
7 Band Master graphic EQ
Electronically balanced inputs
Inserts on Mic Channels, Master & Alt 3 & 4
3 Band swept & 4 Band channel EQ
2 x Aux Send & Return System (pre/post)
Full Mute/Alt 3 & 4 sub mix system
Fully routable Control Room system
Professional PFL/Solo system
Independent Amp inputs & PSU
Footswitch input
12
30
33
31
47
51
6
1
2
53
32
3
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